Fragmenti kustoskog diskursa

8/12/2019 Fragmenti kustoskog diskursa

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Fragmenti

kustoskog

diskursa

Fragments

oF Curatorial

disCourse

UR ED NI T V O BR OJA

IVANA METROV

MIHAELA R IC HT ER

IS S UE ED IT OR IAL BOAR D


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ASOPIS ZA SUVREMENA LIKOVNA ZBIVANJA

MAGAZINE FOR CONEMPORARY VISUAL ARS

razgraniavanje pojmova

Kustoska profesija oblik je kulturalne prakse vrlo fleksibilnog tipa. Ono to unutar nje moemo

oznaiti kao fiksno jest to da se bavi umjetnikim praksama i da se upisuje u ono to nazivamo

umjetniki sistem, koji je dio kulturnog i drutvenog polja. Prema uvakoviu, kustoske

prakse su teorijske i praktine, stvaralake, posrednike i birokratske aktivnosti u koncipiranju,

artikulaciji, organizaciji, izvoenju, kolekcioniranju, arhiviranju, dokumentiranju, predstavljanju

i promociji koncepcija umjetnosti, kulture i politike, umjetnikog rada, svijeta umjetnosti i

povijesti umjetnosti kroz kulturalne inst itucije i masovne medije.1

Za neke je kustos/ica slubenik/ica umjetnosti/umjetnika, katalizator/ica, medijator/ica, krit iar/

ka, po drugima povjesniar/ka umjetnosti, krijumar/ka, teoretiar/ka, aktivist/ica, menader/

ica, kulturalni/a radnik/ica. Sve u jednom. Svi ti denominatori istovremeno opisuju kontradikcije,

potencijale i paradokse prakse. No, bez obzira na to koji termin upotrebljavali, odgovornost

i otprije definiran zadatak isti su, a to je odabrati to e kao (umjetniko djelo) izdrati test

vremena, te kakoe se na taj rezidij gledati. Drugim rijeima, prenositi kulturu odnosno niz

interpretacija i znaenja te znaenjskih horizonata, a ne znanje o nekoj skupini neutralnih

predmeta na kojima je mogue daljnje neogranieno, otvoreno istraivanje. 2

presjek kustoske emancipacije

Kustoska profesija ponajvie se profesionalizira la kasnih ezdesetih godina sukladno s porastom

radikalnih i inovativnih umjetnikih i krit ikih praksi nastalih 60-ih i 70-ih koje su iniciralealternativan nain umjetnike produkcije, redefiniciju umjetnikog djela, mijenjanje umjetnikih

koncepcija te preispitivanje institucionalnih prostora. Jedna od vanijih promjena koje je

terminological clarification

Curatorial profession is a very f lexible cultural practice. What we can define as fixed within

that practice is the fact that it dea ls with art istic practices; moreover, it is inscribed in what is

commonly known as the art system, which is a part of the cultural a nd social field.

According to uvakovi, curatorial practices are those theoretical a nd practical activities

of creation, mediation, and administrat ion that contribute to the conception, art iculation,

organization, performance, collection, archivation, documentation, presentation, a nd

promotion of various concepts of art, culture, and politics, ar tistic work, art world, and art

history, through cultural i nstitutions and the mass media.1

For some, the curator is a servant of art/art ists, a cata lyser, mediator, and critic, while

according to others he or she is an ar t historian, smuggler, theoretician, activist, manager, and

cultura l worker. All in one person. All these denominators describe contradictions, potentials,

and paradoxes of this practice. But regardless of the term we use, the responsibilities and the

preset tasks remain the same, including the answering of questions such as what will(as anartwork) stand the test of ti me and how that residue wil l be looked upon. In other words, the

curators task is to transmit culture, seen as a set of i nterpretations and meaning and meaning

horizons not just a set of neutral objects on which open enquiry is then somehow possible. 2

a cross-section of curatorial emancipation

Curatorial profession has become largely professionalized in the late 1960s, following

the growth of radical and innovative artistic and critical practices that gave birth to a n

alternative mode of artistic production, triggering a redefinition of artworks, changi ng


