William Greaves in New Jersey

A symposium on William Greaves will take place on February 21, connected with the exhibition William Greaves — Sondra Perry — Martine Syms, which will remain on display until March 29 at the Lewis Center for the Arts at Princeton University [Princeton Events]

Call for applications – “WHAT COULD/SHOULD CURATING DO?” curatorial course

Above: Visual identity: Saša Tkačenko.
September 7–December 7, 2018

Application deadline: April 30

What Could/Should Curating Do?
11000 Belgrade


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A curatorial program hosted in the city of Belgrade, Serbia
Final exhibition project: January 2019

The first international course for emerging curators to take place in Belgrade, Serbia, will be held from September to December 2018, and will draw upon the unique local and regional context as a critical source of knowledge. Participants will be engaged in a rigorous itinerary of extensive studio visits, research visits to public and private institutions and collections, along with a series of closed door workshop sessions led by both international and local mentors of the program. The program aims to situate curatorial practice within the specific contextual framework of the region, while also providing insights to the wider international framework related to exhibition-making practices on both a theoretical and practical level.

Over the course of the three month-long program, international cultural producers will conduct specific workshops related to different aspects of curating, offering participants the opportunity to individually and collectively consider the different institutional aspects that often frame curatorial endeavors. For the culmination of the course, participants will propose a collective exhibition and will also be tasked with working on the accompanying publication.

Niels Van Tomme, director at De Appel in Amsterdam (a contemporary art institution that runs a pioneering curatorial programme since 1994), will give an inaugural lecture in June about the prominent role the Curatorial Programme takes within De Appel’s institutional context (final date to be confirmed).

The Belgrade-based artist Saša Tkačenko has been commissioned to develop the visual identity for the project, as well as to conceive how to best document the project and the final exhibition in book format.

The primary mentors for the course include Dorothea von Hantelmann (Bard College, Berlin); Antariksa (co-founding member of KUNCI Cultural Studies Center, Yogyakarta, Indonesia); the Flash Art Magazine editorial team (Flash Art is a bimonthly magazine focused on contemporary art, based in Milan); Elena Filipović (director of Kunsthalle Basel);Tara McDowell (director of curatorial practice at Monash University in Melbourne, Australia); Maria Lind (director of Tensta konsthall, Stockholm); Matt Packer (director of EVA International); Hou Hanru (artistic director of MAXXI Rome, Italy); and What, How & for Whom (a curatorial collective formed in 1999 and based in Zagreb, Croatia), among others.

Application requirements:
Applicants must be 35 years of age or younger
No prior degrees in art or art history are required
The course fee of 300 EUR (international participants will be assisted with finding accommodation in Belgrade—an accommodation rate is approximately 150 EUR per month)

Applications should include the following items as a single Word or PDF document, sent by email to what.could.curating.do@gmail.com with the subject line Curatorial-course-Belgrade by April 30, 2018

Letter of Interest 
(500 words maximum, explaining why you are interested in curatorial practices)
Project Description (300 words maximum, an urgent project you would like to develop)

Based on the quality of the submitted documents, 15 participants will be selected to attend the course. Selected applicants should plan to arrive in Belgrade no later than September 7, 2018.

The final list of the participants will be announced in May 2018.

The course is long term project initiated by Biljana Ćirić together with Supervizuelna, with the following institutions as project partners: The Yugoslav Film Archive Museum, The Museum of Contemporary Art Belgrade, GRAD—European Center for Culture and Debate, EVA International – Ireland’s Biennial and Zepter Museum.

Project was supported by: Goethe Institute in Belgrade, Istituto Italiano di Cultura Belgrado, Embassy of Sweden, Embassy of the Kingdom of the Netherlands, EU Info Centre; Eugster || Belgrade, Rima Gallery, Zepter Hotel. Media partners: EUNIC Serbia, RTS3.

For more information about the application process and/or invited lecturers for the program, please refer to the Supervizuelna website: www.supervizuelna.com.

