Dr. Lisa Gaupp presented at the conference "Brokering Intercultural Exchange" in London on November 16-17, 2017. The presentation focused on curators as gatekeepers and diversity at art festivals. It discussed how curators can mediate diversity through their selection and presentation of artworks. The presentation also examined challenges around increasing nationalism and Eurocentrism in the arts. It argued that arts management needs to adapt to today's post-migrant realities by centering on interactions and commonalities between different cultures.
Curators as gatekeepers – Diversity at Art Festivals
1. Curators as gatekeepers –
Diversity at Art Festivals
Dr. Lisa Gaupp
Intercultural Relations in
Arts and Cultural Management Practice
Goldsmiths, University of London
16th – 17th November 2017
2. Brokering Intercultural Exchange - London, Nov 2017 - Dr. Lisa Gaupp 2/10
AGENDA
Curators as gatekeepers –
Diversity at Art Festivals
1 Diversity in the PerformingArts
2 Representation & Performativity
3 Transcultural Arts Management
Performing Tangier 5.5.15
Performing Tangier 4.5.15
4. 4/10
1 Diversity in the PerformingArts
2 Representation & Performativity
3 Transcultural Arts Management
AGENDA
Curators as gatekeepers –
Diversity at Art Festivals
Brokering Intercultural Exchange - London, Nov 2017 - Dr. Lisa Gaupp
Kunstenfestivaldesarts 23.5.15
5. 5/10
Representation
§ „The biggest challenge
for the arts is an
increasing nationalism
in all matters. Due to
the financial crisis, the
national funding bodies
insist more and more
on national production –
foreign participation is
of course welcome in
financial terms, but
there is less interest in
co-financing new works
by non-resident-
artists.”
(Kaup-Hasler 2012)
(Trans-)?national Curatorial Practices
Kunsten-
festivaldesarts
25.5.15
Kunstenfestivaldesarts 30.5.15
Brokering Intercultural Exchange - London, Nov 2017 - Dr. Lisa Gaupp
6. 6/10
Representation Performativity
§ „confronted with a strong
Eurocentrism in the field in
which works from other
continents get easily
labeled either as ‚outdated’
in comparism to the
European development or
as ‚too specific’ to be
presented next to European
works without also creating
access to their ‚original’
local context“ (Husemann
2012: 276f.)
§ „Every art world uses, to
organize some of the
cooperation between some
of its participants,
conventions known to all or
almost all well-socialized
members of the society in
which it exists.“ (Becker
2008: 42)
(Trans-)?national Curatorial Practices
§ „The biggest challenge
for the arts is an
increasing nationalism
in all matters. Due to
the financial crisis, the
national funding bodies
insist more and more
on national production –
foreign participation is
of course welcome in
financial terms, but
there is less interest in
co-financing new works
by non-resident-
artists.”
(Kaup-Hasler 2012)
Foreign Affairs 1.7.15
KunstFestSpiele
Herrenhausen
14.6.15
Brokering Intercultural Exchange - London, Nov 2017 - Dr. Lisa Gaupp
7. 7/10
Representation NarrativesPerformativity
§ „do we have to consider
hybridity as the ultimate
and inexorable condition
of all postcolonial
subjectivities?“ (Amīn
2010: 7)
Transcultural Diversity?
§ „The biggest challenge
for the arts is an
increasing nationalism
in all matters. Due to
the financial crisis, the
national funding bodies
insist more and more
on national production –
foreign participation is
of course welcome in
financial terms, but
there is less interest in
co-financing new works
by non-resident-
artists.”
(Kaup-Hasler 2012)
§ „confronted with a
strong Eurocentrism in
the field in which works
from other continents
get easily labeled either
as ‚outdated’ in
comparism to the
European development
or as ‚too specific’ to be
presented next to
European works without
also creating access to
their ‚original’ local
context“ (Husemann
2012: 276f.) Kunstenfestivaldesarts 28.5.15
Brokering Intercultural Exchange - London, Nov 2017 - Dr. Lisa Gaupp
8. 8/10
1 Diversity in the PerformingArts
2 Representation & Performativity
3 Transcultural Arts Management
AGENDA
Curators as gatekeepers –
Diversity at Art Festivals
Brokering Intercultural Exchange - London, Nov 2017 - Dr. Lisa Gaupp
Theater der Welt 26.5.17
9. Arts Management Research
9/10
§ Cultural diversity
§ Intersectional diversity
§ Diversity in the arts
§ Mediating Diversity
Cultural Diversity
Theater der Welt
28.5.17 & 1.6.17
Brokering Intercultural Exchange - London, Nov 2017 - Dr. Lisa Gaupp
10. Transcultural Arts Management
10/10
Arts management should
§ adapt to the realities of today’s
post-migrant social processes.
§ center on interactions, crossroads
and (contradictory) commonalities,
without emphasizing segregating
tendencies.
Theater der Welt 25.5.17
Brokering Intercultural Exchange - London, Nov 2017 - Dr. Lisa Gaupp
11. • Amīn, Khālid; Laamiri, Mohammed (2010): Performing cultural diversity ; Critiquing postcolonialism. 1st ed. Tetouan:
Université Abdelmalek Essaâdi, Faculty of Letters and Humanities, Resaerch Group of Performance Studies (Series:
Conderences and colloquia).
• Amīn, Khālid: Postcolonial Modernity. Theatre in Morocco and the Interweaving Loop. In: Erika Fischer-Lichte, Torsten Jost
und Saskya Iris Jain (Hg.): The politics of interweaving performance cultures. Beyond postcolonialism . Routledge New
York / London 2014, S. 25–41.
• Becker, Howard S.: Art Worlds. University of California Press: Berkeley/Los Angeles/London 2008.
