The second curatorial school
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Sukhaya
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eng
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GENERAL INFORMATION ABOUT THE CURATORIAL SCHOOL
The curatorial school is one of the key projects of the NEMOSKVA platform. It has a nomadic format. The idea of holding a school in different cities of the country is related to the need to increase the availability of education for regional communities. Annual training is a professional development program for specialists and an opportunity to activate horizontal connections between experts working in different contexts, in order to stimulate translocal cooperation.
2019
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The first NEMOSKVA Curatorial School was held in the fall of 2019 in Satka, Chelyabinsk Region. The topic of the discussion was "The Art of the Document: The Poetics of Testimony". The participants of the school were offered to study a wide range of problems of documentaryness and new forms of realism as key tools for interaction with the current artistic agenda. Classes were held in English and Russian. Education was free, students were paid for travel and accommodation.
The first Curatorial School
The theme of the Second Curatorial School is "Reanimation. Care and criticism in the curator's work" - was announced in July 2020 and touched upon two blocks of issues. The first is about the nature of care. What is the reanimation of complicity in the era of forced social distancing and automation of everyday life? What is the temporality of caring? How is caring here and now different from extended caring? In the second block the questions about the importance of caring in the work of a curator are raised. What bothers me as a curator? How do we (curators) show care? How and where do we (curators) get help? Whom can we take care with? What do I not give a damn about?
Baikal
2021
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Satka
1 stage. From October 1, 2020 to June 1, 2021
In person, on the right bank of Lake Baikal (recreation center "Park Sagaan Morin", Sukhaya village, Republic of Buryatia).
2 stage. From 14 to 27 June 2021
By asking these questions, the school initiates a conversation about the aspirations and limitations of curatorial work.
The second Curatorial School of the NEMOSKVA platform took place in two stages:
1 stage.
From October 1, 2020 to June 1, 2021
Участники
2 stage.
From 14 to 27 June 2021
Offline
Online
Novorossiysk
Astrakhan
Vladivostok
Baku
Baikonur
Irkutsk
Ekaterinburg
Kostroma
Moscow
Samara
Ulan-Ude
Novosibirsk
Omsk
Tumen
St. Petersburg
Tutors
Yaroslav Alyoshin
Curator of the V-A-C Foundation
Daria Malikova
Curator of the Ural branch of the Pushkin Museum (NCCA Yekaterinburg)

Yara Bubnova
Curator and Director of the National Art Gallery of Bulgaria
Mikhail Rozhansky
Historian and director of the NGO "Center for Independent Social Research and Education"


Barbara Golub
Artist and curator (Vienna, Austria)
Sergei Ushakin
Anthropologist and professor at Princeton University
Ilya Kalinin
Cultural historian and literary critic
Yulia Krivtsova
Curator and co-founder of the cultural center TEXTIL

Организаторы и партнеры
ГМИИ им. А.С. Пушкина
Правительство Республики Бурятия
ГАУК РБ «Национальный музей Республики Бурятия»
Центр поддержки и развития современного искусства ZAART
Благотворительный фонд Владимира Потанина
Правительство
Фландрии Flanders State of the Art (Бельгия)
The Second Curatorial School was focused on the creation of a series of collective projects "Cultural (anti-) institution of the future", including the analysis of the context and image of the audience. An (anti-) institution of the future is an organization and / or horizontal network that supports cultural production and consumption, cultural life in a given territory. Working on the project, the school participants had to move from developing a theory of care to conducting applied and practical research.
Projects
From developing a theory of care to conducting applied and practical research
In March 2021, the participants began to search for ideas and project concepts, divided into four groups. Each group worked with a problem that was close to it. During two weeks of the face-to-face stage at Lake Baikal, the participants created collective projects and presented them at the final meeting of the Curatorial School.
Wandering
Regional
Rhizome
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WRB instructions are strange experiences that have arisen in a situation of lack of resources and knowledge, but have turned out to be interesting and productive in their own way; these are cases born in the specific contexts of Russian cities and art communities.

Currently, the "Wandering Regional Rhizome" is a zine that you hold in your hands (or look at on the screen), an account on Instagram, and inside there are "recipes" that are easily adaptable to local specifics.

These are not only ideas, but also algorithms that have already worked. And what, was it possible this way?
The artistic scene of each region has its own specifics: artists, spaces, relationships. While everyone's experience is unique, we share similar concerns. How does one find inspiration? How to work with local communities and authorities? How does one find funding?

Taking as a basis the image of a rhizome - a branched mycelium without a single center - we turn to the experience of the regions, creating a breeding ground for support and exchange.

We looked for inspiration in unusual fields and found a cookbook, gardener's guide, and survival kit. They give us an idea of how to structure a project and present different experiences.
Project team
PERFORMAT
Механика реализации проекта:
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• Research, search and summarization of information on the functioning of horizontal communities, questions of collegial management. Drawing up a conceptual framework based on a wide corpus of examples: from theoretical texts to the practices of artistic associations and self-organizations;
• Developing practices and exercises based on theory;
• Development of a module* on a specific request.

