NEWSLETTER FEBRUARY 2013 / TABLE OF CONTENTS                         

SAVE THE DATE!
CIMAM 2013 ANNUAL CONFERENCE | MAM RIO | RIO DE JANEIRO | 12-14 AUGUST
Around 200 delegates are expected to attend CIMAM 2013 Annual Conference in Rio de Janeiro. Three keynote speakers and six case study presentations will be conforming the bases of a larger debate that will take place among the conference delegates. The active implication of members and delegates will be requested through extended Q&A, workshop sessions and visits to the foremost contemporary art institutions and spaces in the city to reflect upon the issues arising from the conference topics.

CONTEMPORARY ART MUSEUMS WATCH
Day of Museum Solidarity
CIMAM supports CULTURESHUTDOWN's public call to representatives of museums and galleries worldwide for a Day of Museum Solidarity March 4.
This campaign is a reaction to the acute crisis affecting major cultural institutions in Bosnia-Herzegovina. On October 4, 2012, after 124 years of existence, the country’s National Museum (Zemaljski Muzej) closed down due to the government’s failure to secure legal status and adequate funding. Your solidarity is needed! Read below and follow the indications to contribute.
Santralistanbul Museum Moves to Auction off its Collection
Istanbul’s art circles were fuming on Friday February 1st with the shocking news that 150 works of art from the collection of the recently closed  santralistanbul Museum of Contemporary Art were set to hit the auction block in an upcoming art sale in Istanbul. News of the upcoming auction came on Thursday evening, causing outrage among artists and art lovers alike in social media in Turkey.

CIMAM NEWS
Watch CIMAM TV! CIMAM 2012 Annual Conference sessions' recordings are available for free online consultation.
CIMAM 2012 Annual Report is available online.

MEMBERS ONLY
 
          SAVE THE DATE                                                                                                
 
CIMAM 2013 ANNUAL CONFERENCE
MAM RIO | RIO DE JANEIRO
| 12-14 AUGUST
 


MAM  Rio  –  Museu  de  Arte  Moderna  do  Rio  de  Janeiro  ©  Leila  Barreto

Around 200 delegates are expected to attend CIMAM 2013 Annual Conference in Rio de Janeiro. Three keynote speakers and six case study presentations will be conforming the bases of a larger debate that will take place among the conference delegates. The active implication of members and delegates will be requested through extended Q&A, workshop sessions and visits to the foremost contemporary art institutions and spaces in the city to reflect upon the issues arising from the conference topics.

CIMAM 2013 Annual Conference is organized in collaboration with MAM Rio - Museu de Arte Moderna do Rio de Janeiro.

A post-conference tour in the surroundings of Rio de Janeiro and to Brasilia will be organized for August 15 and 16. Conference program, speakers, visits and travel grant opportunities will be announced in March 2013.


New Dynamics in Museums: Curator, Artwork, Public, Governance

Rather than on the question of what museums represent, the focus of this year’s conference New Dynamics: Curator, Artwork, Public, Governance will be on who the agents of representation are. Having become too extensive to be represented in the museum context in its entirety, the world is now only presentable through the forces that shape it. And the same goes for the art world, which can be less grasped encyclopedically than ever before. Art was the first to express a critical attitude to the dominant forces shaping reality, most directly with institutional critique. After being dealt with by art, museum work embraced self-reflection. The museum seems to represent the world most accurately by reflecting the dynamics of its own work, which in turn reflects the dynamics of our socioeconomic reality in general.

One of the key issues addressed by this year’s CIMAM conference will be the new dynamics between the principal museum agents: curators, artworks, the public, and governance. The discussion proposition is that the new socioeconomic circumstances dictated by the global neoliberal capitalism have altered the curator–artwork–the public relation and stepped up the pressure in terms of museum governance. The new dynamic in these relations means, first of all, changed and less strictly defined roles of the individual agents. The new conditions produce new models of curatorial work altering the nature of art and the status of the public. Just as the political and economic world presents itself as progressively more democratic though in reality it is not, so does the museum. Some museums understand democracy as similar to a supermarket, offering its visitors the greatest possible variety of contents; others strive to adopt an attitude of awareness of the reality surrounding them. Such attitudes are based also on the reevaluation of the idea of the democratization of the museum, which in the context of the philosophy of the Enlightenment meant, above all, public access to the collections, but has now shifted in the direction of greater participation of the public sphere. Thus the democratic museum today should not only represent the world but also be open to its influences. By analogy, museums should not only include and accumulate art of various marginal groups and spaces, but enable them to participate and give them the right to self-interpretation.