• Bennett, Andy/Taylor, Jodie/Woodward, Ian (Hrsg.): The Festivalization of Culture. Ashgate: Surrey/Burlington, VT 2014.
• Bhabha, Homi K.: Die Verortung der Kultur. Tübingen 2000.
• Bottiroli, Silvia/Dalfini, Marzia/Polent, Giulia (Hrsg.): HOW TO BUILD A MANIFESTO FOR THE FUTURE OF A FESTIVAL.
Santarcangelo 2015.
• Buchholz, Larissa/Wuggenig, Ulf: Kunst und Globalisierung. In: Munder, Heike/Wuggenig, Ulf (Hrsg.): Das Kunstfeld. Eine
Studie über Akteure und Institutionen der zeitgenössischen Kunst am Beispiel von Zürich, Wien, Hamburg und Paris. JRP/
Ringier: Zürich 2012, S. 163-188.
• Elfert, Jennifer: Theaterfestivals. Geschichte und Kritik eines kulturellen Organisationsmodells. Bielefeld: Transcript 2009.
• Fischer-Lichte, Erika/Roselt, Jens: Attraktion des Augenblicks – Aufführung, Performance, performativ und Performativität als
theaterwissenschaftliche Begriffe. In: Theorien des Performativen. Pangrana Band 10, Heft 1, 2001, S. 237-253.
• Fischer-Lichte, Erika / Jost, Torsten / Jain, Saskya Iris (Hrsg.): The Politics of Interweaving Performance Cultures. Beyond
Postcolonialism. Routledge New York / London 2014.
• Foreign Affairs 2014: http://www.berlinerfestspiele.de/de/aktuell/festivals/foreign_affairs/archiv_fa/archiv_fa14/
fa14_archivintro/fa14_archivintro_1.php, Abruf am 1.7.2015.
• Foucault, Michel: Dispositive der Macht. Über Sexualität, Wissen und Wahrheit. Berlin 1978.
• Giorgi, Liana/Sassatelli, Monica/Delanty, Gerard (Hrsg.): Festivals and the cultural public sphere. London: Routledge 2011.
• Husemann, Pirkko: A Curator’s Reality Check. Conditions of Curating Performing Arts. In: Von Bismarck, Beatrice/Schafaff,
Jörn/Weski, Thomas (Hrsg.): Cultures of the Curatorial. Sternberg Press: Berlin 2012S. 268-286.
• Immel, Oliver/Hütig, Andreas: Symbol, Existenz, Lebenswelt. Kulturphilosophische Konzepte und ihre Relevanz für den
Interkulturalitätsdiskurs. In: Gerlach, Hans-Martin/Hütig, Andreas/Immel, Oliver (Hrsg.): Symbol, Existenz, Lebenswelt.
Kulturphilosophische Zugänge zur Interkulturalität. Frankfurt am Main 2004.
• Lind, Maria (Hrsg.): Performing the Curatorial. Within and Beyond Art. Sternberg Press: Berlin 2012.
• NXT.STP: Documentation 2007-2012. Download: http://www.nxtstp.eu/files/NXTSTP_5_years.pdf, Abruf am 30.5.2015.
• Theaterformen (Hrsg.): Besucherumfrage Festival Theaterformen Hannover 2013.
• Timm, Tobias: Die Macht der Geschmacksverstärker. In: ZEIT online. Kunst. 5. Mai 2011. Auf: http://www.zeit.de/2011/19/
Kunst-Kuratoren. Abruf am 6.12.2012.
• Von Bismarck, Beatrice/Schafaff, Jörn/Weski, Thomas (Hrsg.): Cultures of the Curatorial. Sternberg Press: Berlin 2012.
• Welsch, Wolfgang: Was ist eigentlich Transkulturalität? In: Kimmich, Dorothee (Hrsg.): Kulturen in Bewegung : Beiträge zur
Theorie und Praxis der Transkulturalität. Bielefeld 2012. S. 25-40.
• Willnauer, Franz : „Musikfestspiele und Festivals“, in: Musik Almanach 2007 ⁄ 08. Daten und Fakten zum Musikleben in
Deutschland, hrsg. v. Deutschen Musikrat, Regensburg 2006, S. 63. Zit. in: Musikland Niedersachsen gGmbH (Hrsg.): Musik an
allen Orten. Festivals im Musikland Niedersachsen 2012. Hannover 2012. S. 11.
Thank You! gaupp@leuphana.de
14. Festivals
• „The contemporary festival [...] becomes a potential site for
representing, encountering, incorporating and researching
aspects of cultural difference.“
(Bennett/Taylor/Woodward 2014: 1)
• Social practice = „a temporally unfolding and spatially
dispersed nexus of doings and sayings“
(Schatzki in Reckwitz 2008: 44)
Brokering Intercultural Exchange - London, Nov 2017 - Dr. Lisa Gaupp
15. the Curatorial
• „It [the curatorial; d. V.] is a series of existing knowledges that come together momentarly to
produce what we are calling the event of knowledge; a moment in which different knowledges
interacting with one another to produce something that transcends their position as
knowledge.“ (Rogoff 2012: 23)
• Curating = „the
technical modality of
making art go
public“ (Lind 2012: 11)
Brokering Intercultural Exchange - London, Nov 2017 - Dr. Lisa Gaupp
16. Performing
Arts
„Historically, performance art has been a medium
that challenges and violates borders between
disciplines and genders, between private and
public, between everyday life and art, and that
follows no rules. In process, it has energized and
affected other disciplines – architecture as event,
theater as image, photography as performance.“
(Fischer-Lichte/Roselt 2001: 241)
Brokering Intercultural Exchange - London, Nov 2017 - Dr. Lisa Gaupp
