This article is primarily concerned with the production of knowledge in curatorial projects and creating a definition of the curator as a collaborator, filtered through the notion of alienation in Marxist philosophy. In this article, we will aim to present a critical perspective on curatorial ethics, and define curating as a form of collaborating and engaging the artists with the audience to create a mutually beneficial experience.
Private sponsorships in the arts is not a modern concept at all; it is, in fact, a deep-rooted support system which relies on mutual benefit. We can trace the progression of various models of patronage in history from Renaissance Europe to Medieval Japan, from merchants to monarchs. Although the working mechanisms of art sponsorship in the corporate era consist of much more complex and controversial systems, it nevertheless preserves its essence.
This review will focus on ARTER “space for art”, a young non-profit organisation conceived as a contemporary art space in Istanbul, Turkey; to examine its curatorial structure through the lens of its latest international summer group show “Not All That Falls Has Wings”.
I have, in front of me, this amazingly tactile and geometrically perfect object to contemplate upon. These characteristics bring to mind the fundamentals of the late 1960’s minimalist sculptures. Judd would call this bucket a “specific object” and perhaps Morris would rename it as a “primary structure.” Is it possible to carry the bucket into the formal sculptural discussion?
Mark Peter Wright’s unusually jocular relationship with the microphone inspired this examination of his practice in relation to the French thinker Roland Barthes’ theory of the mythologies. In addition, this article will compare Mark Peter Wright’s artistic development to the legendary Don Quixote’s journey through La Mancha.
Jorn Ebner is a new media artist currently based in Berlin. Within his artistic practice, Ebner mostly interacts with the digital platform through the tradition of drawing. He uses the cyber space as a blank page and explores the limits of drawing within this space.
Project “ULTIMACY” branches out into two separate endeavours. One of them is entitled Final Major Project, which constitutes a culmination of our artistic efforts for the last two years as Fine Art degree students and intends to create a climax before we all progress into other art courses or in some cases, into different areas of life.