{"id":87444,"date":"2022-11-29T10:08:12","date_gmt":"2022-11-29T09:08:12","guid":{"rendered":"https:\/\/www.unirufa.it\/?p=87444"},"modified":"2022-11-30T16:25:09","modified_gmt":"2022-11-30T15:25:09","slug":"curatorial-method-and-profession","status":"publish","type":"post","link":"https:\/\/www.unirufa.it\/en\/2022\/11\/29\/curatorial-method-and-profession\/","title":{"rendered":"Curatorial Method and Profession"},"content":{"rendered":"

by Fabrizio Pizzuto, coordinator and lecturer of the new Master in Art Curating and Art Management<\/a><\/h4>\n

 
\nWe are here to design a new course of study in Art Curating and Art Management without prejudice, but with courage, starting from tentative definitions of each subject and each professor\/professional identified. It implies talking to the most relevant players <\/strong>in Rome\u2019s art scene – whether they are Italian or not \u2013 asking them the kind of questions they usually ask themselves, namely the meaning, the definition, no matter how subjective and fragmented it is, or even biased, relating to their own subject, to the living issues they constantly deal with. This in an inventive attempt to shape a container of informed speculations with prominent art professionals in this historical period.
\nThe ultimate purpose is to create a \u2018think piece\u2019 of current times, thus finding an appropriate way and a space to develop the education proposal for Art Curating and Art Management. To do this, and to be grounded and solid, we must be ready to stand by our personality \u2013 while building a collective one, to challenge our own proposals, to engage in uncensored readings, to learn how to work with them, and to stage and put in play contemporary artworks. <\/p>\n

In the most traditional courses pertaining to the contemporary art system, we often find as a starting point the revolutionary principles stated by Paul Durand Ruel, which were basically five. At that time, it was about generating new demand for a new audience, having its exclusive right, tracing a critical and thinking territory through the foundation of specialized journals, developing artists’ poetics through solo exhibitions, and finally generating a network of international relations. This was the basis conceived for the new generation of outcasts that were the Impressionists, on which recent art history was shaped. Leo Castelli and Peggy Guggenheim existed on these premises. History, however, twists and turns, and there are so many names we have to become familiar with in our course. And different names represent different methods, analytical skills, and working possibilities. <\/strong><\/p>\n

The key assumption is that an art management course can\u2019t live without a deep understanding of visual thinking. To make a short story long, it is about the fine line between phenomenon and noumenon, between the understanding of what already exists and the creation of new aesthetic entities that are whole and traversable. It\u2019s like learning music, hearing without listening is like seeing without a vision. There is an intuitive understanding that implies emotional implication, and there is also a technical understanding, which entails necessary questions: how does the artwork pursue this state of mind? What really happens to the composition and the space?
\nKnowing the distance of the stars does not destroy the magic of a starry night, but generates a new, infinite level of it, before which we are small and once again innocent and unconscious. In art, space, therefore, returns as an enacting stage, and words as artwork enactment. <\/p>\n

Writing becomes an art in itself, born from literature and growing in tones, spacing, and punctuation, similar to supports in sculpture, until it becomes self-standing.<\/h4>\n

 
\nIn this scenario, art criticism is surely generated from vision and writing but evolves into a precise and primary field.
\nA matter that changes over time towards and throughout visual arts, that iteratively moves, also visually speaking, from form to content, phenomenon to noumenon, gesture to texture, action to access. We can\u2019t but mention the paradoxical idea of putting up for sale artworks, even if they are not objects. Idea that stemmed from a cultural situation and not yet pertaining to all audiences, despite drawing there its workforce. Artworks for enjoyment, artworks for history, artworks for museums, artworks for sale, they all belong to the same world but not to the same way of thinking, relating to the concept of ownership, the illegitimate parent of advertising and phenomenology. <\/p>\n

One may wonder, then, what is this aspiration for a leap of glory, immortal essence, goal-driven hard work. A goal that can be found in the struggle (social and anti-social), which goes from the discovery of a language to the tale of a new class rising. Everything can already be here, closer than we thought, in plain sight, like Poe’s letters, in the ability to watch, in the sensitization of every willing spirit, in the writing of mental narratives that flow into critical thinking to reach not only the elitist visions and guilt complexes of art buyers, but also wherever one may feel orphaned of a visual thinking exertion connected to being in this world.
\n <\/p>\n

Fabrizio Pizzut<\/a>o<\/h4>\n

Sicilian art critic, lecturer in Contemporary Art History and Art Management.
\nHe specialized in Contemporary Art History at the School of Specialization in Siena, directed by Enrico Crispolti with a thesis developed after residency in Paris at the Cit\u00e9 des Arts for Incontri Internazionali d’arte in 2006.
\nHe currently runs the non-conventional exhibition space and online platform for art criticism KHLAB<\/a> of which he is co-creator and co-founder. He is curator and Art Dealer for Wepp Art s.r.l. He collaborates with the Nation 2.0 platform in Dubai (UAE).
\nHe collaborates with Inside Art Magazine and Liquitex on artist residencies in Rome at the Fondamenta space.
\nHe has curated and curated exhibitions and written texts for galleries and exhibition spaces in Italy and outside.
\nHe lives and works in Rome.","protected":false},"excerpt":{"rendered":"

by Fabrizio Pizzuto, coordinator and lecturer of the new Master in Art Curating and Art Management   We are here to design a new course of study in Art Curating and Art Management without prejudice, but with courage, starting from tentative definitions of each subject and each professor\/professional identified. It implies talking to the most… Find out more<\/a><\/p>\n","protected":false},"author":28,"featured_media":87859,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"content-type":"","footnotes":""},"categories":[1767],"tags":[],"class_list":["post-87444","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-curating-and-management"],"yoast_head":"\nCuratorial Method and Profession - RUFA - Rome University of Fine Arts<\/title>\n<meta name=\"description\" content=\"Si tratta in questa sede di ridefinire un corso di studi in Art Curating and Art Management senza preconcetti, con coraggio, ripartendo da possibili definizioni\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.unirufa.it\/2022\/11\/29\/curatorial-method-and-profession\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Curatorial Method and Profession - 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