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Clémentine Deliss and Hans Ulrich Obrist: the Metabolic Museum and A.I

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Clémentine Deliss and Hans Ulrich Obrist: the Metabolic Museum and A.I Clémentine Deliss and Hans Ulrich Obrist: The Metabolic Museum and A.I. Internationally renowned curators Clémentine Deliss and Hans Ulrich Obrist present future-thinking about museums, artificial intelligence, and the physical, virtual, and conceptual fates of artifacts, archives, and audiences. Tuesday, November 27, 2018, 7:00-9:00 pm SVA MA Curatorial Practice, 132 West 21st Street, 10th floor, New York, NY Clémentine Deliss is a curator, publisher and cultural historian. She studied contemporary art and semantic anthropology in Vienna, Paris, and London and holds a PhD from SOAS, University of London. In 2016, she initiated and curated the Dilijan Arts Observatory, a transdisciplinary fieldwork gathering in a former electronics factory called Impuls in Dilijan, Armenia. Between 2010–2015, she directed the Weltkulturen Museum in Frankfurt, instituting a new research lab to remediate collections within a post-ethnological context. Exhibitions she curated at the Weltkulturen Museum include Object Atlas - Fieldwork in the Museum (2011), Foreign Exchange (or the stories you wouldn’t tell a stranger) (2014), and El Hadji Sy - Painting, Politics, Performance (2015). From 2002–2009, she ran the transdisciplinary collective Future Academy with student research cells in London, Edinburgh, Dakar, Mumbai, Bangalore, Melbourne, Tokyo, and Yamaguchi. She was the publisher and editor of the itinerant artists’ and writers’ organ Metronome and twice part of documenta (1997, dX and 2007, d12). She has held guest professorships at the Städelschule, Frankfurt, at the Academy of Fine Arts in Oslo, and at the Edinburgh College of Art. She has been a consultant for the European Union and is on the scientific board of the Musée du quai Branly. She recently curated three international roundtables on Transitioning Museums in South East Asia for the Goethe-Institut, and is currently preparing exhibitions for the National Galerie, Hamburger Bahnhof in Berlin (March 2018), and the Centre George Pompidou in Paris (October 2018). She has recently curated Europe or Die in Paris, the first public encounter with the artist group Organs & Alliances. She is a visiting professor at the École Nationale Supérieure d’Arts Paris Cergy and a visiting researcher at the Institut National de l’Histoire de l’Art, Paris. She lives in Berlin. Hans Ulrich Obrist is currently Senior Program Advisor at The Shed in New York City and Artistic Director of the Serpentine Galleries, London. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first show World Soup (The Kitchen Show)in 1991, he has curated more than 300 shows. Obrist has co-curated at the Serpentine Galleries solo shows for Lucy Raven, Zaha Hadid, John Latham, Arthur Jafa, Grayson Perry, as well as a group show with Tania Bruguera, Douglas Gordon, Laure Prouvost, and Cally Spooner. In 2014 he curated the Swiss Pavilion at the 14th International Architecture Biennale in Venice, where he presented Lucius Burckhardt and Cedric Price—A stroll through a fun palace; the building was designed by architects Herzog & de Meuron, and the program was developed with artists Liam Gillick, Philippe Parreno, Tino Sehgal, and Dominique Gonzalez- Foerster. Obrist's Art of Handwriting project is taking place on Instagram (https://www.instagram.com/hansulrichobrist/) and is a protest against the disappearance of handwriting in the digital age. In 2013, Obrist co-founded with Simon Castets the “89plus,” a long-term, international, multi-platform research project, conceived as a mapping of the digitally native generation born in or after 1989. In 2011 Obrist received the CCS Bard Award for Curatorial Excellence, in 2009 he was made Honorary Fellow of the Royal Institute of British Architects (RIBA), and in 2015 he received the International Folkwang Prize for his commitment to the arts. Obrist has lectured internationally at academic and art institutions, and is a contributing editor to several magazines and journals. Obrist’s recent publications include Conversations in Mexico, Conversations in Colombia, Ways of Curating, The Age of Earthquakes with Douglas Coupland and Shumon Basar, and Lives of the Artists, Lives of the Architects. _______________________________________________________________ ABOUT MA CURATORIAL PRACTICE, THE SCHOOL OF VISUAL ARTS, NEW YORK The Master of Arts degree in Curatorial Practice is a two-year program that focuses on professional training, with a thorough grounding in the relevant study of history, research, and theory, and with an emphasis on hands-on work with leading experts in the field, along with continuous opportunities for professional networking with curators, museum directors, and other professionals from around the world. Our foremost goal is to provide practical experience and intellectual depth in order to place graduates of the program in curatorial jobs. The program takes full advantage of the vast number of arts institutions and professionals on the doorstep of the school in Chelsea and throughout New York City, which provides countless occasions for study, mentoring, and professional development. Go to macp.sva.edu to find out more. .
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