* The module may include a set of performative / bodily / cognitive / discursive / acting practices and exercises.
We decided to work not with the utopian image of the cultural (anti-) institution of the future, but chose a more practical and realistic approach. During the learning process, the school participants outlined the values and characteristics that should be in the (anti-) institution. PERFORMAT offers specific tools for their, at least - approximation, and, as a maximum - achievement. The project is aimed at reconfiguring and re-formatting existing working associations (groups, communities, institutions).

In full-time school, we focused on the aspect that appears to be the most important: collegial decision-making and horizontal structures. The pilot project will help bring interaction in a team / group / community / institution to a new level.

It's one thing to say, "Another world is possible.
Another thing is to feel it on your own experience,
no matter how brief this experience is
David Graeber


PEER-agency
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Project team
Nadezhda Abzayeva
Independent curator, member of the Association of Art Critics (Ulan-Ude)
ForNothing
(ZaZrya)
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"ForNothing" is implemented in the format of an online platform. It has the following structure: a questionnaire, which contains information about the artist/project, reasons for refusal, the source of the application and the conditions of the competition; base is an archive of projects that were refused implementation following the results of the competition; generative models - a set of filters based on personal data and a checklist of refusals, tools for quantitative, qualitative and game research of the material, its visualization; and the story magazine is a section of the online "wall newspaper" that is designed to publish stories / materials / refusal examples.
"ForNothing" creates a parainstitutional field of art. This project can solve the problem of refusals in the interaction of artists / curators with institutions.

The open-call format has a competitive nature and forces you to face refusals from one side or the other, but few people know how to implement them in the least traumatic way. We have summarized our own experience and other communities and developed recommendations for institutions on careful communication with artists/curators. We create visibility of rejected projects; act as a platform for finding like-minded people / opportunities / ideas; become a space for expression.


Project team
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A map can help a person when they go to a new unfamiliar city and do not have information about local communities and initiatives. It is a living network of practices and relationships that develop in space and time according to the principles of sharing. We want to make the places and people that we see visible. Locality and subjectivity are important to us.

Telegram chat will be a friendly interface for maintaining connections between participants from different cities. We offer ad-hoc and reinventing online and offline meeting practices: morning drifts, co-op cooking, candlelit dinners, bath readings, parody and dress-up practices.
The Peer Agency builds communication and connections between people and regional art communities.

We were interested in the question: how to develop hospitality mechanisms? We were inspired by the principles of building peer-to-peer networks, in which all interconnected computers can receive, store and transmit information without using an external server.

We have created a hospitality map on which an artist, researcher, curator, anyone who wishes can find or provide a platform for research, temporary residence, project implementation; find people to meet, communicate and support.
Project team
Artist, comics artist, member of the "Space Cow" art group (Tyumen)
Georgy Elaev
Independent curator, artist, teacher, consultant at Calvert 22 Foundation (Irkutsk / Moscow)
Elena Anosova
Interdisciplinary artist, researcher of bodily practices (Krasnoyarsk / Novosibirsk)
Anna Bolsunovskaya
Curator of the Victoria Underground department of the "Victoria" Gallery (Samara)

Anastasia Albokrinova
Lera Lerner
Curator, artist, mediator, founder of the Imaginary Museum of Displaced Persons (St. Petersburg)


Erzhena Naidanova
Head of the Scientific and Exhibition Department of the Ethnographic Museum of the Republic of Buryatia (Ulan-Ude)
Methodologist of the Vladivostok Fortress Museum-Reserve, author of the Telegram channel "Sorts of Sovrisk" (Vladivostok)
Kristina Aleksandrova
Anastasia Bespalova
Artist, digital designer, curator of the festival of contemporary photography "KosMost", co-host of the podcast "Instead of images" (Kostroma)
Curator of Museum Collections of Decorative and Applied Arts and Sculpture, National Museum of the Republic of Buryatia (Ulan-Ude)
Svetlana Gungarova
Artist, curator (Baikonur / Moscow)
Sasha Puchkova
Art critic, mediator, curator of exhibition projects at the Center for Contemporary Culture of the UrFU and Sinara Art Gallery (Yekaterinburg)
Lev Shusharichev
Photographer, visual artist, curator (Kharkiv / Moscow)

Oksana Yushko
Peer-agency map
Presentation
Head of the Sampilov Art Center, National Museum of the Republic of Buryatia (Ulan-Ude)
Daria Gomboeva
Art critic, curator of the "Chilim" public art festival (Astrakhan)
Evgenia Kozlova
Theorist, creator and co-editor of the artistic and theoretical platform CYBERFEMZINE, member of the n i i c h e g o d e l a t group (St. Petersburg)

