Examples of transcultural exchange
Global Academy II Day 1
11. 8. 18, 11 a.m. – 7 p.m.
Conference in Salzburg
Concept
Hildegund Amanshauser
Kimberly Bradley
For the past several years, the Salzburg International Summer Academy of Fine Arts has been leading the Global Academy project – which focuses on questions of learning and teaching art in a global context.
This year’s Global Academy II presentations reveal new models of transcultural artistic exchange, delving into the above questions and the many ways they can be answered or at least readdressed. They focus on the key notions of “translation” and “negotiation”, and speculate on how art and artistic practice can maintain or gain broader relevance under current economic, geopolitical, and even technological conditions.
Programme
Saturday 11 August 2018
11 am
Welcome and introduction
Hildegund Amanshauser, Kimberly Bradley
11.30 am–12.45 pm
Keynote lecture
Shuddhabrata Sengupta
The pursuit of the planetary
2–4 pm
Negotiation: which models allow new modes of transcultural artistic exchange?
Presentations and panel
Marina Fokidis, writer, editor, curator, South magazine, Kunsthalle Athena
Charles Esche, director Van Abbemuseum Eindhoven (NL)
Alexander Koch, gallerist/New Patrons, Europe
Clémentine Deliss, curator, researcher, publisher
Renzo Martens, artist
Panel discussion available here.
4.30–6.30 pm
Beyond the binary: what (could) come(s) after north/south, colonial/postcolonial, Eurocentric/“global”?
Presentations and panel
Bouchra Khalili, artist
Will Calderón Furtado, deputy editor of Contemporary And
Natasha Ginwala, curator, researcher and writer
Paul Feigelfeld, curator, researcher and writer
6.30–7 pm
Pecha Kucha presentations (Video here!)
Information
- Venue
- Salzburger Kunstverein
- Date
- 11. 8. 18, 11 a.m. – 7 p.m.
Hildegund Amanshauser
Hildegund Amanshauser is an art historian, writer, and curator. She was a curator at the Museum of Modern Art (MUMOK) in Vienna, curator/general secretary of the Secession Vienna, director of the Salzburger Kunstverein and professor for art history and art theory at the University of Fine Arts in Muenster (DE). She has published widely on modern and contemporary art. Since 2009, she has been director of the Salzburg International Summer Academy of Fine Arts.
Kimberly Bradley
An American based in Berlin and Vienna, Kimberly Bradley has long bridged the worlds of mainstream culture journalism (The New York Times, Monocle and others) and art criticism in art publications ranging from populist to theoretical (art-agenda, Artsy, Frieze, monopol, etc). She reviews exhibitions, profiles artists, and writes reportages on underexposed areas and issues of the art world.
Institutional work includes editing exhibition catalogues and monographs for museums including Hamburger Bahnhof, Berlin and Haus der Kunst, Munich (DE). Since 1999, Bradley has copy-edited a wide array of publications at the Akademie Schloss Solitude residency in Stuttgart (DE); she also copy-edited at the art journal Texte zur Kunst for several years. Since 2013, she has taught undergraduate courses on contemporary art practices and theory at New York University, Berlin.
Website
Publications
Writing
“With Spiders and Space Dust, Tomás Saraceno Takes Off”, in: The New York Times, 21 October 2018
“Louise Bourgeois ‘The Empty House’”, review in: Art-Agenda, 5 July 2018.
“Cécile’s World”, profile on artist Cécile B. Evans, in: Nomad magazine, June 2018.
“Under Austria’s New Right-Wing Government, What Happens to Art?” in: Frieze, January 2018.
“Hito Steyerl Is an Artist With Power. She Uses it For Change”, in: The New York Times, 15 December 2017.
Editing
Apparitions, book and exhibition catalogue on Geta Brătescu, Romanian Pavilion at the 57th Biennale di Venezia, 2017.
All texts appearing in the documentary Human Flow, Studio Ai Weiwei, 2017.
Max Beckmann, Welttheater, Museum Barberini, Potsdam 2017.
Forecast: Haus der Kulturen der Welt, Berlin 2017.
