With articles by Noémie Drouguet, Areti Adamopoulou, Esther Solomon, Jonathan Paquette, Christopher Gunter, Éric Giroux, and Karen Worcman.
------ See also follow up article "Museums Without (Scholar-)Curators: Exhibition-Making in Times of Managerial Curatorship" published in Museum International (2016):

https://www.academia.edu/33024164/Museums_Without_Scholar-_Curators_Exhibition-Making_in_Times_of_Managerial_Curatorship

Este artigo busca apresentar o processo de trabalho da equipe de curadoria da Mostra dos Estudantes Brasileiros na Quadrienal de Praga de 2019, expondo as etapas de curadoria durante o período compreendido entre a nomeação da equipe (2017) e a exposição internacional.Palavras-chavesMostra dos Estudantes. Design da Performance. Cenografia. Curadoria.

Amostra de páginas do Catálogo Geral da exposição Labirintos da Iconografia, realizada no Museu de Arte do Rio Grande do Sul, Porto Alegre, entre 29 de junho e 14 de agosto de 2011.
Curadoria de José Francisco Alves
Catálogo de 220 pág. Publicado pelo MARGS em 2014.

Alison Boyle, Johannes-Geert Hagmann (Volume editor); Dominique Pestre, John Durant, Martin Collins, Robert Bud, Henry Lowood, Dagmar Schäfer, Jia-Ou Song, Catherine Cuenca, Serge Chambaud, Jennifer Landry, Rosie Cook, Anna Ademek, Finn H. Sandberg, Kristin Ø. Gjerde, Teresa Anderson, Tim O'Brien, Olov Amelin, Karen A. Rader, James Hyslop, Osamu Kamei, Roland Wittje, Thomas Söderqvist (Chapter/Paper Author)

This most recent volume in the Artefacts series, Challenging Collections: Approaches to the Heritage of Recent Science and Technology, focuses on the question of collecting post–World War II scientific and technological heritage in museums, and the challenging issue of how such artifacts can be displayed and interpreted for diverse publics. In addition to examples of practice, editors Alison Boyle and Johannes-Geert Hagmann have invited prominent historians and curators to reflect on the nature of recent scientific and technological heritage, and to challenge the role of museum collections in the twenty-first century. Challenging Collections will certainly be part of an ever-evolving dialogue among communities of collectors and scholars seeking to keep pace with the changing landscapes of science and technology, museology, and historiography.

The Draft Bill amending civil and procedural legislation on disability, presented on 21 September 2018, seeks to comply with the right to equal recognition as a person before the law of all persons with disabilities. To this end, it proposes to introduce changes in the regime of legal capacity of adults with impairments in their decision-making abilities, as well as in the institutions aimed at their protection. In spite of keeping the name (curatela), the Draft Bill entails a transformation of the concept of curatorship. The purpose of this work is to examine the main elements of this new curatorship, how it connects or separates from the case law elaborated by the Spanish Supreme Court in the last years, and what is likely to happen in case the Draft Bill becomes law. The results are analysed in the light of the international debate on the obligations arising for the States Parties from the United Nations Convention on the Rights of Persons with Disabilities.

El Anteproyecto de Ley por la que se reforma la legislación civil y procesal en materia de discapacidad, de 21 de septiembre de 2018, persigue dar cumplimiento al derecho al igual reconocimiento como persona ante la ley de todas las personas con discapacidad. A tal fin, propone introducir cambios en el tratamiento de la capacidad de obrar de las personas mayores de edad que padecen alguna forma de discapacidad que impide su autogobierno, así como en las instituciones que tienen como finalidad su protección. Pese a mantener el nomen de la institución, el Anteproyecto de ley incide de lleno en el concepto de la curatela. El objeto de este trabajo es analizar en qué consiste esta nueva curatela, cómo conecta o se separa de la jurisprudencia elaborada por el Tribunal Supremo en los últimos años, y qué puede esperarse que suceda en caso de que esta iniciativa legislativa resulte aprobada. Todo ello a la luz del debate internacional sobre las obligaciones que la Convención de las Naciones Unidas sobre los derechos de las personas con discapacidad impone a los Estados Partes.

