The veridical travel of the truly imaginary plant: Curatorial approach and underlying ideas

Autores

DOI:

https://doi.org/10.5902/2595523363553

Palavras-chave:

Artes Contemporânea, Arte e Tecnologia, Global e Local, Arte e Natureza, Projeto Colaborativo, The Traveling Plant.

Resumo

O projecto The Traveling Plant é um projecto colaborativo que se desenvolve através de uma rede global e tem o objectivo de ser partilhado localmente. Pretende lidar de uma perspectiva composta numa série de ações que impactam o global e vivem na localidade, transparecendo e projetando uma variedade de modos de fazer e de ver; de modo a abraçar a dualidade de práticas partilhadas e troca de saberes presente numa rede distribuída de forma virtual e física/não-virtual. Procura lidar com as questões de um fazer concentrado em perspectivas para além do simplesmente humano, que incluem o não-humano e procuram evitar formas colonialistas e antropocénicas de agir e estar. Este artigo apresenta uma estratégia curatorial e as suas questões adjacentes que o grupo de comissárias toma como ponto de partida, a estrutura organizacional para o desenvolvimento do projeto e clarifica como se vai desenrolar.

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Biografia do Autor

Marta De Menezes, Universidade Federal de Santa Maria

Artista com produção em Arte e Tecnologia nos eixos: Instalação, Fotografia, Objeto e Design. Doutorando em Artes Visuais PPGART/UFSM - Bolsa CAPES. Mestre em Artes Visuais com ênfase em Arte e Tecnologia PPGART/UFSM [2018] - Bolsa CAPES. Integrante do Laboratório de Pesquisa em Arte Contemporânea, Tecnologia e Mídias Digitais - LABART/UFSM. Integrante do Grupo de Pesquisa Arte e Tecnologia/CNPq; Grupo de Pesquisa em Fotografia LabFoto; e, Grupo de Pesquisa Objeto e Multimídia/CNPq. Bacharel em Artes Visuais com formação em Objeto e Multimeios pela Universidade Federal de Santa Maria/UFSM [2008]. www.rosarauldotto.com

Claudia Schnugg, Independent researcher

Dr.ª Claudia Schnugg is independent researcher, curator, and international consultant in artscience collaboration processes. She has explored effects of artistic interventions on social settings, especially framing artistic interventions and art programs in organizations. In doing so, Claudia is developing methodologies for innovation and meaningful interaction with the arts. Her academic expertise builds on social, economic, and cultural sciences. She was assistant professor at JKU in Linz, visiting researcher at Copenhagen Business School, at Art|Sci Center + Lab, Los Angeles, and at European Southern Observatory, Chile. As Senior Curator she headed the Ars Electronica Residency Network (2014-2016) and was first Artistic Director of Science Gallery Venice (2018-2019). As independent researcher, consultant, and curator of artscience programs, Claudia is working with leading scientific institutions, universities, tech corporations and cultural partners, such as Helmholtz Center Munich,  Science Gallery Dublin, ESA ESTEC, Pro Helvetia, Human Insights Lab at Accenture, and Fraunhofer Institute for Digital Medicine. Her most recent book is Creating ArtScience Collaboration (Palgrave, 2019). http://www.claudiaschnugg.com/

 

Annick Buread, Leonardo/Olats

Annick Bureaud is an independent art critic, curator and event organiser in art and technosciences. She is the director of Leonardo/Olats (www.olats.org). She is the author of numerous articles and contributes to the French contemporary art magazine Art Press. She organised many symposia, conferences and workshops among which Artmedia VIII: From Aesthetics of Communication to Net Art, Paris, 2002; Visibility – Legibility of Space Art. Art and Zero Gravity: The Experience of Parabolic Flight, Paris, 2003 ;  BIO ART – BIO DESIGN, enjeux culturels et sociétaux de la biologie de synthèse, Paris, 2014 ; she is the curator of the Leonardo Space Art Science Workshops and the Leonardo/Olats LASER Paris meetings. In 2009, she co-curated the exhibition (Un)Inhabitable? Art of Extreme Environments, Festival @rt Outsiders, MEP/European House of Photography, Paris. In 2012, she was the curator of the work Tales of a Sea Cow by Etienne de France at the PAV in Torino, Italy. In 2018, she is the curator of the exhibition Neotenous Dark Dwellers (Lygophilia) by Robertina Sebjanič at Osmo/za, Ljubljana and of Raccommoder le tissu du monde, Rencontres Bandits-Mages in Bourges. In 2020, she launched The Traveling Plant project. http://www.annickbureaud.net/