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podruje umjetnikog kritikog djelovanja izazvalo ve tih godina zasigurno je pojava novih

izlobenih modela, kao i reakcija na naputanje ustaljenih izlobenih prostora i izlazak u javni

prostor te naglaavanje izlobe kao diskurzivne forme koja isto tako moe biti ulina intervencija

koliko i stranica u k njizi ili predavanje. Gotovo istovremeno pojavljuju se i samostalni modeli

kustoskog djelovanja. Kustos se odvaja od muzejske zbirke, izlazi iz sjene umjetnike institucije,

sve je vie orijentiran na usku suradnju s umjetnicima te s vremenom postaje jedan od glavnih

protagonista u produkciji, prezentaciji i distribuciji umjetnikog djela (i openito unutar polja

suvremenih umjetnosti).3Pozicija Haralda Szeemana4se u internacionalnim okvir ima navodi

kao paradigmatska za taj slobodni pad tonije emancipaciju kustosa/ice kao samostalnog

izlobenogAusstellungsmachera. Bruce Altshuler e to razdoblje nazvati i razdobljem izdizanja

kustosa kao stvaratelja (rise of a curator as creator)5koje se vrlo esto navodi i uz tadanje

djelovanje izlobenih organizatora Pontusa Hultena, Setha Siegelabua, Kaspera Kniga.

ijekom 90-ih, posebice na internacionalnoj umjetnikoj sceni, biljei se kustoski boom. Po

mnogima kustoske prakse devedesetih godina oznaavaju utjecaj, mo i hegemoniju muzejskih

i izlobenih institucija te mre institucija (muzeji moderne i suvremene umjetnosti, trijenali,

bijenali) na aktualne nacionalne i internacionalne umjetnike pojave. Dominacija kustoskih praksi

tog razdoblja pretvara se u strukturirani profesionalni kustoski interes, to znai da kustoske

politike utjeu na karakter suvremene umjetnosti i formiranje kustoskih zvijezda unutar sustava

i ire.6Mnogi e isto ta ko rei da nakon eksperimentiranja koje se dogaa 70-ih i 80-ih godina

kustosi u 90-ima biraju temu i problematiziraju je preko umjetnika/umjetnikih radova. oprotagonistiko kuriranje je, po miljenju Carolyn Christov-Bakargiev, budue direktorice izlobe

koja oznaava sam vrh kustoskog panteona Documente, dovelo i do mijeanja granica te

artistic conceptions, and questioning institutional venues. Among the changes that the field

of art criticism caused in those years, a particularly important one was the emergence of

new exhibition models, as well as the reaction to the abandonment of established exhibition

venues and coming out into public spaces, with an emphasis on exh ibit ion as a d isc ursive

form that can be a street intervention, but also a book page or a lecture. Almost at the same

time, one could witness the emergence of independent models of curatorial work. he curator

had become emancipated from the museum collections, he or she had stepped out of the

shadow of art institutions and was now more oriented towards collaboration with artists,

becoming with time one of the main agents in the production, presentation, and distribution

of artworks (and generally one of the main figures in the field of contemporary arts).3he

position of Harald Szeeman4has been mentioned internationally as a paradigm of that free

fall more precisely, of the curators emancipation as an independent Auste llungsm acher.

Bruce Altshuler once wrote that it was an era of the rise of a curator as creator 5and that

statement has often been associated with the activity of exhibition organizers such as PontusHulten, Seth Siegelaub, or Kasper Knig.

During the 1990s, one could witness a curatorial boom, especially on the international

art scene. It has been generally observed that the curatorial practices of the 90s reflected

the influence, power, and hegemony of museums and other exhibition venues, as well as

institutional networks (museums of modern and contemporary art, biennials, triennials)

with respect to the contemporary national and international phenomena in art. he

domination of curatorial practices was gradually turned into a structured, professional

interest of curators, which meant that the cu ratorial strategies inf luenced the character


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problematiziranja podjela kustoskih i umjetnikih uloga.7

No, nedostatak jasno definiranih metodologija, kustoskog teorijskog diskursa, kao i nedovrena

i fragmentarna povijest kustoskih praksi tih ist ih devedesetih, potiu kustose na auto-

referencijalnost i introspekciju, na potrebu za preispitivanjem i istraivanjem postojeih kustoskih

i izlagakih praksi, prvenstveno u obliku seminara, konferencija i diskusija. Raste broj kustoskih

edukacijskih programa,8ali i arhiva o kustoskim praksama.

Kustoske prakse danas su rastue polje znanja, na to ukazuje i proliferacija kustoskih programa

i publikacija koje ponajprije u ciklusima intervjua donose fragmente o onome to bi moglo

predstavljati tu profesiju. No, gotovo veina tih izdanja preispituje prostor bavljenja zapadne

scene u koju se ne uklapaju lokalne prakse kustosa s naih prostora. Zbog toga i u ovom broju

asopisa ivot umjetnostidonosimo niz priloga koji doprinose iroj lokalnoj kulturnoj sceni u

ciklusu intervjua pod nazivomRazgovori strategija pribliavanja kustoskih praksi , unutar kojih

sugovornici odgovaraju na odreeni broj pitanja, to ukazuje na vieslojnost i vieglasnost njihovih

pozicija i pristupa, ali i na specifinost konteksta u kojem rade.

relacija kustos umjetnik

Historiziramo izlobe kao drutvene injenice, ali se premalo bavimo kontekstualizacijom

umjetnikog rada osvijetenom jo od Duchampa. Pored toga, danas je potrebno odmaknuti fokus

od rada i usmjeriti ga na relacijsku socijalnu produkciju, iji je glavni proizvod izloba.