Project contacts:
Ana Anakijev (coordinator): anaanakijev@gmail.com
Katarina Kostandinović (coordinator): katarina.kostandinovic@gmail.com

Museum Registrar – Hudson Museum, University of Maine

The University of Maine seeks a Museum Registrar to manage the Hudson Museum’s ethnographic and archaeological collections of over 9000 objects. The Hudson is an anthropology museum that boasts world-class collections, including the William P. Palmer III Collection of Precolumbian artifacts ranging from Olmec to Aztec and an astounding collection of Native American holdings from the Arctic to the Pacific Northwest.  The Museum has long-standing programmatic, collections and exhibit collaborations with Maine’s four tribal communities–Maliseet, Micmac, Passamaquoddy and Penobscot Nation. Through twenty cooperating curators, who are UMaine faculty and staff, the Museum is linked to a wide variety of academic departments and institutes and regularly showcases UMaine research through exhibitions and programs.

For full position details and to apply, please visit our website listed below:


Conference – Curating the Contemporary Art Museum

Where: SMK – National Gallery of Denmark and the University of Copenhagen, Copenhagen.
When: March 12th and 13th 2020

The aim of this conference is to investigate the museum of art as a place, where the contemporary is staged – in exhibitions, collecting practices, communication, and policies. The idea of the art museum has undergone radical changes after 1945, expressed in a whole array of new ways to stage its space, curate its exhibitions, and interact with its audiences. These developments generally orient the museum and its practices towards the contemporary in all its plural meanings. Speakers include Beatrice von Bismarck, Jonas Ekeberg and Kim West. The Conference is part of the research project “Curating the Contemporary”.

For more information please see: https://artsandculturalstudies.ku.dk/research/curating-the-contemporary/curating-the-contemporary-in-the-art-museum/

Director – SFU Galleries at Simon Fraser University

Simon Fraser University invites applications for the position of Director, SFU Galleries. This is a permanent position.

SFU Galleries encourages and advances conceptual and experimental programs that explore ways in which contemporary art is socially and politically engaged. It does so within the context of Simon Fraser University, a public research university known for its radical past committed to intellectual freedom, interdisciplinary research, innovative programming, and support for artists to exhibit, create work, study, and teach over its fifty-four-year history.

Continue reading “Director – SFU Galleries at Simon Fraser University”

Conference – Shaping Museum Futures

4 to 6 November 2020, University of Malta Valletta Campus, MALTA


Predicting museum futures is no mean feat. Being unreasonably bold would be faced with the challenges of the now that would acknowledge much more what comes across as reasonable. It might be absolutely unreasonable that we re-invent the museum institution to address climate emergencies. Transforming the museum into a public space with a participatory management model is an ambition yet to be achieved. We might ask whether Museums can morph into genuinely democratic, inclusive and polyphonic spaces for critical conversations about pasts and futures. We could also question whether museums can ever be fully integrated within communities, acting as co-catalysts for radical changes in ways of seeing and living. Indeed, will a human-central museum, at peace with the natural environment, ever see the light of day?

This conference seeks to present the latest thinking, actions and initiatives that modestly or radically depart from the traditional mold of curator/object-central spaces.  We are keen on showcasing the latest developments in the museum landscape, be they conceptual initiatives or projects that are happening and evolving in the now, and which may well inform, influence and define the museum, particularly with regards to climate change, artificial intelligence and future technologies, but not just. We are open to anything that is absolutely unreasonable to predict a reasonable future for museums.

We welcome contributions from scholars, museum curators and directors, think-tanks, institutions and others working in the museum sector who act as or support game-changers in the sector.

For more information, see here: https://www.museumfutures.net/


The Monopolicy board game, based on the book Things Great and Small: Collections Management Policies (second edition, 2018), is available as a free download in English or Spanish versions from the Museum Study LLC site. The purpose of the game is for players to facilitate their understanding of the role of policies in the management of collections by using policies and resources to solve problems. The game can easily be adapted for use in a specific institution.

You can download the game at


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