CONSTRUYENDO LA COLECCIÓN PALEONTOLÓGICA DEL MCNA (Museo de Ciencias Naturales de Álava / Arabako Natur Zientzien Museoa).
Este libro pretende explicar, desde una óptica personal, el origen del museo y de su significativa colección de fósiles. Otro objetivo principal del libro ha sido, también, presentar en forma de catálogo sistemático, la aportación hecha por el autor a la colección paleontológica del MCNA: más de 2800 especímenes fósiles depositados durante su actuación profesional como conservador-consultor, la gran mayoría de ellos recolectados en solitario y cerca del millar en compañía de colegas de profesión, o entusiastas de la paleontología.
ISBN 978 84 09 30405 9

Introduction to the book When Attitudes Become the Norm
The Contemporary Curator and Institutional Art
Some sentences from the cover by Mary Anne Staniszewski:
"Beti Žerovc has not only written an insightful and provocative book, but an especially timely one.
In this book devoted to the field of curating and “institutional art”, Žerovc raises questions about the character and limitations of the “exhibition-maker as artist” and the “exhibition as a work of art”, asking whether the socio-political objectives for the latter actually manifest contradictory or even opposite effects given the inescapable conditions of capitalism.
The book culminates with Žerovc’s queries about the ritualistic function of contemporary art exhibitions, and this is evocatively expressed in her introduction: “There was once great discussion about how removing artworks from their original context and installing them in the museum meant their certain death. Today, it seems, we need to be thinking about different questions. Does the institution of visual art bring something to life … what, in fact, are we summoning to life?”

Interview with art historian and sociologist Peter Bengtsen for Inchiesta about the exhibition “Street Art – Banksy & Co. L’arte allo stato urbano” in Bologna and the resultant removal by the Italian artist Blu of all his remaining artworks in the city.

Paper written in the course of Curatorial Models 1 for an assignment to find a "next-step" exhibition.
Analyzes George Didi-Huberman's and Arno Gisinger's 2014 exhibition Nouvelles Histoires de Fantômes (New Ghost Stories), summarizes its precursors and theoretical sources, and critically examines its methodology, modes of presentation, and concept of Image.

In this volume we aim to reflect on not only the nature of scientific and technological artifacts post World War II but also the nature of today's "museum ecosystem" as it has emerged over this period. Museums are no longer primarily repositories that preserve and classify material culture. They must balance a number of functions, not always mutually compatible: exhibition, preservation, research, and education. Collections can be regarded as important material resources for historians of science and technology who in recent decades have moved on from telling narratives of progress to exploring science and technology in a wider cultural, social, and political context. Meanwhile, over this period the nature of museums' relationships with their public has shifted from one of unquestioned authority to a partner in dialogue: visitors' needs are now considered foremost in exhibition interpretation, and the public may even have a say in shaping collections. Conceptualizing Contemporary Collecting In building collections that help us make sense of the world, the framework of the historian must be combined with the material knowledge, experience, and sometimes sheer instinct of the curator. In the volume's first section, we have asked leading curator-historians to reflect on what historiographically informed collecting practices might look like when concerned with contemporary material culture. John Durant argues that museums are uniquely positioned to tell rich and meaningful stories about the place of science and technology in late twentieth-and early twenty-first-century society as a contribution to a "thick description" approach: several of the artifacts he describes Alternative Approaches Our next two contributors, from within museums and without, offer some alternative perspectives on recent collecting practices. Olov Amelin questions whether explicitly stated rationales, including those present in contributions to this volume, are desirable at all, offering Universities play a very special role in contemporary heritage efforts as they are particularly close to the spaces of the production of knowledge and artifacts. Roland Wittje reflects on his engagement with collection in university environments over more than a decade. Finally, Thomas Söderqvist offers a personal view as historian of contemporary science and technology turned curator advocating relinquishing the narrative-oriented approach common in many museums in favor of strategies driven by the artifacts themselves. These interviews, and the contributions throughout the volume, demonstrate the variety and divergence of opinions and approaches in making sense of recent science and technology through material artifacts. We envisage Challenging Collections as part of an ever-evolving dialogue among communities of collectors and scholars seeking to keep pace with the changing landscapes of science and technology and of museology and historiography. We believe it is important to continually reflect on our active roles in creating values through the preservation and research of material culture and to share our experiences of developing intellectual frameworks for collecting. In the words of Howard N. Fox, "Among museums, or within encyclopaedic museums, contemporary collections might position themselves in the spirit of Wunderkammer, more as laboratories and sites of discovery than places of sacred trust intended to preserve the received culture. A healthy curiosity is in order. Contemporary curators, like scientists and contemporary artists, should not resist experimentation; it's part of the job." 10