Naravno da nema kustosa bez umjetnika, ali ta afirmacija funkcionira i u drugom smjeru. Ovdje seodbija govoriti o tom suodnosu iz perspektive bilo kakve ovisnosti, osim one vezane uz umjetniku

produkciju kojom oba barataju. Ne moe se rei da suodnos kustosa i umjetnika ne poiva na

of contemporary art and the creation of curatorial celebrities, both within the system and

beyond.6Many would say that, after the phase of experimentation in the 70s and 80s, the

curators of the 90s were now able to select their topic and make it an issue through artists

and artworks. hat authorial curatorship has, according to Carolyn Christov-Bakargiev, the

future director of the exhibition that marked the very pinnacle of the curators pantheon

Documenta resulted in blurred borders, initiating a debate on the division of roles between

curators and artists.7

However, the lack of clearly defined methodologies and theoretical curatorial discourse,

as well as the incomplete and fragmentary history of curatorial practices in the 1990s,

motivated the curators to engage in self-referentiality and introspection, questioning and

exploring the existing curatorial and exhibition practices, primarily in t he form of seminars,

conferences, and round tables. his resulted in an increase in educational programmes for

curators,8as well as archives specialized in curatorial practices.

oday, curatorial practices are a growing field of knowledge, which is indicated, among otherthings, by the proliferation of curatorial programmes and publications, which use mainly

series of interviews in order to present the profession, at least in fragments. However, most of

these publications thematize the Western scene and the local practices of our region barely

fit in. herefore, this issue of ivot umjetnosti includes a number of contributions discussing

the broader and local cultural scene through a set of interviews entitled Conversations

Strategy for Rapprochement with Curatorial Practices , in which various curators respond to

questions regarding their multifaceted and multi-voiced positions and approaches, but also

the specificity of the context in which they a re working.

AGMENI

SOSKOG

SKURSA

AGMENS

CURAORIAL

SCOURSE


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tenzijama. Kako onih koje im izvana servira sada ve poprilino jasna drutvena odreenost

njihovih profesija, tako i onih na ljudskoj razini. No, isto tako ne moe se rei da ne postoji potreba

za jednim i drugim akterom u onome to bismo oznaili pojmom umjetnikog svijeta-sustava.

Umjetnost postoji kao drutvena praksa i bazira se na interakciji simbolikih odnosa. Ako je

kustoski koncept performativno polje uspostavljanja i razmjene simbolikih odnosa, gdje postoji

i simboliki, ali i ekonomski kapital kao okvir, sam kustos izvodi manipulaciju u artikulaciji. On

radi s drutvenim odnosima. I zapravo je ponajprije kulturni radnik koji doprinosi oblikovanju

drutvene svakodnevnice. On istovremeno radi i na proizvodnji znanja i na umreavanju, te

stvara drutvenu matricu. Umjetnik takoer sudjeluje u iscrtavanju te iste matrice, u kreativnom

suodnosu s gore navedenim. A publika ih, kao to i sama rije govori, prati u ispisivanju novih,

zajednikih matrica.

Izloba koju kurira umjetnik nikada nije toliko dobra kao ona koju kurira kustos, ali je uvijek

produktivnija od loe kustoske koncepcije, kae Liam Gil lick. Dijaloka forma i suradniki princip

su neupitni. Povjerenje takoer. Pa krenimo u suodnose

izloba kao poruka

Odnos izmeu umjetnika i kustosa danas je vidljiv ba u samoj izlobi. Linije kretanja suvremene

umjetnosti moemo promatrati i preko povijesti izlobi.9No, jo od paradigmatskih promjena

izazvanih dematerijalizacijom umjetnikog objekta izloba je za nas puno vie od white cube/black

boxprezentacije. Ne znai da se kao takva nije radila i prije, no bitna je razlika da se tek od 60-ihgodina takvom i poimala. Nije zbog toga niti udno da se kustoska autoreferencijalnost, teorijska

proizvodnja diskursa i vea drutvena vidljivost profesije dogodila upravo tada. Po Groysu, prolazei

the curator-artist relationship

We tend to historicise exhibitions, but we deal rarely with the artwork contextualisation and

relations that have been emphasized by Duchamp. Also, one should detach the focus from artwork

in order to focus on the relational social production, the main product of which is the exhibition.

