Sound Art Curating / Curating Sound – Methodologies, Histories, Theories, Archives, Interactions
Chairs & Editors: Lanfranco Aceti, Thomas Markussen & Morten Søndergaard
Call for papers – Seminars and LEA Special Issue
The role and function of the curator is being transformed by the modus operandi and creative practices of mediated art forms, interactive art and design. One of the effects of this transformation is the creation of a new emerging field, that of sound art curating.
The seminar themes and the LEA Special Issue are organized around a number of seminars taking place in 2013 and 2014, which will focus on the methodologies, histories, theories and practices of sound art curating. The seminars will present an opportunity to focus on the increasing use of interactive art and design for curatorial purposes, which is transforming the curator’s role into a hybrid function placed between art, science and social technology.
Traditionally, the curator has been affiliated to the modern museum as the persona who manages an archive, and arranges and communicates knowledge to an audience, according to fields of expertise (art, archaeology, cultural or natural history etc.). However, in the late twentieth century the role of the curator changes – first on the art-scene and later in other more traditional institutions – into a more free-floating, organizational and ’constructive’ activity that allows the curator to create and design new wider relations, interpretations of knowledge modalities of communication and systems of dissemination to the wider public.
Furthermore, the nature of the archive and its stored objects has changed radically. With the urge of including new media and immaterial works of art into collections, the complexity of the archive has simply outgrown traditional models of curating. Consequently, curators have started to develop and cultivate new ways and methodologies to ensure that sound art and archives reach the public.
Over the last decade or so, many interesting new methodologies have emerged within the field of sound curating. These methodologies are strictly linked to the creative use of digital technologies and computational techniques such as physical and tangible computing. Specifically, interactive art and design seem to offer a promising new potential for letting the audience experience and interact with sound objects (tangibly, bodily, etc.) and through that experience acquire insight and knowledge about them. In this sense interactive art and design obtain a meta-position – being works of art in themselves, but designed for the purpose of communicating and experiencing sound objects.
How does the modality of interactive art and design affect the methodologies of sound (art) curating?
We would like to encourage submissions, which have a practice-based approach to the analysis and discussion of the methodologies, histories, theories and interface-designs of sound art curating / sound curation.
We would also like to invite submissions that take into account issues related to sound art’s audiences, reception and experiential contexts.
We solicit and encourage submissions that explore and are linked to issues related to the following areas of interest:
• Curating Interfaces for Sound + Archives
• Methodologies of Sound Art Curating
• Histories of Sound Art Curating
• Theories of Sound Art Curating
Abstract Submissions:
We will start accepting abstracts from February 1st until August 1st on a rolling basis.
Please note that if you would like your abstract to be considered for the seminar in August at ZKM the abstract should be submitted by April 15, 2013. Please write under the title of your abstract: “Please consider for ZKM session: Seminar 2.”
All abstracts will be considered for the session in London in 2014.
Other Important dates:
• January 2013: Open call for abstracts/papers.
• March 12 2013: Seminar 1 in Aarhus
• August 19-21 2013: Seminar 2 at ZKM
• January 2014: Seminar 3 at Goldsmiths
• April 1 2014: Full paper deadline.
• July 2014: Notifications
• September 2014: Publication
Seminars
The seminars are organized by LEA and the LARM infrastructure Project (www.larmarchive.org). In close Collaboration with Kunsthal Aarhus, ZKM – Zentrum für Kunst und Medietechnologie, Goldsmiths College, University of London and the Courtauld Institute, The University of Westminster and OCR (Operational and Curatorial Research).
Seminar 1 – Sound + Art: Curating & Interfacing Archives
Venue: Kunsthal Aarhus, Denmark. March 12.
This seminar, as the first of three seminars, will focus on the issues of experiencing, remembering and curating sound art / sound archives. The seminar develops around two specific interactive archive design projects from 2012: The In 2048 exhibition of Errki Kurenniemi at DOCUMENTA (13) in Kassel, and The Unheard Avant-garde Project at the Sound Art exhibition at ZKM, Karlsruhe.
Seminar 2 – Methodologies of Sound Art Curating / Curating Sound
Venue: ZKM, Karlsruhe. August 2013-01-28
Over the last decade or so, many interesting new methodologies have emerged within the field of sound art curating / curating sound. These methodologies are tied up with the creative use of digital technologies and computational techniques such as physical and tangible computing. More specifically, interactive art and design seem to offer a promising new potential for letting an audience experience and interact with sound objects (tangibly, bodily, etc.) and in that way acquire insight and knowledge about them.
Seminar 3 – Histories and Theories of Sound Art Curating / Curating Sound
Venue: Goldsmiths, London
Traditionally, the curator has been affiliated to the modern museum as the persona who manages an archive, and arranges and communicates knowledge to an audience, according to fields of expertise (art, archaeology, cultural or natural history etc.). However, in the late twentieth century the role of the curator changes – first on the art-scene and later in other more traditional institutions – into a more free-floating, organizational and ’constructive’ activity that allows the curator to create and design new wider relations, interpretations of knowledge modalities of communication and systems of dissemination to the wider public.
This calls for studies into the histories and theories of sound art curating.
Open call for abstract and papers for the seminars at ZKM and Goldsmiths: www.soundartcurating.org. Abstracts can be submitted here.
Full papers must be submitted through the MIT Press submission system. More info will follow.
Chairs & Editors: Lanfranco Aceti, Thomas Markussen & Morten Søndergaard
Seminar 1 – Program.
Venue: Kunsthal Aarhus, J.M. Mørks Gade 13, 8000 Aarhus C. www.kunsthalaarhus.dk
• 10.00-10.15 Welcome, Joasia Krysa
• 10.15-10.30 Introduction to the seminar(s), Thomas Markussen & Morten Søndergaard
• 10.30-11.00 Sound & Media Art Archives: Perttu Rastas
• 11.00-11.15: Break
• 11.15-12.15 Session 1 – Interfacing Erkki. Chair: Joasia Krysa.
o Constant (Nicolas Malevé, Michael Murtaugh)
• 12.15-13.15: Lunch
• 13.15-14.15: Session 2 – Interfacing the Unheard. Chair: Bente Larsen
o Mogens Jacobsen / Martin Luckmann / Morten Søndergaard
• 14.15-14.30: Break
14.30-16.00: Panel & Discussion. Chair: Thomas Markussen.