Exhibition Making

The act of exhibiting is an integral component of artistic practice, deeply rooted in the longstanding tradition of art appreciation through curated displays. Since the early 20th century, artists and artist collectives have spearheaded groundbreaking avant-garde exhibitions and projects, fundamentally reshaping our understanding of art. This marked a departure from established norms of presentation that artists employed to introduce their creative works. Beyond the formalities of putting artwork on show there is an operational apparatus with various protagonists ensuring the functioning of the contemporary art world. Decisions regarding location, layout, and architectural interventions have gained increasing significance in supporting curatorial perspectives. At the same time we find the exhibition venue has nowadays evolved into a site for artistic production, reference, and reciprocal interaction, all while its connotationn continuously changes in correspondence with the wider field of cultural activity.

The aim of this course is to engage students in an exploration of if and how publicly exhibiting or displaying work inherently entails strategic relationships.

When we examine the intricacies of select thematic exhibitions in specific venues, such as HKW Berlin, it becomes pertinent to contemplate the existence of an "Aesthetic of Artistic Research,¿ as Dieter Lesage suggests. The public appearances of research-driven art and art-led research projects often extend beyond the confines of art institutions or curated exhibitions, leading to engagement with social and political organizations, non-governmental entities, selforganized and activist environments, as well as computational platforms and hubs. This prompts considerations regarding the role and identity of the institutional framework, questions of agency, social responsibility, and the aspect of embedded artistic research within larger research units, which may or may not be artistic.

We will delve into the reciprocal relationship between exhibitions and publications, pondering the feasibility ofrendering art exhibitions intelligible for different audiences. Also, we will discuss how exhibitions invariably serve as reflections on various histories, including parallel modernities, spatial trends, institutional critique, and other democratic considerations that inform the evolution of curatorial design.

To foster a cohesive approach to exhibition practice, students will be encouraged to engage in the presentation of both individual and group works. A common exhibition project will serve as a space of reflection and social interaction that goes hand in hand with participation and mediation.

Teachers: David Rych (EA) and Luz Sanchez Cardona og evtl guest teacher TBC