INK BRUSSELS 2019 (Semaine de l’Encre - 布鲁塞尔水墨周), to be held from May 6 to 12, combines conferences and workshops in the field of contemporary ink held in Auditoire Victor Bourgeois and Espace Architecture at the Faculty of Architecture La Cambre-Horta ULB, place Flagey.

This week of theoretical and practical events investigates the quest for abstraction in the practice of calligraphy and painting with a specific angle  on Chinese writing, offering the opportunity of direct contacts between the public and invited artists and scholars. This travelling event functions as a collaborative enterprise between ink artists, curators and academic or cultural institutions in the host country.

Paysage écrit/Ecriture peinte, a collective exhibition of 50 artists combining contemporary calligraphy and landscape painting, will be held in Espace Architecture from May 6 to 30, 2019. The show gathers artists from all origins who work with ink and paper as main media, (de)construct calligraphic geometries, engage in decoding and writing the landscape or experiment with language and gesture. A progressive itinerary looks at how each contemporary literati or letter artist departed from traditional artistic practices to explore the ways of abstraction. The exhibition unfolds in two parts, one devoted to nature and the other to culture, based on the basics of Chinese landscape painting: that a landscape is not to be seen or painted, but read or written. The versatility of nature, mountains and rivers allows Paysage écrit/Ecriture peinte to encompass a range of experiments dealing with the materiality, tools and gesture of writing, the limits of readability or perception, and geometries of ink and water.

Four satellite locations partner with INK BRUSSELS 2019: the art residency ODRADEK with Contemporary Inks, a collective show curated by Simone Schuiten and Kiran Katara on ink and intercultural dialogue between four practitioners of ink on paper East and West, the art spaces Garage Cosmos and ArtWeCare, as well as the Royal Museums of Art and History with Lithic Impressions, a display focused on epigraphy and rubbings, a technique of replication from stone carvings to ink on paper.

INK BRUSSELS 2019 team
Lia Wei (coordination), Zhang Qiang (academic supervision), Kiran Katara (Faculty of Architecture La Cambre Horta ULB), Simone Schuiten (ESA St-Luc and ODRADEK), Nathalie Vandeperre (Royal Museums of Art and History), Vanessa Frangville (EASt/ULB).

Partners Belgium
Université Libre de Bruxelles (La Cambre Horta ULB Architecture, EASt/ULB, Institut Confucius ULB), Royal Museums of Art and History (RMAH), Ecole Supérieure des Arts St-Luc, Institut Belge des Hautes Etudes Chinoises (IBHEC), ODRADEK, Garage Cosmos, European Lettering Institute (ELI).

Partners China
Ink Art Research Centre 四川美院艺术学与水墨高等研究中心 (Sichuan Fine Arts Institute, Chongqing), Centre for Contemporary Visual History 当代视觉史高等研究中心 (Taishan University, Tai’an), Renmin University of China (中国人民大学考古文博系).

