De Appel is starting a training programme for gallerists, and at various universities, the art market is a separate course of study. Non-profit art schools and art dealers are developing increasingly stronger ties. Will it soon be possible to separate the two?
This summer, two museums in Paris will host a major retrospective of a new generation of French artists (born after 1975), who have now spread their wings around the globe. Two insiders have been asked to give their opinions of the current French art scene and the developments it is undergoing. Dorothée Dupuis takes a look at the artists, and Chris Sharp at the institutes.
From Hifi Back to Lofi, Maybe Even Trash
Interview with curator Jorge Villacorta
03/06/10 Rodrigo Quijano
As artists Fernando Bryce and Armando Andrade Tudela reap the fruits of international success, little is known about Lima, the city where they grew up. Jorge Villacorta, the driving force behind its local art, sheds light on developments in Lima.
In a previous issue, METROPOLIS M asked artists what role they believe art plays in today’s crisis-battered world. We continue the discussion here with a contribution from Anna Tilroe, who in the form of a letter, asks whether the art world, certainly in the Netherlands, is really interested in social engagement.
reviews 12.04.10 Pieternel Vermoortel
26/03/10 - 27/03/10
What are the possibilities, opportunities as well as the limitations of current critical curating? On the 26th and 27th of March the symposium ‘Institution as Medium. Curating as institutional critique?’ took place at the Documenta Hallen in Kassel, discussing the current state of institutional critique.
When the curatorial concept becomes the object of research, the result usually generates much less pleasure and stimuli than an investigation and presentation of artworks in their own right. The curatorial position in fact, when restricted through voluntary abdication, is turned into something similar to a performance: it enacts the predetermined tasks as though they were a script.
Hoffmann seems to have adopted the institution as a framework limiting his freedom, similar to his previous curatorial games.