From an Idea to Institutional Policy: Research Methodology in Young Art Scenes
Panelists: Sandra Dichtl – independent curator, Munich; Delfina Jałowik and Monika Kozioł, MOCAK, Kraków; Tatiana Kochubinska, PinchukArtCenter, Kiev
Led by: Magdalena Kownacka
Galeria Sztuki Współczesnej BWA SOKÓŁ, Nowy Sącz
19 June 2016, 1 pm
Galleries and museums of contemporary art, by definition, research and present the current art. Although the race to beat others in claiming the discovery of new art phenomena has of late slowed down somewhat, the desire to build up and take part in local art scenes is a significant trend in the programmes and missions of numerous institutions. The concept of museum-as-laboratory, an incubator of artistic ideas that accompany artists in their process of development has been going on since at least the 1960s. Nevertheless, it is only recently that these half-century old ideas have come of age and graduated from the experimental stage to the building of stable support structures and long-term programmes. The participants in the panel discussion at the BWA SOKÓŁ will be: Sandra Dichtl – curator of the Emerging Artists Festival in Dortmund, Delfina Jałowik and Monika Kozioł – curators of the exhibition Krakow Artists: Generation 1980–1990, MOCAK (Krakow), and Tatiana Kochubinska, curator and manager of the Research department at the PinchukArtCenter, Kiev, and a member of the PinchukArtCenter Prize selection committee. The participants will outline their research methods, goals and the role of specific institutions and projects in shaping the local art scene.
What the three formats and working models presented during the event – exhibition, festival and competition – have in common is their conviction that institutions need to monitor the up-and-coming artistic scene and support artists with the presentation of their works during the early stages of their professional development. Incorporating these ideas into a concrete event format which takes account of the policy of a particular institution will determine to a large extent its character and effectiveness. Can the experiences and working methods characteristic of such a project bring about long-term solutions? What goals and ambitions of artists, curators and institutions lie behind the realisation of such events? In what way do specific concepts measure up against the category of representation?