6 Modules

Through multiple one-to-one conversations, students are tasked to explain selected curatorial propositions, and simultaneously shape and reshape their positioning and perspectives. Facilitated by Heman Chong, the format takes after experiential performances devised for students most recently being Advanced Studies... (Ten Lessons for Life) in 2012, complicating the dynamics of orating and listening, teaching and learning. Textual fragments containing curatorial propositions and their references will be assigned to each participant at the beginning of the workshop to aid preparations.

Each participant is expected to carry their textual fragments with them through the duration of Curating Lab 2012 and continuously reflect and respond to these fragments by way of blogging online and discussion.

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1

 It is common practice that artists collaborate with other artists to create ideas and art works. Increasingly, such approaches are deployed between artists and curators. The exhibition produced out of such contexts can sometimes be regarded as art works. It is not uncommon for artists to be curators, and curators to be artists. Explore the notions of a 'curatorial community'.

2

Information, as a body of knowledges and ideas, is synonymous to the 'internet' landscape. Its volume and accessibility provides a readymade resource for curators to mine. Appropriating sets of knowledge as a basis for exhibitions is commonplace, often adopted as a predefined strategy. The internet and its 'raw materials', in its organization and contents, can also be readily assimilated into an exhibition.

3

More often than not, ambiguity - as seen in images, objects, or situations - prompt a certain lack. We tend to disregard its utility. Perhaps another way of thinking about the ambiguous are the potentials it may accommodate; to regard ambiguity not simply as something opposed to clarity, but to consider its indistinct form(s) as ways to locate a set of meanings within the work or exhibition. Explore the usefulness of ambiguity.

4

Books, e-books, websites, artists books - a collection of images and text spread over linear and non-linear pages are valid curatorial forms. They also play on the differences (and similarities) between document(ation) and material(ization). Compare this to the exhibitionary.

5

Think of the word 'Concept'. Refer to the word 'Conceptual'. Think of the word 'Performance'. Refer to the word 'Performativity'. We live in a reality that requires certain definitions in order for us to identify with things on a symbolic level. However, such definitions have this effect of closing up situations in which we can think about things. Identify the problems involving language and exhibitions.

6

We are witness to a number of exhibitions and art works that involve commentary or reactions to socio-political issues. Art as activism has always been a highly contested arena, with many varied perspectives on the multiple issues involved. Think about an area in which art and politics had often come into contact, and state the various positions and reasonings for such positions.