More than ever before, the museum needs self-reflection. How does a museum work, on whose behalf does it interpret contents, whom does it address? How much professional autonomy does it preserve in this?

In the globalized world, curators work in infrastructures of vastly varying stages of development and corresponding models of institutions. Museums are no longer the only institutions involved in working with cultural heritage and the way it relates to social and political circumstances; more and more local art centers that are not museums and international institutions such as biennials or art fairs are focusing on research programs. Alongside the new models of institutions new models of curatorial practices are evolving. No longer merely stewards of collections or organizers of exhibitions, curators are now also producers of the context and infrastructure, especially in the spaces without a developed institutional system.

Another thing impacting curatorial work today is the increasing governance of different museum boards, composed of people from the world of capital and politics. With the dwindling public funding private interests are gaining ground, and museums are now expected to please and draw the greatest numbers of visitors possible as well as forced to follow marketing demands. Due to the economic and political crisis even main national museums are closing in some parts of the world, their directors are being dismissed, and there is censorship.

A new dynamic between curator and art work
Curators are now faced with a series of new and specific contexts in which they require the collaboration of diverse people in order to work out the meaning of a work, ensure a suitable presentation, and deal with complex copyright issues. will put this at the end Artists are no longer self-sufficient either; their role often overlaps with that of curator, scientist, and social agent. Artworks are not merely subjects of professional analysis but also play a performative role in the museum, i.e., they impact the way a museum works. Moreover, curators increasingly work with art from diverse geographical and sociopolitical contexts. Many works only come alive in interaction with the public. All of this generates new forms of curating, increasingly interdisciplinary and team-oriented. The discrepancy between all these heterogeneous aspects on the one hand and the global communications and networking technologies on the other makes all the more obvious the need for better coordinated professional methodology and translation tools.

A new dynamic between curator and public
Curators no longer see themselves only in the role of experts imparting knowledge but as agents opening up the museum to various external groups to co-shape it. Today, a museum must draw up programs that provide a framework for knowledge from below. Among the most burning questions today are: how should the museum act in the increasingly dynamic horizontal forms of knowledge production and how can it regain its vertical dignity?  

A new dynamic between curator and museum governance
Professional curatorial work is under increasing pressure and must often give in to marketing demands or ideological control. To what extent does this endanger professional work and what are the ways and means of resisting dictates of this type? How to protect professional work and how to articulate scientific criteria that rule the activities of curators with the needs emanating from educational, marketing or economical demands?”


          CONTEMPORARY ART MUSEUMS WATCH                                                      

CIMAM supports CULTURESHUTDOWN's public call to representatives of museums and galleries worldwide for a Day of Museum Solidarity March 4. Read below and follow the indications to contribute.

I ask you to participate in an important international cultural awareness campaign. This campaign is a reaction to the acute crisis affecting major cultural institutions in Bosnia-Herzegovina. On October 4, 2012, after 124 years of existence, the country’s National Museum (Zemaljski Muzej) closed down due to the government’s failure to secure legal status and adequate funding. Your solidarity is needed!
Six other state-level institutions, including the National Art Gallery (Umjetnička Galerija BH) and the National and University Library (Nacionalna i Univerzitetska Biblioteka BH) are also about to become permanently inaccessible. The safety of precious artifacts and heritage are at stake.

Why am I doing this? I am one of the founding members of the platform CULTURESHUTDOWN, an international initiative connecting scholars, artists and cultural producers responding to this crisis. Cultural institutions in Bosnia-Herzegovina are keepers of the unique historical and cultural treasures that provide evidence of coexistence in the region. Preserving them is crucial for securing a sustainable peace.  Artifacts kept in these institutions are an important component of the world’s cultural heritage. Preserving them is a matter of global relevance.

I call on you and other museums across the globe to demonstrate your solidarity with threatened Bosnian cultural institutions by symbolically “erasing” one precious artwork or artifact, rendering it inaccessible for the Day of Museum Solidarity. How? On March 1, I ask you to place the yellow barricade tape in front of the chosen object (ranging from a dinosaurs skeleton to a painting, depending on your collection and your choice). I will provide this custom-designed non-adhesive tape featuring the CULTURESHUTDOWN logo. Take a picture of the “crossed out” object and send it to me. The “crossed out” artifact should be publicly visible in your institution from March 1 – 3.  The collected pictures of Museum Solidarity across the world will be posted on the CULTURESHUTDOWN website on Monday March 4, the scheduled Day of Museum Solidarity. As many museums are closed on Mondays, our global campaign will take the form of a virtual collective exhibition on CULTURESHUTDOWN website. We would appreciate it if you were to post images of this campaign or host this virtual group exhibition on your institutions’ website, should that be possible.