Participating artists
Paysage écrit/Ecriture peinte
Leo, BELGEONNE  Gabriel, BIFACE  GRAPHY, CAO  Ying, CHEN Honghan, CHEN Jinchao, CHEN Muju, CHOU Li Chiang, CONG Peibo, CORNIL Lieve, DE LA FAYE Niko, ESCANDE Yolaine, FERRAGINA Silvio, GARCIA Jacob C. Alfred, HOU Guangfei, IKHLASSI Mouna, JIANG Hanxuan, KATARA Kiran, KE Jipeng, KNEIB André, KOKKINOS Niki, LIU Tanyu, LIU Yi, LIU Yun, LOU Meng, LV Zizhen, MA Kun, MA Yuanyuan, MERTENS Tristan, NEUENSCHWANDER Brody, PENG Meiling, PLISSART Marie-Françoise, SHAO Yan, SIMONET-LIN Rosa, TANG Kaizhi, VALKENBORGH Anne, VAN DE VEL An, VANDENHAUTE Jan, VIGNERON Frank, WANG Ruiqing, WEI Lia, WOUTERS Carry, XU Demin, YU Li, ZHANG Dawo, ZHANG Qiang, ZHANG Wenhai, ZHONG Ruoyi, ZHU Pengfei, ZHU Tianmeng
Lithic Impressions
Students of ESA St-LUC and IBHEC, WEI Lia, ZHANG Qiang
ODRADEK
CASE Charley, PESTIAUX Olivier, ZHAO Qiong, ZHU Tianmeng
ArtWeCare
LIBERSKI Casimir

Conference speakers
Zhang Qiang (Sichuan Fine Arts Institute), Lia Wei (Renmin University, EASt/ULB), Yolaine Escande (CNRS), André Kneib (INALCO), Jean-Marie Simonet, Thierry Kandjee (Landscape Chair, Faculty of Architecture, La Cambre Horta, ULB), Katrina Simon (Associate Dean, Associate Professor in Landscape Architecture at RMIT University, Melbourne), Sonia Keravel (Maître de conférences en théorie et pratique du projet de paysage, ENSP de Versailles), Georges Pirson (Faculty of Architecture, La Cambre Horta, ULB), Catherine Mosbach (Landscape Architect, Mosbach Paysagistes), Françoise Lauwaert (LAMC/ULB, EASt/ULB, Raphael Van Daele (EASt/ULB, EHESS), Jacob Alfred Garcia (guqin player, Beijing Conservatory of Music), Silvio Ferragina (calligrapher, Istituto Politecnico di Milano), Simone Schuiten (ESA St-Luc, ODRADEK), Brody Neuenschwander (artist), Zhu Pengfei (artist), Jiang Hanxuan (artist)

Introduction and Chapter 1 of  "The Art Fair Age"

From the ‘’biennalization’’ of the 90’s of the past century we have moved towards the ‘’fairization’’ of the world at the beginning of the XXI century. Art criticism has shifted and moved on, too. If then, and especially, with the proliferation of biennales in non-mainstream decision-making centres, the argument arose that there was an excess, however nowadays it is happening exactly the same with the unstoppable multiplication of fairs on a global scale.

The book deals with concepts like the art fair as "urban entertainment center", "new fairism", the curated art fair and the art fair curator, collectors and its motivations...

Here is the introduction and chapter 1.

Paco

modelo para la planeación y desarrollo de exposiciones Curaduría interpretativa, un modelo para la planeación y desarrollo de exposiciones, es una publicación realizada por la Escuela Nacional de Conservación, Restauración y Museografía del Instituto Nacional de Antropología e Historia. Todos los derechos reservados.

One day there will be a profession of public memory. It has to have elements any profession (claiming the status), - has. Any profession is founded upon a science of its own. So, when different memory occupations become aware that they share same mission, same technologies, similar methods, the same users and follow the same mission in society, - society will be eligible for a harmonious development. Aware of its memory it will allow wisdom replace the mere knowledge....
I am offering my book as a start.

Intro to 'Section II, Exhibition Histories' from the anthology 'Curating After the Global: Roadmaps for the Present' (ed. Paul O'Neill, Simon Sheikh, Lucy Steeds & Mick Wilson; The MIT Press, 2019), titled 'Activating What Might Have Happened to Shape What Could Be'. Plus contents pages for the book.