Clearly, there are no curators without artists, but this assertion also functions in the opposite

direction. Here we wil l avoid discussing that correlation from any perspective of dependence,

except for the one that is linked to the artist ic production managed by both sides. One could not

say that the relationship between curators and ar tists is free of a ll tensions. Some of them are

imposed from the outside, by t he social determination of their professions, which has become

sufficiently clear by now, while others take place on the personal level. However, one must also say

that there is a need for both of these agents in what we may define as the art world/art system.

Art exists as a social practice based on the interaction of symbolic relations. If the curatorial

concept is a performative field for establishing and exchanging symbolic relations, with a

symbolic and also economic capital as its fra mework, then the curator performs manipulation inart iculation. Te curator works with socia l relations. Terefore, he or she is above all a cultural

worker, contributing to the formation of everyday life in a given society. At the same time, the

curator works on producing knowledge and on networking, creating a social matrix. Te art ist

participates in outl ining the same matrix, in a creative correlation with the above mentioned. Te

public, as implied by the very term, follows them by inscribing new, common matrices.

According to Liam Gillick, a show by an art ist can never be as good as a really good show by a

curator, but its always more productive than a bad show by a curator. Te form of dialogue and

the principle of collaboration are undeniable. And so is trust. So let us correlate


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kroz 20. stoljee izlobena je povijest nedjeljiva od povijesti umjetnosti i izloba postaje medijem

u kojemu je veina umjetnosti vidljiva ona administrira kulturno znaenje umjetnosti.10Izloba

je kompleksni medij u kojem svi elementi svjesno ili nesvjesno sudjeluju u produkciji znaenja,

kulturna praksa koja objedinjuje konvergira norme i vrijednosti, dakle implicitno i ideoloke

koncepte.

No govorit e i o neupitnoj promjeni izlobene paradigme. eoretiarka Irit Rogoff u tekstu Zaokret

tako progovara o edukacijskoj platformi i prostoru za debatu, kao sri onoga to ini dananju

mostru. Isto ta ko, dogaajni princip je neto to obiljeava izlobu danas.11

dodatak

Sagledavamo li kustoske prakse u hrvatskom kontekstu 70-ih godina, afirmacija kustoske

pozicije ostaje vezana uz umjetnike institucije,12ali se pojavljuje i velik broj samoorganiziranih

umjetnikih kolektiva/interesnih skupina koje se bave i kuriranjem te koje pokreu i vode

alternativne izlobene prostore.13Isto tako sa ma izloba se redefinira i u lokalnom kontekstu: izlazi

u izvaninstitucionalni i urbani prostor. e se akcije provlae i u osamdesetima, dok se u ratnim i

tranzicijskim 90-ima dogaa nagli prekid. Nakon tog razdoblja, usred normativnih procesa koji

vode k libera lnom kapita lizmu, vidljiva je odsutnost jasnih mehanizama umjetnikog trita , ali

i modernistiko strujanje postojeih institucijskih modela. Nezavisne organizacije koje se bave

jezikom i nainima kulturne produkcije od kraja 90-ih redefiniraju i uvijek iznova osvjeavaju

kustoske aktivnosti na lokalnom polju uvodei meudisciplinarne suradnike modele i konstantnopreispitivanje uloga i mapa kretanja kulture. Princip samoorganiziranosti i kritikih pozicija

je u dijalokom nastavku krit ikih umjetnikih praksi 70-ih, na to ukazuje i tekst Ane Devi,

eXhibition as a message

he correlation between artists and curators is today visible in the exhibitions as such. he

history of contemporary visual arts can also be viewed through t he history of exhibitions.9

However, since the paradigmatic change was caused by the dematerialisation of art objects,

exhibitions have become far more than mere white-cube/black-box presentations. It does not

mean that they were not produced that way before, but the essential difference is that this

fact has only been understood since 1960s. herefore, it is small wonder that the beginnings

of curatorial self-referentiality, theoretical discourse production, and the increased social

visibi lit y of the profession can be dated precis ely to those yea rs. According to Groys,

throughout the 20thcentury the history of exhibitions was indivisible from art history and

the exhibition was the medium through which most art gained its visibility it administered

cultural significance to art.10Exhibition is a complex medium, in which all elements

consciously or unconsciously contribute to the production of meaning, a cultural practice

that unites/converges norms and values, which implicitly includes ideological concepts.However, he or she will a lso speak of the indubitable change in the ex hibition paradigm.