Yozhi Stolet
Artist, situational curator, member of art groups: "Nadenka" - since 2015 and "No Excuses" - since 2020 (Omsk)
Maria Alexandrova
Independent curator, artist (Novorossiysk)
Katerina Verba
Instagram
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Встречи по Цеху – серия публичных онлайн-дискуссий с кураторами, художниками и исследователями из разных регионов. Встречи были направлены на подключение к обсуждениям коллег из разных контекстов, чтобы выстроить общее понимание "matters of care" внутри процессов культурного производства. Сквозная тема серии "Культурные (анти-)институции будущего" позволила обсудить поломки в машинах культурного производства, внутрицеховые наработки по их ремонту, налаживанию и перепрограммированию.
Встречи по цеху
Это первая "Встреча по цеху", на которой мы поговорили с представителями региональных институций о том, как они взаимодействуют между собой. Дискуссия состоялась с участием Кристины Горлановой - заведующей Уральского филиала Пушкинского музея (ГЦСИ), Дмитрия Безуглова - куратора публичной программы Уральской Индустриальной биеннале современного искусства (Екатеринбург) и Марии Буковой - директора Музейного центра "Площадь Мира" (Красноярск).
На примере региона, где сложная ситуация с институциями и образовательными программами в сфере современного искусства, состоялось zoom-обсуждение возможных взаимодействий художников из Восточной Сибири и кураторов из других регионов. Елена Аносова — участница 2-й Кураторской школы платформы NEMOSKVA познакомила коллег с художниками из своего региона. Приглашенные художники:
Елена Аносова, (Иркутск), Гриша Шаров, (Братск)Cтепан Шоболов, (Иркутск), Марина Истомина, (Усть-Кут), Катя Шрамко, (Иркутск-Ольхон), Карина Пронина, (Улан-Удэ)
На встрече своим опытом образовательных практик и практик медиации поделились Яна Гапоненко - куратор, арт-менеджер, создатель Владивостокской школы современного искусства (Владивосток), Полина Спорышева - ведущий специалист культурно-просветительского отдела ГЦСИ-Арсенал (Нижний Новгород). Также на встрече были подняты вопросы инклюзивных программ и партисипаторных практик.
Встреча с Анной Зыкиной - директором фонда Владимира Смирнова и Константина Сорокина (Москва), Женей Чайкой - независимым куратором и куратором арт-резиденции "Шишимская горка" (Екатеринбург) и с Иваном Исаевым - куратором мастерских музея современного искусства "Гараж". На дискуссии обсуждалось, как выстраивать работу по взаимодействию с художниками и поддержанию художественного производства сейчас и в будущем.
09.02.2021
08.12.2020
17.11.2020
27.10.2020
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During the school, its participants, senior curators and researchers actively exchanged open letters on the topic of care. Experimenting with different genres of writing and enriching collective reflection with the personal considerations of each - these are the tasks of the "republic of letters". Unlike regular meetings, correspondence was conducted at a slower pace, weaving different voices and intonations into a general conversation.
2 Step
1 Step
3 Step
4 Step
REPUBLIC OF LETTERS
Answer:
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On the method
How do I answer all your letters in one letter? Is a polylogue possible or is it utopia? How do you structure a conversation to give everyone the floor and still keep the thread of reasoning going, without losing focus?
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I want to stop - I can't take it anymore
The frames are flashing faster - time has chewed up the film
The clock, like a mill, is turning the hand...
I am not wheat! I cannot be processed into flour!
Reanimation.
Letters not about the virus.
I personally find it easier to speak than to write. But it's important for me to try not only to speak, but also to find a way to describe the conflicting practices of carе and criticism. I don't know how to reconcile the ethics of caring and the posture of criticism, empathy and defamiliarisation. Armed with an anthology of Russian modernism and a stack of books on the theory of care...
From:
Daria Bocharnikova
Answer:
Answer:
Yozhi Stolet
From:
Anna Bolsunovskaya
From:
Lev Shusharichev
From:
From:
Daria Bocharnikova
From:
Naya
Bespalova
From:
I personally find it easier to speak than to write. But it's important for me to try not only to speak, but also to find a way to describe the conflicting practices of carе and criticism. I don't know how to reconcile the ethics of caring and the posture of criticism, empathy and defamiliarisation. Armed with an anthology of Russian modernism and a stack of books on the theory of care...
Answer:
From:
Daria Bocharnikova
Reanimation.
Letters not about the virus.
While I hold back, so as not to start writing too exalted or too dry - this practice of reanimation would be beneficial for my writing. Let it be awkward!
– How are the things in school?
– Okay, was flipping through a cyberfeminist zine today (online, of course).
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Answer:
At some point, during the first lockdown, the word "care" became too present around me. Everyone was interested and engaged in caring, invented new practices related to this concept. In the end, the word underwent an inflation of meaning...
I
Ответ:
От кого:
Мария
Александрова
Ответ:
I
At some point, during the first lockdown, the word "care" became too present around me. Everyone was interested and engaged in caring, invented new practices related to this concept. In the end, the word underwent an inflation of meaning...
Yozhi Stolet
From:
Answer:
II
While I hold back, so as not to start writing too exalted or too dry - this practice of reanimation would be beneficial for my writing. Let it be awkward!
– How are the things in school?
– Okay, was flipping through a cyberfeminist zine today (online, of course).
Anna Bolsunovskaya
From: