Charles Esche
Charles Esche is a curator and writer based in Amsterdam. He is professor of contemporary art and curating at Central Saint Martins, University of the Arts, London and advisor at Jan van Eyck Academy, Maastricht.. He is series editor of Exhibition Histories, distributed by the University of Chicago Press.
In 2012 he was awarded the Princess Margriet Award for Cultural Change by the European Cultural Foundation, Brussels, in 2013 the Minumum Prize by the Pistoletto Foundation and in 2014 the Audrey Irmas CCS Bard College Prize for Curatorial Excellence
Curated exhibitions include: Soils, Tarra Warra Museum of Art and Van Abbemuseum, 2023-4; The Meeting that Never Was, Mo Museum, Lithuania, 2022; Hurting and Healing, Tensta Kunsthal, 2022; Power and Other Things, BOZART, Brussels, 2017. In 2015 he curated the Jakarta Biennale with 6 Indonesian colleagues and in 2014, he was curator of the 31st Sao Paulo Bienal with a team of seven. In addition, he has (co-) curated a number of major international exhibitions including U3 Triennale, Ljubljana (2011); Riwaq Biennale, Ramallah with Reem Fadda (2007 & 2009); Istanbul Biennale with Vasif Kortun (2005); Gwangju Biennale with Hou Hanru (2002); Amateur, Konstmuseet, Gothenburg with Mark Kremer and Adam Szymczyk (2000). From 2004-24 he was director of Van Abbemuseum, Eindhoven, The Netherlands. From 2000-2004 he was director of Rooseum, Malmö, Sweden and before that worked at protoacademy, Edinburgh and Tramway, Glasgow, Scotland.
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In 2012 he was awarded the Princess Margriet Award for Cultural Change by the European Cultural Foundation, Brussels, in 2013 the Minumum Prize by the Pistoletto Foundation and in 2014 the Audrey Irmas CCS Bard College Prize for Curatorial Excellence
Curated exhibitions include: Soils, Tarra Warra Museum of Art and Van Abbemuseum, 2023-4; The Meeting that Never Was, Mo Museum, Lithuania, 2022; Hurting and Healing, Tensta Kunsthal, 2022; Power and Other Things, BOZART, Brussels, 2017. In 2015 he curated the Jakarta Biennale with 6 Indonesian colleagues and in 2014, he was curator of the 31st Sao Paulo Bienal with a team of seven. In addition, he has (co-) curated a number of major international exhibitions including U3 Triennale, Ljubljana (2011); Riwaq Biennale, Ramallah with Reem Fadda (2007 & 2009); Istanbul Biennale with Vasif Kortun (2005); Gwangju Biennale with Hou Hanru (2002); Amateur, Konstmuseet, Gothenburg with Mark Kremer and Adam Szymczyk (2000). From 2004-24 he was director of Van Abbemuseum, Eindhoven, The Netherlands. From 2000-2004 he was director of Rooseum, Malmö, Sweden and before that worked at protoacademy, Edinburgh and Tramway, Glasgow, Scotland.
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Papers by Charles Esche
Exhibition Theory and Practice at the University of Applied Arts Vienna
Thursday, May 5, 2022, 10am–9pm
The museum is dead. Long live the museum. This, or something similar, could be the brief summary of numerous conferences, debates, and publications in the field of curating and museum studies over the past 20 years. The critique of the museum has been widely discussed. We have heard a lot about crisis and departure, we have heard about “tired museums” and the “end of the museum,” only to debate in that same breath untapped possibilities for thinking about the museum in new and different ways – as a space of assembly and as a contact zone, as a place of criticism, polyphony, and negotiation. Something seems to be on the move, and so it is not surprising that talk of the “museum of the future” is booming. Claims of diversification, digitalization, and democratization have become ubiquitous, while at the same time institutions are more than ever focused on privatization, economization, competition, and precarization. How can we as critical curators and museologists think and
act within these contradictions? And how can critical theory become
critical practice?