In her essay entitled Turning, theoretician Irit Rogoff discusses educational platforms and

spaces for debate as the essence of that which constit utes the present day mostra. Likewise,

the principle of event is something that marks t he exhibitions of today. 11

afterWord

If we look at the curatorial practices in the Croatian context of the 1970s, we can see that the

affi rmation of the curatorial position remained tied to art institutions,12but that there was also

AGMENI

SOSKOG

KURSA

AGMENS

CURAORIAL

COURSE


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Politizacija kulturnog polja: mogunosti kritike prakse.

akoer, vano je naglasiti da afirmaciju kustosa kao bitne karike u procesu izgradnje sistema

vizualne umjetnosti lokalni iri drutveni kontek st jo nije dovoljno prepoznao. Institucije (od

muzeja do fakulteta) koje bi trebale biti glavni posrednici izmeu javnosti i vizualne umjetnosti

prilino su nevidljive. Upravo tim nedostatkom razumijevanje kustoskih praksi i saznanja o njima

ostaju nepoznati, odnosno ostaju ukalupljeni u ustaljeno modernistiko shvaanje samodovoljnosti

umjetnika iji radovi komuniciraju nuno bez posrednika, a time i bez daljnje kontekstualizacije.

Da li je odgovornost kustosa formirati i odreivati poziciju umjetnosti? Koliko umjetnost moemo

odravati politinom ukoliko njezine strukture podrke, ali i ope javno mnijenje nameu strogu

depolitizaciju?

U ovoj publikaciji fokus usmjeravamo na razmjenu iskustava uz inzistiranje na singularnim

pristupima, koji ponekad dovode do odreenih preklapanja. Stoga vjerujmo umjetnosti, ne

diskursima koji ju navodno generiraju. Pitajmo se koji potencijal umjetnost nosi ne svodei ju na

trite, trendove i brendiranje. Vjebajmo nau intuiciju i stavimo se u poziciju nepripremljenog

gledatelja. I ne zaboravimo, avantura tek zapoinje s izlobom....14_________

1 Miko uvakovi, Pojmovnik suvremene umjetnosti, Horetzky, Zagreb, 2005., 338.2 James Bladwin, Charles Harrison, Mel Ramsden, Povijest umjetnosti, likovna kritika i objanjavanje, u:Umjetnikodjelo kao drutvena injenica, Ljiljana Kolenik (ur.), Institut za povijest umjetnosti, Zagreb, 2005., 281.3 Curating Degree Zero, kustoski arhiv, tekst izlobenog deplijana, Ana Janevski, Ivana Metrov, GMK, Zagreb, 2008.4 Kustos danas mora ispuniti brojne zadae, rekao je Szeeman, koji je svojim osobnim pomacima kustoskupoziciju zasigurno uinio ponajvie vidljivom od kraja ezdesetih do danas. Hans Ulrich Obrist tvrdi da je kustoskoeksperimentiranje zapoelo ve ranih dvadesetih godina 20. stoljea, iako su po kustoskom diskursu u nastajanju prvivi dlji vi kustosi z asi gurno bil e muke fi gure s kraja ezde set ih.5 Bruce Altshuler, The Avant-Garde in Exhibition: New Art in the 20th Centur y, Harry N. Abrams , New York, 1994., 236.

a considerable number of self-organised artistic collectives or interest groups that engaged,

among other things, in curating, opening, and managing a lternative exhibition venues.13It

was also a time of exhibitions as street i nterventions, which brought about the redefinition of

exhibitions in the loca l context. hose act ions and intentions remained present throughout the

1980s, but this process was abruptly ha lted in the 1990s because of the war and the transition.

After that period, due to the normative processes leading towards liberal capitalism, one could

observe the absence of clear mechanisms in artist ic market, but also modernisation currents in

the existing institutional models. Independent organisations involved in the language and the

models of cultural production have been redefining and renewing the loca l curatorial act ivities

since the late 1990s, introducing interdisciplinary collaboration models and constantly

questioning the roles and maps of cultural movements. he principle of self-organisation

and the critical positions are evident in the continuation of dialogue between critical a rtistic

practices from the 1970s, an issue discussed in the article on Politicization of the Cultural Field:

Possibilities of a Critical Practiceby Ana Devi.Moreover, it must be emphasized that the affi rmation of the curator, as an important lin k in

the process of building up the system of visual art s, has not been sufficiently recognised in the

local broader cultural context. Institutions that should be the pri nciple mediators between the

public and the visua l art s (from museums to the universities) have remained rather invisible.

It is precisely because of this deficiency that the understanding and k nowledge of curatorial

practices has remained rather scarce or petr ified in t he pre-established, modernist notion about

the self-sufficiency of the ar tist as someone whose work necessarily communicates without an

intermediary and can therefore dispense with all further contextualisation.