February 1, the date of this public call, marks the 125th Anniversary of Zemaljski Muzej’s existence. March 4, the date of this Day of Museum Solidarity, marks the six-month anniversary of the Zemaljski Muzej’s closure.

This crisis in Bosnia-Herzegovina requires political, economic, and institutional solutions. By participating in the Day of Museum Solidarity, you will make an important and much needed contribution to resolving this crisis.

To participate, please follow the simple directions provided on the CULTURESHUTDOWN webpage: http://www.cultureshutdown.net/public-call-day-of-museum-solidarity/
 
In solidarity,
Dr. Azra Aksamija for CULTURESHUTDOWN
Assistant Professor, MIT Program in Art, Culture and Technology
http://www.cultureshutdown.net

Santralistanbul Museum Moves to Auction off its Collection

Via Artleaks
Related links:
CIMAM's General Principles on Conditions of Deaccession from Museum Collections.
Campaign at change.org

Istanbul’s art circles were fuming on Friday with the shocking news that 150 works of art from the collection of the recently closed  santralistanbul Museum of Contemporary Art were set to hit the auction block in an upcoming art sale in Istanbul. News of the upcoming auction came on Thursday evening, causing outrage among artists and art lovers alike in social media in Turkey.

The auction, scheduled for Feb. 17 at Sofa Hotel, will feature works by numerous prominent artists including Nejad Devrim, Selim Turan, Fikret Mualla, Mübin Orhon, Hakkı Anlı, Yüksel Arslan, Nil Yalter, Ayşe Erkmen, Seyhan Topuz, Mehmet Güleryüz, Neşe Erdok, Selma Gürbüz and Canan Tolon.

In the process of decommissioning santralistanbul, formerly one of Istanbul’s most celebrated new cultural institutions, the Istanbul Bilgi University has betrayed the trust of the art world by putting the works in its collection up for auction. Since its opening in 2007,santralistanbul hosted exhibitions from the Centre Pompidou in Paris, to the Center for Art and Media (ZKM) in Karlsruhe, to the Museo de Arte Contemporáneo de Castilla y León (MUSAC), and organized ambitious local exhibitions. However, after a rather contentious change of management, the university has recently decided to dissolve the “santralistanbul Museum of Contemporary Art” and put its collection up for  auction.

The auction house Macka Mezat that has taken over breaking up the collection makes no reference to the origin of the works, and refers to the sale as follows: “The private collection comprises important works by prominent Turkish modern and contemporary artists.”

The question is whether works donated or sold at rock-bottom prices to a museum collection that would represent the heart and soul of histories of art in Turkey should be reverted to the private domain. These works were turned over to what was upheld as a public institution that would not only provide good custodianship but also scholarship in the context of an academic institution. Neither has materialized. This is not a simple case of deaccessioning. It is a direct attack on Turkey’s artistic commons.


          CIMAM NEWS                                                                                                    
 
Watch CIMAM TV!

CIMAM 2012 Annual Conference sessions' recordings are available for free online consultation at CIMAM TV.

CIMAM 2012 Annual Conference Museums Beyond the Crises was hosted by SALT from November 12-14, 2012 in Istanbul. Find more information about CIMAM 2012 Annual Conference at www.cimam.org.

CIMAM 2012 Annual Report is available online

CIMAM is an international non profit organization of professionals and wishes to share with its members and network the result of it's programs and activities developed in the year 2012.

The report resumes CIMAM's membership program, advocacy activities, annual conference results, sustainability policies and detailed budget. The digital version of the report is available here.

Trouble downloading the Annual Report? Contact us at info@cimam.org. We will send you a digital copy by e-mail.

