julho 18, 2018
Curso online sobre performance com Daniela Labra no Node Center
Curating Performance Art: from Concept to Practice with Daniela Labra
Performance art is deeply rooted in unconventional artistic experimentation and political engagement both within the art world and beyond. Since its acceptance as a legitimate artistic practice in the 1960s, performance art continues to evolve today. Due to its unpredictable and ephemeral nature, the public presentation of performance art comes with its own unique set of considerations that are important for curators and artists to address, such as insurance and safety, censorship, contracts and scheduling, among other practical issues.
This course is designed for curators and artists who are interested in developing curatorial projects with performance art. We will go step-by-step through the necessary phases of curating a performance art exhibition, including the artist proposal, legal needs, institutional negotiations, public controversy, documentation, media coverage and more. Further, participants will learn the foundation of the history and theory of performance art, how it fits within the art institutional structures and possibilities for conceptual development. Throughout this four week course, participants will develop a proposal for a performance art project, receiving guidance and critical feedback in the final session.
11 de setembro a 2 de outubro de 2018
Node Center for Curatorial Studies
Investimento: 154 Euros
Inscrição online antes de 7 de setembro
Video conferences every Tuesday at 7pm CEST. Recordings will be available in case you miss a live session!
System requirements for the live video conferences: Mac OS x 10.9 or higher or Windows 7 or higher.
Week 1. Approaching performance art practice: its history, formal possibilities and audiences.
The institutional turn of performance art from the 1960s to now.
Performance art today and its translations: arte de acción; arte viva; live art; conceptual dance; contemporary theater, and more.
Viewing the contemporary performance art market (art fairs, galleries, museums, interdisciplinary festivals, biennials and others).
Week 2. Framing a performance art show
Proposing a project to an artist: discussion of concept, duration, technical needs and budget.
Historical artists and re-enactment of performances in different contexts.
Negotiating performances with the institutional space; collections and estates.
Week 3. Mounting performance programmes
Scheduling performances for a festival or a longer term show.
Insurance, image rights, contracts and other certificates.
Urban performances with permission - or not.
Critical audiences and censorship.
Week 4. Documentation and media coverage
Documenting and cataloguing performances.
The performance as social memory: databases, international research agencies, schools of performance; independent initiatives.
Review and critical feedback of participants’ curatorial proposals.
Daniela Labra is an art curator, critic and researcher. She holds a PhD in Art History and Critique at Universidade Federal do Rio de Janeiro (2014) with the thesis International Legitimization of Brazilian Art from 1940-2010, which was nominated best PhD thesis in Arts and Humanities. She is a post-doc grantee with the project After the Future: Ruins and reinventions of Modernity, at UFRJ and Professor at Parque Lage Visual Arts School and at the University of Rio de Janeiro, UERJ. Labra is an art critic for the newspaper O Globo, 2014-2016. Selected curatorial projects include Frestas Triennial 2017: Between Post-Truths and Events, São Paulo; Festival Performance Arte Brasil, MAM Rio de Janeiro 2011; Performance Presente Futuro, Oi Futuro, Rio de Janeiro 2008-2010. She lives in Rio de Janeiro and Berlin.