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Is the curator responsible for shaping and determining the position of art? How long can we

keep art political if its st ructures of support and general public opinion impose strict de-

politicization?

his publication focuses on the exchange of experiences with an i nsistence on individual

approaches, which sometimes leads to an overlapping. So let us trust art, not discourses that

generate art. Ask what potential ar t has, not what redundance (market, trends, name dropping)

it transports. rain your intuition and put yourself in the role of an unprepared viewer.

Remember that the adventure merely begins with the exhibition....14_________

1 Miko uvakovi, Pojmovnik suvremene umjetnosti (Lexicon of contemporary art), Horetzky, Zagreb, 20 05, p. 338.2 Michael Baldwin, Charles Harrison, and Mel R amsden, Art History, Art Criticism, and Explanation, in:ArtHistory and Its Methods: a critical anthology, ed. by Eric Fernie, Phaidon, London, 1995, p. 265.3 Curating Degree Zero, a curatorial archive, exhibition text by Ana Janevski, Ivana Metrov, G-MK, Zagreb, 2008.4oday the curator must f ulfill many tasks, as Szeeman once s aid as the person whose personal shifts havecertainly given most visibility to t he curatorial position since the late 1960s. Hans Ulrich Obrist claims thatcuratorial experimentation began as early as t he beginning of the 1920s, even though, according to the emerging artdiscourses, the first v isible curators were certainly men from the late 1960s.5 Bruce Altshuler, The Avant-Garde in Exhibition: New Art in the 20th Century, Harry N. Abrams, New York, 1994, p.236.6 Miko uvakovi, Pojmovnik suvremene umjetnosti(as in n. 1), p. 338.7 Susan Hiller (ed.), The Producers: Contemporary Curators in Conversation(4) ( Newcastle: Baltic, 2001), p. 16.8 Since the late 1980s, c uratorial practices have become an established profession, accompanied by an increasednumber of educational programmes. Among the first cur atorial programmes, one should mention the Whitneyprogramme and Le Magasin (1986), associated with galleries and museums, whereas during the 1990s and later, somewere also organized through the various universities (ICS-Zurich, Bard, Goldsmiths, Royal College of Arts).9 It is now widely accepted that the art history of t he second half of the 20 thcentury is no longer a history ofartworks, but a h istory of exhibitions. However, this cr itical history still largely remains to be written. he question

6 Miko uvakovi, Pojmovnik suvremene umjetnosti, Horetzky, 2005., 338.7 Susan Hil ler (ur.), The Producers: Contemporary Curators in Conversation(4), Baltic, Newcastle, 20 01., 16.8 Kustoske su prakse od kraja osamdesetih postale etablirana profesija koju prati popratni rast edukacijskih programa.Prvi kustosk i programi, kao na primjer Whitney progra mme i Le Magasin (1986.), vezani su uz galerije i muzeje, dok seod devedesetih nada lje usustavljuju i na sveuilitima (ICS-Zurich, Bard, Goldsmith s, Royal College of Arts).9 Uvrijeeno je misliti da povijest umjetnosti druge polovice 20. stoljea nije povijest umjetniki h radova nego povijestizlobi. No, tu je povijest jo potrebno ispisati. Urgentnost dolazi i iz toga to ta ista povijest koincidira s pojavom noveprofesije, one kustoske., u: Florence Derieux (ur.), Harald Szeeman, individual methodologies, JRP|Ringier, Zrich, 20 07.10 Boris Groys, he Curator as Iconoclast, u: Cautionary Tales: Critical Curating, Apexart, New York, 2007.11 Izloba je ponajprije diskurzivni prostor iju formu moe preuzeti i nematerijalna bijela stranica il i otvoreni javniprostor. Osim prostornog opisivanja, ono to ju izravno odreuje i v remenski je fak tor, tako da moemo govoriti o

nekim projektima u vie sek venca, koje ne odreuju samo prostor i vrijeme bavljenja, nego se upisuju u drutveni krugu vremenski duem raz doblju. Svojstveno je to popratnim izlobenim publikacijama, izlobi kao umjetnikoj k njizi,privremenim ili stalnijim umjetnikim intervencijama u javnom prostoru, itd.12 elimir Koev i u Studentskom centru u Zagrebu, Davor Matievi i Marijan Susovsk i u Galeriji suvremeneumjetnosti u Zagrebu.13 Studio G, Haustor (vea u Frankopanskoj ulici br. 2, Zagreb, 1969.), Podroom (Mesnika ulica 12, Zagreb, 1975.1980.), PM (Stareviev trg 1, 1981.1991.).14 Jean Christophe Ammann, Words of Wisdom 2 a Curators Vade Mecum on Contemporary Art, Independent CuratorsInternational (ICI), New York, 2001.