 
              MEMBERS ONLY                                                                                              

CIMAM FREE ADMISSION PROGRAM
SHARJAH BIENNIAL / D-0 ARK UNDERGROUND

 
Two biennials have recently joined CIMAM'S exclusive Free Admission Program

SHARJAH BIENNIAL 11 (SB11)
Re:emerge
Towards a New Cultural Cartography
Curator: Yuko Hasegawa

Sharjah Biennial 11, taking place March 13–May 13, 2013, will unfold in the heart of Sharjah — with artists and architects intervening in a range of locations including the historic courtyards of the city’s Arts and Heritage Areas and the newly constructed Sharjah Art Foundation exhibition spaces that will be inaugurated at this time.

The SB11 Opening Week Programme will begin with the opening on March 13, 2013, followed by the evening Biennial Awards ceremony. A full schedule of events March 13 – 17 will include performances, films, lectures, and the annual March Meeting, a symposium featuring thematic sessions and moderated panel discussions that will reflect on and contexualise the concept of SB11.

CIMAM members are invited to join a private tour of the Biennial, led by Yuko Hasegawa, Sharjah Biennial 11 Curator, from 10.00am until 12.00pm on Thursday March 14. The tour will be followed by a lunch hosted by Sharjah Art Foundation President and Director Hoor Al-Qasimi. To register for the tour and for Professional Accreditation please send your name, professional details, CIMAM membership username and contact information to register@sharjahart.org

You will be required to show your CIMAM membership card when joining the tour and collecting your complimentary SB11 catalogue. For complete information on Sharjah Biennial 11 please visit Sharjah Art Foundation’s website: www.sharjahart.org

2ND D-0 ARK UNDERGROUND
Opening: 26 April 2013, 10–18 hrs. Tito’s Atomic shelter, Konjic.
Curators: Basak Senova, (Turkey) and Branko Franceschi (Croatia).
Curators' Assistant:  Irfan Hošić (Bosnia and Herzegovina)

CIMAM members are welcome to join the 2nd D-0 ARK Underground Biennale during the preview day on April 25, 2013 and access the Biennale throughout the different programs. To add your name to the guest list / to register, please send an email to Sandra Miljevic Hozic at bhbijenale@gmail.com including your full name, position, institution and CIMAM membership username.

You will be required to show your CIMAM membership card when collecting your accreditation. For complete information and program on the 2nd D-0 ARK Underground Biennale, please visit the  D-0 ARK Underground website: www.bijenale.ba

CIMAM thanks the institutions that have agreed to offer free admission to card carrying CIMAM members. Click HERE for updated list of biennials and institutions participating in the CIMAM Free Admission Program.
             OPEN CALLS AND APPOINTMENTS                                                                  
    
Janne Sirén will become next Director of Albright-Knox Art Gallery, Buffalo, NY

The Albright-Knox Art Gallery announced that its Board of Directors has appointed Dr. Janne Sirén its eleventh Director. Dr. Sirén is the first Director from the Nordic region to take the helm of a major American art museum.

The Albright-Knox Art Gallery was founded in Buffalo in 1862. The museum’s 150- year record of collecting, conserving, and exhibiting the art of its time has resulted in one of the world’s finest collections of contemporary and modern art. Internationally recognized as one of the leading museums in the United States, the Albright-Knox continues to add cutting-edge works to its collections and annually presents a program comprised of exceptional exhibitions, publications, and collaborations. In the Buffalo Niagara region, the museum is a cultural beacon and magnet for cultural tourism.

Dr. Sirén is currently Director of the Helsinki Art Museum, Finland. The Helsinki Art Museum is a museum of contemporary and modern art with a collection of 8,900 works stretching back to the late nineteenth century. The Museum operates two exhibition spaces in the heart of Helsinki: Tennis Palace and Kluuvi Gallery, an innovative gallery space focused on showcasing experimental works by emerging Finnish artists. The Museum also oversees and prepares the municipal strategies for the City of Helsinki’s visual arts policies and manages the capital’s public art programs. Presenting a range of exhibitions every year, the Museum is international in scope and frequently collaborates with arts organizations throughout the world. The Helsinki Art Museum has an annual budget of $8.8 million, with 67 permanent employees and an additional 40–60 part-time employees.
The National Art Gallery, Singapore seeks Senior Curator

The National Art Gallery, Singapore (working title) is a new visual arts institution which will contribute towards positioning Singapore as a regional and international hub for visual arts. It manages the world´s largest public collection of modern Southeast Asian and Singapore art. The Gallery focuses on displaying, promoting and researching these artworks, relating them to the wider Asian and international contexts, and hosting international art exhibitions.

