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Москалёва Екатерина Александровна Moskaleva Ekaterina

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Москалёва Екатерина Александровна Moskaleva Ekaterina ФЕДЕРАЛЬНОЕ ГОСУДАРСТВЕННОЕ БЮДЖЕТНОЕ ОБРАЗОВАТЕЛЬНОЕ УЧРЕЖДЕНИЕ ВЫСШЕГО ПРОФЕССИОНАЛЬНОГО ОБРАЗОВАНИЯ «САНКТ-ПЕТЕРБУРГСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ» Москалёва Екатерина Александровна Moskaleva Ekaterina Кураторы современного искусства как культурные посредники: опыт Германии и России Contemporary art curators as cultural intermediaries: German and Russian experience Диссертация на соискание степени магистра по основной образовательной программе высшего образования по направлению 040100 «Социология», профиль «Европейские общества» / MA «Studies in European Societies» Научный руководитель / Scientific supervisor: кандидат социологических наук, доцент Хохлова А.М./ associate professor, Dr. Anisya Khokhlova. Рецензент / Reviewer: MA, lecturer of sociology department, National Research University Higher School of Economics junior research associate, Center for Youth Research Margarita Kuleva Санкт-Петербург 2016 Table of contents Introduction ...………………………………………………………………………………….…………..4 Chapter 1: Theoretical approaches to investigation of curatorial practices……………………...........7 1.1. The production of culture perspective: Richard Peterson’s approach………………………….7 1.2. Curators in the “art world”: Howard Becker……….………………………………………….9 1.3. Position of curators in the field of cultural production: Pierre Bourdieu…….……………….10 1.3.1. The notion of field…………………………………………………………………..10 1.3.2. The field of cultural production……………………………………………………..12 1.3.3. Forms of capital……………………………………………………………………..14 1.3.3.1. Economic capital…………………………………………………………..14 1.3.3.2. Cultural capital…………………………………………………………….15 1.3.3.3. Social capital………………………………………………………………17 1.3.3.4. Symbolic capital……………………………………………………....…..17 1.3.4. Curators as cultural intermediaries……………………………………………….…18 1.3.5. Criticism towards Bourdieu’s approach………………………………………..……19 1.4. Analysis of curatorship through the lens of sociology of profession…………………………19 1.4.1. Curators as creative professionals……………………………………………..…….20 1.5. Research on curatorship: two perspectives………...………………………………….21 1.5.1. Insider perspective………………………...……………………………………...…21 1.5.2. Sociological perspective…………………….………………………………………26 Chapter 2: The results of comparative empirical research………...…………………………………..28 2.1. The logic of data collection and analysis…………...…………………………………………………28 2.1.1. Sampling………………………………….…………………………………………………29 2.1.2. Working with data: transcribing, coding, analysing…...……………………………………30 2.1.3. Challenges: access to the field and research limitations…………………………………….31 2.2. Empirical analysis: curatorship in St.Petersburg……………………………………………………...32 2.2.1. Artistic institutions represented in the research sample (St.Petersburg)……….…………...32 2.2.2. Becoming a curator: classical education vs. newcomers……….………….……...………...34 2.2.2.1. Art historians as curators………………………………………....……………….34 2 2.2.2.2. Curatorial academic background………………………………………....……….35 2.2.2.3. Academic background as a source of social capital………………………............37 2.2.2.4. Family background………………………………………....……………………..38 2.2.3. Curators in state artistic institutions……………………….………………………………..40 2.2.4. Curators in private artistic institutions and self-run projects.……………………………….43 2.2.4.1. Curatorship in a private museum………………….………………………………43 2.2.4.2. Self-run curatorial projects………………….…………………………………….45 2.2.5. Curator and artist: having a show………………………………………....………………...47 2.2.6. Curatorship in St.Petersburg today: overcoming challenges……………….……………….50 2.3. Empirical analysis: curatorship in Hamburg…………………………………....…………………….52 2.3.1. Artistic institutions represented in the research sample (Hamburg)………………………...52 2.3.2. Joining the profession: academic background………....…………………………………....53 2.3.3. Freelancers and employees: curators working in Hamburg………………………………....54 2.3.4. Working with contemporary artists and art in Hamburg………………………………........61 2.3.5. Artistic scene in Hamburg and a role of a curator……..………………………………........63 2.4. Curator as a cultural intermediary in two national contexts……..………………………………........65 2.5. Curatorial practices: duties and tasks…………………………………....…………………………….68 Conclusion………………………………………....…………………………………………………..….71 Bibliography……………………….…………………………………………………….………………...75 Appendix I……………………….…………………………………………………….…………………..78 Appendix II……………………….………...………………………………………….…………………..83 Appendix III……………………….………...………………………………………….