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M E ROV I RICH E R SU OSN IVAICE I VODIE LJICE PROGRAM A KUSTOSKA PLATF ORMA 2008. 2009. PILOPROGRAM A IJI JE CILJ OM OGUII DODAN U E ORIJSKU I PRAKIN U E DUKACIJU IZ PODRUJA SUVRE M E N EN ACION ALN E I M E UN ARODN E LIKOVN E UM JE N OSI .

IVAN A M E ROV JE KUSOSICA, LIKOVN A KRIIARKA I JE DN A OD OSN IVAICA UDRUGE ZA SUVRE M E N EUM JE N IKE PRAKSE SLOBODN E VE ZE . OD SUDE N OGA 2009. ASISE N ICA JE N A ODSJE KU ZA POVIJE SUM JE N OSI I E ORIJE LIKOVN IH UM JE N OSI F ILOZOF SKOG F AKULE A U SPLIU.SUDJE LOVALA JE U KUSOSKO ISRAIVAKOM PROGRAM U E COLE DU M AGASIN 2002. 2003. GODIN E , A 2008.GODIN E U GALE RIJI M IROSLAV KRALJE VI KURIRALA JE S AN OM JAN E VSKI ZAGRE BAKU PRE ZE N ACIJUKUSOSKOG ARH IVA C URATI NG DEGREE ZERO ARC H I VE .KUSOSICA JE PROJE KA UM JE N IKIH IN E RVE N CIJA N A OOKU ZLARIN U POD N AZIVOM ZELENA KARTAZA ZLARI N KOLOVOZ 2009. , A OD LJE A 2006. RE DOVIO OSVARUJE I KUSOSKE SURADN JE S F E SIVALOMAUDIOVIZUALNIH MEDIJA VIZURA APERA, MOMJAN.S N AAOM BODROI SLOBODN E VE ZE KURIRALA JE IZLOBE F UTURE WAS YESTERDAY,SAM OORGAN IZIRAN E UM JE N IKE PRAKSE UKRAJIN E GALE RIJE PM I GALE RIJA SC, SUDE N I 2009. I CH IOSCGALE RIJA VN , SUDE N I 2009. OBJAVLJUJE E KSOVE U ZARE ZU, KON URI I N A 3. PROGRAM U H R.

M IH AE LA RICH E R JE APSOLVE N ICA N A ODSJE KU POVIJE SI UM JE N OSI I ODSJE KU F ILOZOF IJE N AF ILOZOF SKOM F AKULE U SVE UILIA U ZAGRE BU.OD 2005. DO 2009. GODIN E RADILA JE KAO SALN A SURADN ICA KULURE PROM JE N E SUDE N SKOG CE N RA UZAGRE BU N A PODRUJU VIZUALN IH UM JE N OSI .KOORDINAORICA JE PROJEKAA PROOKOLA SC KIBORGEZIJA, PROOKOL CENRIFUGAL I JEDNA ODSELEKORICA I ORGANIZAORICA VIZUALNOG PROGRAMA FESIVALA VELESAJAM KULTURE SC 2005.2008..U SURADN JI S VAN JOM AN KO KURIRALA JE IZLOBE U DRUGOM FILMU 10 GODINA ZBIRKE SUVREMENEUMJETNOSTI FILIP TRADE MOOVUN FILM FESIVAL, 2008., FINALISTISURADNJA SA SABINOM SALAMON,GRADSKA GALE RIJA LABIN , 2009. I IZLOBU PUM E 34 WH Y SO SERI OUS? M OOVUN F ILM F E SIVAL, 2009. .U SUUREDNIVU S KARLOM PUDAR UREUJE ASOPIS RADOVI STUDENATA POVIJESTI UMJETNOSTI 2008. , 2009..

becomes all the more pressing as this history coincides with the appearance of a new professional category, that ofthe curator, in: Harald Szeeman, individual methodologies, ed. by Florence Derieux, JRP|Ringier, Zurich, 2007).10

Boris Groys, he Curator as Iconoclast, in: Cautionary Tales: Critical Curating(New York: Apexart, 2007).11 Exhibition is, first of all, a space of discourse, which can have the form of a non-material white page or anopen public space. Beside the spatial description, it is directly defined by the ti me factor, so that one can spea kof some projects in several sequences, which are not only determined by the space and time in which the activityis taking place, but are also inscr ibed in the social circle through a longer period of time. hat is a feature of theaccompanying exhibition publications, exhibition as an artist book, temporary or permanent art istic intervention inpublic spaces, etc.12 elimir Koevi at the Student Centre in Zagreb, Davor Matievi and Marijan Susovski at the Gallery ofContemporary Art, Zagreb.13 Studio G, Haustor (the gate at Frankopanska Street no. 2, Zagreb, 1969), Podroom (Mesnika Street no. 12, Zagreb,1975-1980), PM (Stareviev Square no. 1, 19811991).14 Jean Christophe Ammann, Words of Wisdom 2 a Curators Vade Mecum on Contemporary Art, New York,Independent Curators International (ICI), 2001.


