1-5 Lecture activity and active discussion with students, study of literature. 1. Introduction to the world of contemporary art. 2. Gallery collection institutions and kusthalle. Taking into account the development of gallery institutions in our country since the 1990s to unofficial spaces. 3. Critical Collections: ARTYCOK.TV ? SPECIAL PROGRAMS ? CRITICAL SERIES ? OMG!!! Moravian Ostrava gallery, NG1, NG2, GASK I., GASK II., ARTBANKA. 4. Art collectors. The foreign context within old art collections, contemporary art collectors and private galleries. 5. Private galleries in Prague and collectors of contemporary art - selection and specific examples - Drdova Gallery, Svit, Polansky. 6-8 Preparation of the exhibition catalog. 6. Catalog concept. 7. Production ? graphic editing, language editing, translation, financing and printing. 8. Copyright in the context of royalties, license agreements, etc. 9?11 Preparation and presentation of the curatorial plan of student galleries. 9. Division of galleries, consultation of curatorial plans. Preparation of the exhibition concept, plan. 10. Presentation of curatorial plans. 11. Preparation of exhibition production. Funding of the exhibition.
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The workshop introduces the participants to the issues of curatorial activities from a theoretical and practical point of view. Focuses on the contemporary art scene in the context of curation in the Czech Republic with regard to world developments. Comprehensively introduces the student to gallery operations ? preparation of a curatorial theme, selection of artists, financing, implementation and PR strategy, etc. Students are involved in gallery programs following FUD (Galerie Rampa, Billboart Gallery, etc.). At the same time, they are preparing for publication a catalog of their exhibition from the previous academic year, which includes the inclusion to FUD's editorial activity, proofreading, translation and submission to the press up to book PR and baptism.
The gained capabilities constitute an encompassment and an aquirement of knowledge and experience in the subject and are aimed at a profile´s fulfilment of the graduate of the given field of study.
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BAKEŠ, R.; BAKEŠ, L. (eds.). Model 11-21. Berlínskej model, Praha, 2022.
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BERTRAND, S. Contemporary Curating, Artistic Reference and Public Reception: Reconsidering Inclusion, Transparency and Mediation in Exhibition Making Practice. Taylor & Francis, London, 2021.
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HORÁK, O. (ed.). Místa počinu: Historie výstavních prostorů u nás od 19 st. po současnost. Komunikační prostor Školská 28, Praha, 2010.
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JEŘÁBKOVÁ, E. Zvuky krize. CPSU, Praha, 2020.
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kol. autorů. Sbírat umění dílčí aspekty sběratelství a trhu se současným uměním v ČR. e-book. Institut umění - Divadelní ústav, Praha, 2017.
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KORECKÝ, D. (ed.). Médium kurátor: Role kurátora v současném českém umění. Fra, Praha, 2009.
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MARINCOLA, P. What Makes A Great Exhibition?. Philadelphia, Philadelphia Exhibition Initiative, 2010.
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MORGANOVÁ, P.; NEKVINDOVÁ, T.; SVATOŠOVÁ, D. Výstava jako médium. České umění 1957-1999. AVU, Praha, 2020.
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OBRIST, H. U. Stručná historie kurátorství.. Galerie Středočeského kraje, Kutná Hora, 2012.
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O'DOHERTY, B. Uvnitř bílé krychle: ideologie galerijního prostoru.. tranzit.cz, Praha, 2014.
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Pachmanová, M. (ed.). Ex-pozice. O vystavování muzejních sbírek umění, designu a architektury. UMPRUM, 2018.
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Schubert, K. The Curator´s Egg: The Evolution of the Museum Concept From the French Revolution to the Present Day. London, 2009.
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SMOLÍKOVÁ, M. (ed.). Management umění. VŠUP, Praha, 2008.
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SÝKOROVÁ, L. Nezávislé kurátorství ve volném čase. FUD UJEP, Ústí nad Labem, 2016.
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