Situated in the heart of the Civic District, the City Hall and adjacent former Supreme Court building - two important heritage buildings symbolic of Singapore´s nationhood - will be converted to house this exciting new visual arts venue. Slated to officially open in 2015, the Gallery will be a leading civic and cultural destination established for the enrichment, enjoyment and engagement of Singapore residents and visitors from all over the world. Information on the National Art Gallery is available at www.nationalartgallery.sg.

Job description: Senior Curator (Singapore and Southeast Asian Art)

Principal Accountabilities:
• Curate collections and exhibitions.
• Research and contribute to scholarship on 19th and 20th century Singapore and SEA art.
• Develop areas of research specialisation to support institutional policies on collection development and exhibition programming.
• Publish on Singapore and SEA art history, and museology.
• Build professional networks with the arts/cultural community, collectors/patrons, and collaborators/partners.
• Manage, supervise and administer projects, processes and procedures under his/her responsibility.
• Plan and execute exhibitions and programmes including conceptualisation, preliminary negotiations with external institutions, and co-ordination of general exhibition matters including establishment of contractual terms and conditions
• Mentor and supervise younger curatorial colleagues in the execution of exhibitions and programmes.
• Handle ad-hoc assignments as and when required, including writing policy papers and secretarial duties for meetings.

Job Requirements:
• A Master´s degree in art history or a related field.
• Minimum of 6 years of relevant museum experience.
• Excellent research, writing, communication and interpersonal skills.
• Fluency in English. Additional SEA language abilities would be ideal.
• Ability to lead and motivate colleagues.
• Good project management and organisational skills.
• Attentive to details and ability to manage multiple projects simultaneously.

Please send your detailed CV to careers@nationalartgallery.sg. We regret that only shortlisted candidates will be notified. Deadline to apply Thursday, February 28, 2013.
Bergen Kunsthall seeks a new Director

Bergen Kunsthall is one of Scandinavia’s most prominent institutions for contemporary art, housed in its own building designed by the architect Ole Landmark in 1936. Through close cooperation with artists, writers, researchers and other cultural actors Bergen Kunsthall is an active participant in social debate and international contemporary art discourse. During the past decade the institution has substantially strengthened its finances thanks to steadily increasing public appropriations and our own revenues. Today foreseeable public funding makes up 60% of the operating budget.

We are looking for a director with great expertise, independence and creativity with the ability to develop Bergen Kunsthall further. You must have an higher education in the art field or a similar disciplinary background, institutional and management experience within the field of contemporary art and a broad international network. The director is both the artistic and the administrative leader of the institution and must have an understanding of both financial and human resource administration, as well as work in relation to public and private support actors.

Our new director will lead a knowledgeable, flexible and result-oriented staff of ten. We want a leader who can mark out a direction for the Kunsthall and who is at the same time good at teamwork, cooperation and communication.

As our director you must live in Bergen. If you have a different first language you must be willing to learn Norwegian.

The director is responsible to the Board of Bergen Kunsthall. The position has a set term of four years. Salary and other conditions by agreement.

If you would like information about the post and about Bergen Kunsthall, contact the Chairman of the Board, Martin Smith-Sivertsen, or the acting managing director Stein-Inge Århus: T: +47 55 55 93 11 / E: soknad@kunsthall.no.

The application deadline is 4 March. Send your application to soknad@kunsthall.no. We aim at initiating interviews from 19 March. Applications will be considered in confidence. If you want to read more about Bergen Kunsthall, its organization and economy you can download a pdf here.

Modern Art Oxford seeks New Director

Modern Art Oxford is a leading organisation in the UK for the presentation of contemporary art. The gallery has a strong national and international reputation established over 48 years of influential exhibition-making.

The Council of Management is seeking to appoint a creative and dynamic Director to lead the gallery during a key phase in its history.  The successful candidate will be required to shape the future direction of the organisation, and to ensure the continuation of its vital role in the development and understanding of contemporary art.  

The new Director will be responsible to the Council of Management for the leadership and strategic direction of the organisation. He or she will formulate the vision and ensure its successful implementation in consultation with the Council and with the support of the Senior Management Team. The Director will have overall responsibility for all aspects of the organisation's work, including artistic, financial, operational, commercial and fundraising activities.

Download Director job pack here.

Deadline for applications: 1 March 2013. For more information contact: Hayley Raines hayley.raines@modernartoxford.org.uk
Copyright © 2013 CIMAM - International Committee for Museums and Collections of Modern Art, All rights reserved.
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