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M E ROV AN D RICH E R ARE F OUN DE RS AN D H E ADS OF H E PILO PROGRAM N AM E D CURAORIAL PLAF ORM2008/2009 , WH OSE GOAL IS O PROVIDE ADDIION AL H E ORE ICAL AN D PRACICAL RAIN IN G IN H E F IE LD

OF CON E M PORARY N AION AL AN D IN E RN AIONAL AR.

IVANA MEROV IS A CURAOR, AR CRIIC AND ONE OF HE FOUNDERS OF HE ASSOCIAION FORCONEMPORARY AR PRACICE NAMED LOOSE ASSOCIAIONS. SINCE NOVEMBER 2009, SHE HAS BEEN WORKINGAS ASSISAN A HE DEPARMEN OF AR HISORY AND HEORY OF HE FACULY OF HUMANIIES ANDSOCIAL SCIENCES IN SPLI.SHE HAS PARICIPAED IN HE CURAORIAL AND RESEARCH PROGRAM ECOLE DU MAGASIN 20022003. IN2008, OGEHER WIH ANA JANEVSKI, SHE CURAED ZAGREB PRESENAION OF HE CURAORIAL ARCHIVESNAMED CURATING DEGREE ZERO AR CH IV E IN HE MIROSLAV KRALJEVI GALLERY.SHE IS A CURAOR OF HE PROJEC OF ARISIC INERVENION ON HE ISLAND ZLARIN CALLED GREEN CARDFOR ZLARIN AUGUS, 2009. SINCE SUMMER 2006 SHE HAS BEEN WORKING ON A CURAORIAL COLLABORAIONWIH VIZURA APERTA , A FESIVAL OF AUDIOVISUAL MEDIA IN MOMJAN, ISRIA HEAD: DAVORKA PERI.WIH NAAA BODROI LOOSE ASSOCIAIONS, SHE HAS CURAED HE EXHIBIION FUTURE WAS YESTERDAY,PRESENING SELFORGANIZED ARISIC PRACICE OF UKRAINE PM GALLERY AND GALLERY SC, NOVEMBER2009 AND HE EXHIBIION CHIOSC GALLERY VN, NOVEMBER 2009.SHE HAS PUBLISHED EXS IN ZAREZ AND KONURA, AS WELL AS ON HE 3RD PROGRAM OF CROAIANN AION AL RADIO.

M IH AE LA RICH E R IS A GRADUAE SUDE N A H E DE PARM E N OF AR H ISORY AN D H E DE PARM E N OF PH ILOSOPH Y A H E F ACULY OF H UM AN IIE S AN D SOCIAL SCIE N CE S, UN IVE RSIY OF ZAGRE B.

F ROM 2005 O 2009 SH E WORKE D AS PE RM AN E N ASSOCIAE OF CULURE OF CH AN GE A H E SUDE N CE N E R IN ZAGRE B, VISUAL ARS DE PARM E N .SHE WAS A COORDINAOR OF HE PROOCOL SC PROJECS KIBORGEZIJA, PROOCOL CENRIFUGAL AND ONE OFHE SELECORS AND ORGANIZERS OF HE VISUAL PROGRAM FOR HE FESIVAL VELESAJAM KULURE CULUREFAIR, 20052008.WIH VANJA ANKO SHE CURAED HE EXHIBIIONOTHER MOTOVUN 10 YEARS OF CONEMPORARY ARCOLLECION FILIP RADE COLLABORAION WIH 10H MOOVUN FILM FESIVAL, MOOVUN, 2008, HEEXHIBIION FINALISTSOGEHER WIH SABINA SALAMON, LABIN OWN GALLERY, 2009 AND HE EXHIBIION OFPUMA 34WHY SO SERIOUS? MOOVUN FILM FESIVAL, 2009.AS COE DIOR WIH KARLA PUDAR SH E E DIE D H E JOURN AL RADOVI SUDE N AA POVIJE SI UM JE N OSISUDE N PAPE RS OF H E DE PARM E N OF AR H ISORY IN ZAGRE B, 2008, 2009 .

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