In this volume we aim to reflect on not only the nature of scientific and technological artifacts post World War II but also the nature of today's "museum ecosystem" as it has emerged over this period. Museums are no longer primarily repositories that preserve and classify material culture. They must balance a number of functions, not always mutually compatible: exhibition, preservation, research, and education. Collections can be regarded as important material resources for historians of science and technology who in recent decades have moved on from telling narratives of progress to exploring science and technology in a wider cultural, social, and political context. Meanwhile, over this period the nature of museums' relationships with their public has shifted from one of unquestioned authority to a partner in dialogue: visitors' needs are now considered foremost in exhibition interpretation, and the public may even have a say in shaping collections. Conceptualizing Contemporary Collecting In building collections that help us make sense of the world, the framework of the historian must be combined with the material knowledge, experience, and sometimes sheer instinct of the curator. In the volume's first section, we have asked leading curator-historians to reflect on what historiographically informed collecting practices might look like when concerned with contemporary material culture. John Durant argues that museums are uniquely positioned to tell rich and meaningful stories about the place of science and technology in late twentieth-and early twenty-first-century society as a contribution to a "thick description" approach: several of the artifacts he describes Alternative Approaches Our next two contributors, from within museums and without, offer some alternative perspectives on recent collecting practices. Olov Amelin questions whether explicitly stated rationales, including those present in contributions to this volume, are desirable at all, offering Universities play a very special role in contemporary heritage efforts as they are particularly close to the spaces of the production of knowledge and artifacts. Roland Wittje reflects on his engagement with collection in university environments over more than a decade. Finally, Thomas Söderqvist offers a personal view as historian of contemporary science and technology turned curator advocating relinquishing the narrative-oriented approach common in many museums in favor of strategies driven by the artifacts themselves. These interviews, and the contributions throughout the volume, demonstrate the variety and divergence of opinions and approaches in making sense of recent science and technology through material artifacts. We envisage Challenging Collections as part of an ever-evolving dialogue among communities of collectors and scholars seeking to keep pace with the changing landscapes of science and technology and of museology and historiography. We believe it is important to continually reflect on our active roles in creating values through the preservation and research of material culture and to share our experiences of developing intellectual frameworks for collecting. In the words of Howard N. Fox, "Among museums, or within encyclopaedic museums, contemporary collections might position themselves in the spirit of Wunderkammer, more as laboratories and sites of discovery than places of sacred trust intended to preserve the received culture. A healthy curiosity is in order. Contemporary curators, like scientists and contemporary artists, should not resist experimentation; it's part of the job." 10

The Canadian Museum for Human Rights (CMHR) is part of a global movement
of human rights-driven museums that commemorate atrocity-related events
through exhibitions aimed at communicating a national social consciousness. At
the same time, museums in Canada are increasingly understood as contributing to
the perpetuation of settler colonial memory regimes through dominant narratives of
national identity. Through the analysis of a unique exhibit titled Aboriginal Women
and the Right to Safety and Justice, which relies on shared authority and nuanced
Indigenous art form, this article explores how museums in settler colonial societies
might represent difficult knowledge and act as sites of decolonization. The article
posits that by breaking with conventional curatorial and display approaches, the
exhibit serves to reduce the institution’s traditionally authoritative, nationalistic
perspective and offers a model for enacting decolonization in museums across regions.

This dissertation originates from the observation of the shift, over the last two decades, of curating from exhibition-making to the curatorial discourse, which has caused a progressive detachment of curators from art, in some cases even becoming hostility towards certain practices. Some preferential forms in which the curatorial takes shape are programming, archive studies, and the inflation of pedagogical models of curation, amongst others; while they nourish distrust and suspicion towards the white-cube model, exhibition-making and art history research.
Curatorial courses and academic debate are the starting point and the main field in which these (former-radical, newly-canonical) practices are fostered. However, when these positions migrate beyond the academic ambit, we should wonder about causes and consequences.
Two consequences are particularly apparent: the museums’ most significant recent shift from collection-driven institutions to visitor-centred organisations; and the change of the set of values applied to assess art projects, which are ever more based on demonstrable outcomes, and ever less on considerations about quality.
With regards to causes, this shift towards ‘Visitors Studies’ and non-object-practices can be explained with the pressure for fundraising to which public institutions need to respond, inscribing their models into a market of socio-political commodities built up by cultural policy, of which the UK is a paradigmatic case.
This dissertation argues for the necessity to question the set of values behind these practices and the veracity at the base of their orientation; to recognise instrumentalisation; to restore expertise in art, to resolve dichotomies between exhibition-making practices and the curatorial discourse; and to refocus the curatorial work around art and artists.
This change could be initiated within the frameworks of the curatorial courses, which can propose the reconciliation of curators with those currently marginalised art practices and promote the collaboration between theoreticians and practitioners as the most auspicious manner of moving forward.