Robertina Šebjanič, Independent

Robertina Šebjanič (SI) is an internationally exhibited and awarded artist. Her artistic work deals with the cultural, (bio)political and ecological realities of aquatic environments. With her works she tackles the philosophical questions at the intersection of art, technology and science. Project are often realized in collaboration with others, through interdisciplinary and informal integration in her work. Robertina was awarded with Honorary Mention @Prix Ars Electronica 2016;  nominated for STARTS2016 STARTS 2020 Award and 2016 White Aphroid Award. In 2018, she (with Gjino Šutič)  took part in a residency programme at Ars electronica (Emap/Emare platform). She performed / exhibited in solo and group exhibitions as well as in galleries and festivals such as: Ars Electronica (Linz), Kosmica Festival at Laboratorio Arte Alameda, (Mexico City), Le Cube (Paris), Art Laboratory (Berlin), ZKM (Karlsruhe), re:publica (Berlin), Mladi Levi (Ljubljana), Device Art 5.015 (Zagreb & Eastern Bloc, Montreal), Eyebeam (New York), PORTIZMIR#3 (Izmir).

https://robertina.net/

Tatiana Kourochkina, Quo Artis

Tatiana Kourochkina has a degree in History from the Russian State University for the Humanities (Moscow) and a Master degree in Literature and Creative Writing by Pompeu Fabra University (Barcelona). Currently she is studing Master in Architecture of the Landscape and Garden at IUAV University (Venice). Tatiana is the co-founder of Quo Artis, a non-profit organization based in Barcelona. Quo Artis produces cross-disciplinary artworks, organizes exhibitions, expeditions and conferences. With the support of Unesco, Quo Artis is preparing the artistic and scientific expedition to Galapagos Islands in September 2021 and its project Roots & Seeds XXI. Biodiversity Crisis and Plant Resistance recently obtained the grant from the European Commission, Creative Europe programme. Quo Artis collaborated with MIT Media Lab, Biennale di Venezia, European Space Agency, Festival of Advanced Music Sónar, Watermill Foundation, Ars Electronica Festival, Center for Contemporary Culture of Barcelona (CCCB) and Berlin School of Mind and Brain, among other institutions.

www.quoartis.org

Referências

Filippi, Lavinia: The semi-nomadic curator: Towards an informed, translocal and collaborative approach. Dissertation, Royal College of Art London, Curating Contemporary Art, 2016.

O’Neill, Paul: Biennial culture and the emergence of a globalized curatorial discourse: curating in the context of biennials and large-scale exhibitions since 1989. In: The Culture of Curating and the Curating of Culture(s). MIT Press: London, 2012.

Rogoff, Irit: Geo-Cultures: Circuits of Arts and Globalizations. open! Platform for Art, Culture & the Public Domain, 2006. https://www.onlineopen.org/geo-cultures Accessed on 5th November 2020.

Rugoff, Ralph: Rules of the Game. frieze Issue 44, Jan-Feb 1999, p. 46-49. https://www.frieze.com/article/rules-game-0 Accessed on 5th November 2020.

Weibel, Peter: Museen müssen das bessere Netflix werden. Interview with Peter Weibel by Cornelius Stiegmann. monopol Magazin für Kunst und Leben. 5th October 2020, https://www.monopol-magazin.de/peter-weibel-interview-museen-muessen-das-bessere-netflix-werden Accessed on 6th November 2020.

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Publicado

2020-12-19 — Atualizado em 2022-03-22

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Como Citar

De Menezes, M., Schnugg, C., Buread, A., Šebjanič, R., & Kourochkina, T. (2022). The veridical travel of the truly imaginary plant: Curatorial approach and underlying ideas. Contemporânea - Revista Do PPGART/UFSM, 3(6), e7. https://doi.org/10.5902/2595523363553 (Original work published 19º de dezembro de 2020)

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