Ciudades Paralelas is an exploration of urban social relationships through the medium of performance and theatre. The engaging tactics at work in these pieces might be framed as the creation of ‘personal (more or less) guided encounters with the other/the unexpected’.
please have a look yourself: at CIUDADES PARALELAS / PARALLEL CITIES
excerpt from the project concept:
“For “Ciudades Paralelas”, Lola Arias and Stefan Kaegi have invited several artists to devise interventions for hotel rooms, shopping centres, factories… functional city places, not usually thought of as interesting to the outside eye. Eight artists have each chosen a location in the city as observation stations for urban phenomena. Some of them chose to work with radio receivers or headphones, others with a choir or with people in their workspaces. The pieces vary in form: You can listen to some of them, others you can read or touch. Some are for 1, others for 100 spectators. Some of the performers are singers, others writers, passers-by or even the audience themselves.”
The project includes a piece by Ant Hampton & Tim Etchells in a Public Library: The Quite Volume!
extracts from Nirmal Puwar and Sanjay Sharma, “Curating Sociology – Sociological Mutations”, forthcoming in Sociological Review, 2012.
“Curating Sociology points to how sociology can engage with the academy and beyond by turning to and deploying cross-disciplinary collaborative and engaging in a creative knowledge practices – as drama, event, exhibitions, installations, film production and music performance for instance.” […]
“It should become apparent that Curating Sociology does not envision the researcher simply mimicking the role of the curator. Rather, the intention is to adapt some of the recent practices of the curator, and grasp ‘curating as a research process’ (Wells 2007) that embraces creativity and experimentation in the production of public knowledge. O’Neill maintains that curating can involve processual participatory activities, engendering ‘new practices, new meanings, values and relations between things’ (2010: 6). Curating Sociology therefore cannot be reduced to a set of research techniques or methods. Rather, it can be a methodological commitment to collaborative knowledge production for public interventions.”
OMA’s Progress has just opened in the Barbican. Even if architecture is not particularly your field of interest, the exhibition is worth seeing for its tactics of data presentation and public engagement. In the following video, Rem Koolhaas guides through the show and refers also to the making of the exhibition, a process of collaboration – he refers to this process as the office’s “surrender” – with the curator team Rotor. The exhibition beautifully shows the potential of ‘curating’, captured in the simultaneousness of things and ideas, their relational stimulation and the possibility to express the processual nature of such simultaneousness and stimulation.
have a look yourself here…
an interview with the curators you’ll find at the Barbican webpage, i.e. here…
Bruno Latour and collaborators on the exhibition “Making Things Public”, ZKM Zentrum für Kunst und Medientechnologie, Karlsruhe, 2005 (five parts, the first here…)
Curatorial managers: Bruno Latour and Peter Weibel
Curator of the web-based projects: Steve Dietz
The exhibition Making Things Public addressed the challenge of renewing politics by applying to it the spirit of art and science. more information here…
I regard this to be an interesting question. How can we think research differently, not as going ‘out’ somewhere in order to collect, but as invitation for ‘the public’ to ‘come in’ and see? – or even better a collaboratively curated open air exhibition…
in the following: the link and short presentation of a symposium at Tate Britain in May 2010.
Beyond the Academy: Research as Exhibition
14 May 2010
The exhibition is increasingly being re-framed as a ‘research output’, but what can new forms of research and collaboration bring to the concept and curatorship of the exhibition? Is the idea of the exhibition being distorted or creatively extended by new disciplinary practices and knowledge? In what ways do new forms of research exhibitions create new types of knowledge and experience for the audience?
The link to the event page is here.