………………….98 Introduction 3 Contemporary art has always drawn great interest of the public and triggered heated discussions, and currently the process of performing and presenting contemporary art makes the focus of sociological investigations more frequently than in previous years. Consequently, in the recent decades researchers have started to examine curatorial’ practices from different perspectives, contributing to the study of the professional artistic field in general, as well as to the analysis of this specific professional cluster of curators (Acord, 2010). Сontemporary art curators play an important role in the artistic scene due to the growing importance of mediating between artistic representation, operation on the art market as an economic structure, facing bureaucratic challenges, dealing with media, and increasingly significant educational functions of artistic institutions. In this paper, contemporary art curators will be analyzed from different theoretical perspectives in two national contexts – the Russian one and the German one - due to several reasons. Firstly, I assume that curators operate as mediators between artists, museums and galleries, the government, the media, the publics and other actors of the field. Secondly, curating, being a relatively new professional field, plays a significant role in the processes of cultural production and consumption and thus becomes an interesting subject of inquiry for sociologists. Curators perform a set of professional and communicative functions in the field by realizing different communication practices and applying professional skills which will be investigated in this research. Finally, I am going to compare the experience of curating in Russia and Germany as examples of national artistic scenes by taking the cases of curatorship in St. Petersburg and Hamburg into particular focus. In order to clarify the research logic, it is important to provide definitions to the major analytical concepts which are used in the current work. First of all, it is necessary to define curating practices as the process of creation of meanings and contribution to public dialogues about ideas and art strategies which address the world in its complexity. Curating can be also seen as the process of creating opportunities for artists, based on the traditional role of researching and developing collections within art institutions, and organizing exhibitions. The study of this process focuses on contemporary art. Contemporary art in this context is understood as a complex of art practices that has been shaped in the second half of the 20th century and that aims at developing new forms of artistic expression by using unconventional tools (e.g. new materials, technologies, forms of interaction with the audience). According to governmental statistics, the number of contemporary art exhibitions organized in St. Petersburg has amazingly increased over the last two years. In 2014, there were 1076 contemporary art exhibitions, while in 2013 – only 773 exhibitions. Interestingly, in 2011 the number of exhibitions amounted to 652, and in 2012 this number remained stable as there were 677 exhibitions functioning. St. Petersburg, being the cultural capital of Russia, can also be seen as the center of the formation and 4 institutionalization of new curatorial practices. Some further evidence for that is the growing number of different art projects, art spaces and exhibition halls in the city. Yet another important evidence is the recent art event - the large scale international project Manifesta.10 which took place in St. Petersburg in 2014 and became the most discussed and complex exhibition of the year. The institutionalisation of curatorship as a profession is partly expressed by the development of specific educational programs. A growing number of private courses for those who are willing to become professional curators are established in St. Petersburg. For example, a curator school founded in the Art center Pushkinskaya 10 enjoys increasing popularity. Furthermore, the professional field of curatorship also has a growing number of representatives gaining their academic degree in the biggest university of the city: in 2005, formal educational program “Art Criticism” was launched at the faculty of liberal Arts and Sciences, St. Petersburg State University, in cooperation with Bard College. In 2014 an even more specified MA programme “Curatorial Studies” was introduced there. Interestingly, sociological studies of curators and curatorship are still lacking in Russia, even though there are some articles reflecting this issue, and in Russia the analysis of curatorial practices is largely performed by curators themselves. Meanwhile, it is essential to understand the specificity and structure of curatorial practices constituting public tastes, opinions and perceptions in the field of contemporary art which becomes a powerful tool of gaining knowledge and information by the public. At this point, the analyses of curatorial practices existing in a more stable form than in St. Petersburg and generally Russia becomes relevant. In my eyes, the experience
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