Publisher: D. Richter
edited by Nkule Mabaso
with contributions by
Ntone Edjabe, Justin Davy, Elvira Dyangani Ose, Misheck Masamvu, Marcus Neustetter, Smooth Nzewi, Daudi Karungi, Iolanda Pensa, Gregory G. Sholette
Interviews conducted by Nancy Dantas, Valeria Geselev, Abongile Gwele, Nkule Mabaso, Olga Speakes
Collaborative work is of a special interest because it raises complexities questions on the fundaments of curating and artistic work through questioning the exhibitionarycomplexes. These concerns extend through to the biennale form where the thematic and their aesthetics move from formalist, object-bound sensibility to practices based on experimentation and agitation, processes, ephemerality, political and social ideas that are locally embedded. The practices represented in this issue are not collectives and collaborations in the traditional sense, but practices that follow more self-instituting strategies grounded in their immediate socio-political contexts. This issue of OnCurating consists of two parts: the first part researches collaborative work with an emphasis on African collectives, and the second part offers an insight into the development of biennials on the African continent. While at first glance these two sections are both geographically and theoretically dispersed, they are held together by the fact that they are projects happening right now, and their immediacy requires engagement.

South African jazz photography, both as a particular instance of visual history and as a local site for an international photographic genre is largely under-researched. In consequence, its iconic trajectory, with its interconnected sets of specific historical and cultural contexts, is still inaccessible to a larger viewership. One of the very few books of South African jazz photography, Beyond the Blues: Township Jazz in the '60s and '70s, with photographs by Basil Breakey, points to the fractured and traumatic history of South African jazz culture.

From jazz clubs to cheese plates, the term curation has become a signifier of the growing need to organise and prioritise the seemingly endless possibilities of the digital sphere. The issue addressed here is in the associated meanings of the word curation and what it means to be a curator by examining the experience of the curatorial within a discrete context: the Irish curatorial landscape. The word curation comes from the Latin curare, to care for, and has long been associated with the professional duties of those selected as custodians for objects and knowledge deemed to be important to communities, nations, countries or even the world. However, as objects move from being purely physical to the digital, and knowledge changes from being transmitted through similarly physical media to digital formats that can be set free on the Web, what it means to curate has also changed. Curators are no longer necessarily identified as employed within museums or galleries; the word is now also applied to those who engage with and aid in the management and presentation of digital assets online. Curators have emerged in the online space much like their forerunners, bloggers or citizen journalists. We are now seeing the rise of citizen curators on the Web, which has not created these individually motivated curators, but has made their curatorial activities visible. Citizen journalists no longer need to have a printing press or publishing house to communicate with their audience; similarly, citizen curators do not need a private cabinet of curiosities or a job in a museum to allow them to curate or exhibit to an audience.
The aims of this research are threefold: to examine the current terminology related to curation by those who identify as curators or engage in curation in Ireland; to define what it means to be a curator or a citizen curator within the Irish context; and to investigate the changing nature of exhibition spaces contained in the Irish context in light of the Web and digital spaces. The study will take the form of an autoethnography, exploiting my unique position within the museum and open knowledge community in Ireland to examine current understandings of curation and the phenomenon of the citizen curator. The focus will be on my work within Wikimedia Community Ireland (WCI), a branch of the Wikimedia Foundation which promotes the use of Wikipedia in Ireland in education, culture, and open knowledge. As an autoethnographer, I can act as an intermediary, part way between those working in cultural organisations and the public involved in knowledge building projects. The study will look at how those engaged in curation articulate the work they do by means of interviews and participant observation. These sources will allow for the development of a spectrum of curatorial practice.
The spectrum will arise from the participants’ (both citizen curators and those working in Irish cultural institutions) own understanding and definitions of curation and what it means to curate. In placing these definitions of curation within a spectrum that takes in broader understandings of curatorial practice, the newer forms of digital curation, and a picture of how the citizen curator relates to these methods, will emerge. The disruptive effect which the digital, and in particular the concept of the Long Tail, has brought to bear upon understanding of the assembling, storing, and using of collections will be examined. It will answer many of the issues surrounding the discipline-specific definitions of curation and the curator while informing their relationship with each other. By drawing out curation into a spectrum, what unfolds is the movement of curation from a traditional and closed system of learnt practices, to one which is formed around more open and accessible conventions of curation. In identifying the citizen curator, their role in the larger curatorial debate can be acknowledged and better incorporated into the multitude of online curated projects. This hinges on the emergence of the Do It With Others ethos which pervades both online and offline creative communities, and it redefines curation from a solitary practice, to one which is demarcated by its participatory nature.

