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--- curating [2021/05/03 14:40] – [PODCAST Kunst & Radio (München)] ralf
+++ curating [2021/05/03 15:16] – [Pirating Presence: "re:coding"] ralf
@@ Line 145: / Line 145: @@
 Gefördert durch das Kulturreferat der Landeshauptstadt München und durch das Goethe-Institut / Max Mueller Bhavan Bengaluru (Indien) im Rahmen der BangaloREsidency_expanded in Kooperation mit dem Artist-in-Residence Programm im Ebenböck-Haus und dem Künstler Ralf Homann (ExperimentalRadio | Munich)
-==== Pirating Presence: "re:coding" ====
+==== Pirating Presence: re:coding ====
 == Margret Eicher, Adi Hoesle, Isabel Kerkermeier, Stefan Römer, Heidi Sill, Susanne Wehr, Toni Wirthmüller ==
@@ Line 156: / Line 156: @@
 mit Unterstützung von Ralf Homann
+==== Exhibition On Flash Drive ====
+Art as Instruction
+Venkatappa Art Gallery (VAG), Bengaluru
+Opening: Wednesday 20th March 2019
+Exhibition on till 28th March 2019
+**Neveen Kumar A., Vineesh Amin, Vichar BN, Ina Ettlinger, Anjana Kothamachu, Antonia Low, Hareesh V Malappanavar, Alaka Rao, Thomas Rentmeister, rasso rottenfusser, Hans HS Winkler**
+Exhibition on flash drive is an exhibition project with works by artists from Germany and India.
+The first exhibition location is Venkatappa Art Gallery in Bengaluru. Artists recently successfully
+prevented privatisation of this state museum and were able to put in place a model based on an
+artist-run space. In this exhibition, around twelve works will be shown that have been produced by
+qualified, third-party craftspeople based on instructions provided by the artists – i.e., so-called
+“instruction-based art”. This method – which has been familiar since the time of Conceptual Art –
+will be transformed in Curry On (Working Title) to reflect our digitalised everyday lives: by using
+the formal principles of responsive design and object-based media production, the artworks will be
+freed from every last essence of existence as ‘originals’ and will thus avoid any form of tradability
+on the art market.
+{{::1100849.jpg?direct&600|}}
+{{::1100893.jpg?direct&600|}}
+The goal of this cultural exchange is to experiment with an innovative, flexible and open exhibition
+format that is particularly suitable – in the context of global media developments – for exhibiting
+contemporary art and conveying it in various cultural contexts, questioning the relationship between
+artists, recipients and curators, networking those interested in this type of dialogue and also opening
+up paths for exhibiting art that do not depend on the creation of an aura or on auratic effect.
+{{::p1110258.jpg?direct&400|}}
+{{::p1110297.jpg?direct&400|}}
+{{::p1110293.jpg?direct&400|}}
+**Curatorial approach**
+“Curating in a flash drive” will take the form of an exhibition using a USB stick that is used to store
+and transport all the information necessary for the exhibition1. The explicit naming of the data-
+carrying device makes reference to complex processes: whereas data media such as paper, photos or
+CDs/DVDs can be discarded after the exhibition is over or else stored as auratic artefacts, the flash
+drive is deleted and re-used without any auratic preservation. A flash drive – a familiar everyday
+device worldwide – is as ephemeral as it is flexible and sustainable, and thus embodies the overall
+concept of the exhibition.
+“Vector-Curating” is a neologism that interweaves two semantic fields. On the one hand, it
+emphasises the function of the curator as a carrier of instructions for action (vector: “carrier”,
+“driver”): from the artists to the works to be realised on site, continuing on into the design of the
+presentation of these works, and finally in the manner of conveyance to the audience, and vice
+versa. What is involved here is a transmission function, and not an interpretation of instructions for
+action.
+On the other hand, the term “Vector-Curating” makes reference to IT-based approaches (“vector-
+based file formats”) that are shifted into the context of visual arts by “Vector-Curating”. This term
+thus describes the explicit property of the instructions for action that form the basis of the exhibition
+project: scalability in the exhibition room and the inherent ability to be presented on various
+displays. As a result, the exhibition is implemented not as a charged location for rapture, for the
+creation of dominance or for the confirmation of market and competition logic, but instead as a
+spatial medium for discourse and networking.
+{{::p1110267.jpg?direct&400|}}
+{{::p1110309.jpg?direct&400|}}
 ===== 2018 =====

ralf homann

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