A report of the course, Art & Dialogue. Designed for EU based education and audience development professionals, curators working in art and educational institutions or artists and gallerists working on audience engagement and education projects.
Objects, natural or manufactured, have a special place in the world as animated partners of our wishes, dreams and aspirations. Either as possessions or as symbols of identification, objects tell our story in a blunt way – the way of an object. Through history, artists next to the plain utensils would make objects that carried stories of fertility, childhood, worship, status, etc. At the same time, people would become a stone to hide from the enemy, a dagger to fight back, an ointment to heal the beloved. This sharing of humanity between people and objects is what the project I-object is about.
We ask artists to put themselves on the shelf as an object which will tell their story, a story.
One night I managed to get to the cinema. I walked for about an hour, I needed to get away from the intense internal dialogue about art, and longed for a movie that required little thought and that would last over two hours. A science fiction blockbuster. The plot was straight forward: they came and we beat them.
It was raining lightly, but just enough to make us wish we were inside a cafe drinking coffee over a conversation about art. Leena, Philip and myself were out on the street looking for such a cafe, and also an art gallery to accomplish the goal of the field trip that afternoon. We stumbled upon a gallery before a cafe. One of the employees was assembling an IKEA cupboard with the distinctive uni-lingual cartoon instructions sheets. Nevertheless we were welcomed to have a look.
‘We have just come back from the art fair.’, the owner told us proudly.
On a rainy Tuesday afternoon I entered the 39 000 m² multi-purpose and multi-disciplinary Centquatre: visual arts, film screenings, theater, installations and most apparent a social environment for the public and street dancers.
Select a section of the museum and assess the curation in line with the new paradigms studied in the course in reference to audiences of different cultural backgrounds that each participant deals with in their daily work environments and their likely responds
On entering le Louvre and acquiring a map, I set about deciding which section I should investigate. Immediately the Greek, Etruscan, and Roman section sprang out in Prussian blue.