This curatorial script made for the nomination of the Qhapaq Ñan as a World Heritage Site of UNESCO, describes six Inca´s routes in Northern Chile: 1) The Sierra Route, 2) The Copper Route, 3) The Topa Inca´s Route I, 4) The Topa Inca's Route II, 5) The Capricorn Route, and 6) The Gran Despoblado Route.

From the review of the literature about management of music festivals, the idea of the uniqueness of those is retaken, shedding light on the responsibility that relies in the developers of an artistic project. The curator or artistic programmer’s selections, specially in the private music festivals, have a direct impact on the ticket purchase by a given audience. Due to this relevance, this investigation analyzes, from a qualitative approach, using the Actor-Network-Theory, the directors from three private music festivals. Beyond the relations with professional contacts, it has been found other concatenations with a transforming agency into the programmers and their practice: that is the case of the music records, the habitus (their perspective of seeing the world through the glasses of past experiences), the sports, the global understanding of a territory and the assembly of an experience for the audience that, it has been interpreted, includes the comprehension of the changes in how the contemporary society is living its own culture. From the theoretical view and the analysis, we approximate to the description of the profile's traits of the programmers of this kind of festivals who, besides of having an entrepreneurial spirit, they have merged with the music. This latter is observed in our interviewees when they speak about “passion” or “making what they like”. In the final reflections, it is deduced the necessity of a “curatorial attitude” in order to develop this profession, which gives more competitiveness to these cultural products, as well as to draw upon these types of qualitative studies from a management and a socio-anthropological perspective, towards the comprehension of the decision’s motivations of this specific kind of entrepreneurs.

Jan Hoet (1936-2014) is a key figure in the development of contemporary art in Belgium. From his appointment as director of the Museum of Contemporary Art in Ghent (1975) to the foundation and opening of both S.M.A.K. in Ghent (1999) and MARTa in Herford (2005): Hoet has always fought with fervent dedication for a place where art and artists can come home. His instinctive approach and the close ties he maintained with artists were characteristic of his often experiential exhibitions. Projects such as Art in Europe after '68 (1980) and Chambres d'Amis (1986) brought him into the international spotlight, which shortly afterwards led to his appointment as artistic director of DOCUMENTA IX (1992).

After Jan Hoet's passing in 2014, Hoet's collection of books and notebooks was transferred by his relatives to the Museum Dhondt-Dhaenens in Deurle. As part of its overarching reflection on collection building the museum organized this exhibition to stir up further research into this archive. A preliminary selection was made of five artists with whom Jan Hoet has had a peculiar collaboration throughout his life: Marina Abramović, Michael Buthe, Mario Merz, Panamarenko and Royden Rabinowitch. The choice of these artists does not count as a definitive group, on the contrary: with this exhibition MDD only wants to lift a tip of the veil of the intellectual richness that a more in-depth research in this collection can produce. On behalf of MDD, researcher and curator Melanie Deboutte braught together various elements, such as letters and works of art from Hoet's private collection, supplemented with documentary photo and video material and finally also publications from the library. For each artist it is studied which traces the collaboration with Hoet has left behind.

(Texts in NL, FR and EN written for the exhibition catalogue, assigned by Museum Dhondt-Dhaenens. Graphic design by Chloé D'hauwe.)

This thesis examines the University of Cape Town (UCT) Permanent Works of Art Collection in order to determine its relevance to, and status within, the university. The text traces the historical and current roles of the university art collection in general, before focusing specifically on the UCT art collection’s history, including the contexts, events and personalities which shaped its development, from its embryonic beginnings in 1911, to the present. In an era which demands clear correlations between the allocation of resources and relevance to institutional goals, the contemporary university collection is under pressure to demonstrate its potential as a useful educational and interpretive tool within the university (the so-called ‘triple mission’ of collections: teaching, research and public display), or risk being consigned to obsolescence, even destruction.

Based on a survey of the UCT art collection’s holdings, interviews, and a combination of bibliographic and archival research, undertaken between 2011 and 2014, the thesis establishes that, whereas most university collections were traditionally constituted for the purpose of teaching and research, or for the preservation and exhibition of historical artefacts pertaining to a university and/or a specific discipline, this collection does not precisely fulfil either function. By closely reading the collection and its history, the thesis reveals that the role of this collection has shifted over time, and that its history may be broadly characterised into three phases, marked by attitudes of deference, affirmation and debate, respectively.

Initially, its creation may be seen to have been conditioned by a habit of colonial deference, in which UCT modelled its art collection, as a symbol of gentility, after the accoutrements of older universities, in a European tradition. While this entailed that the art collection was initially developed in close relationship with the discipline of fine art at the university, this connection soon collapsed, as the collection underwent a second, ‘affirmatory’ phase. During this period, works of art in the collection were primarily valued for their ability to project and assert the university’s developing institutional identity as a liberal, modern South African institution. This ‘emblematic’ function of the collection conflicted with the more conceptual concerns of the discipline at the time and, as a result, the art collection became perceived as principally ‘decorative’ in nature. More recently, a return to intellectual engagement with the concepts of archive and curatorship at UCT, particularly within the department of fine art, has prompted debate and a renewed interest in the function of the collection.

The thesis argues that the committee responsible for custodianship of the collection has failed to engage critically with its role and function, due to the dislocation between the academic discipline of fine art at the university (that is, its practice and curriculum), from its associated archive: the works of art collection. As a consequence, the collection holds a precarious status and its value for a modern South African institution remains unclear. Unable to justify its relevance and thus motivate for resources, the physical condition of the art objects has also been negatively affected.

However, this project goes on to argue that a university discipline and collection cannot be completely divorced, and proposes that a growing concern for curatorship at the university, steered by the department of fine art, has prompted a re-examination of the ways in which this collection is used and understood. It proposes that establishing a more meaningful relationship between the university’s art collection and department would better frame the collection’s role, enabling its function and relevance to be assessed and valued. In deeming the collection as archive, the thesis prompts the University of Cape Town to reflect critically on its role as curator, as well as the custodial responsibilities it has toward the material objects in its care.

Catálogo da mostra THE BEAUTIFUL GAME - O REINO DA CAMISA CANARINHO, que mostrou a história da criação da Camisa Canarinho (camisa da Seleção Brasileira de Futebol) e de trabalhos de arte contemporânea com o tema FUTEBOL. 2014, durante a Copa do Mundo no Brasil. em Porto Alegre.

This paper presents an overview of the origins and development of research into various types of arms and armour used in Tibet from approximately the fifteenth century to the early twentieth century. Incorporated into this are a brief survey of well recognised examples and a review of the wide multiplicity of rare and less familiar forms, including helmets, armour for men and horses, swords, and firearms, many of which have only come to light over the past twenty-five years.

By collecting responses to significant textiles, the exhibition "Have Poets Left a Patch to Sew?" shared the rich stories, innovation, history and global interconnections of the NSW Riverina (in Australia). These artworks and poems are tactile and macabre, ambitious and experimental, provocative and heartwarming. The works are powerful, understated, and designed to linger in your memory. For this exhibition, ‘significant’ textiles were defined as those which possess meaning for someone other than the owner or maker of that textile. They are objects that prompt stories.

This exhibition and catalogue was supported by the HR Gallop Gallery of Charles Sturt University, the Wagga Wagga City Council Annual Grants program, Eastern Riverina Arts and the Booranga Writers’ Centre.

ISBN: 978-1-86-467298-5