interview curateur


interview curateur

Marc Bembekoff is currently an independent curator. He studied film history and art history . After attending film programming at the national Museum of Modern Art – Centre Pompidou , he has been in charge of exhibitions at FRAC Champagne- Ardenne , and recently in charge of contemporary art programming Rodin Museum ( » The body as sculpture «  » Wim Delvoye « ). Until July 2013, he was curator at the Palais de Tokyo where he performed among other personal exhibitions Damir Ocko , Maxime Rossi and Dewar & Gicquel , before coordinating the season « New Wave « .

Meanwhile, he has a practice of independent curator . He and co- programmed  » Scratch Projection  » sessions experimental film and video artist , and curated several exhibitions including  » The eternal return : The Medusa  » ( The Bathroom , Lyon, 2008),  » beautiful images – First hypothesis  » with Céline Poulin ( the Box , Bourges, 2009) ,  » From the closed world to the infinite universe « ( Le Quartier , Quimper , 2012) , » The Mystery Spot « ( Fondation Ricard, Paris , 2012 ) .

In 2004 , Marc co-founded Bembekoff Office / , a group of seven curators with whom he leads several projects in France and abroad .

For Blouin ARTINFO , Marc Bembekoff his thoughts on his curatorial practice .

1 / Could you tell me about your curatorial through the season « New Wave  » of the Palais de Tokyo ?

Under « New Wave  » , I put on two hats : the curator team part of the Palais de Tokyo are offering projects for which this institution was committed ( The Neuflize OBC Pavilion with « The Jacobson method « and SAM Art Projects with  » Henrique Oliveria – Baitogogo « ) , and the general coordinator of the season by supporting various guest curators .

I was able to have an early overview of what looked like « New Wave « . I was an actor ( as a participant ) and cinematographer ( as representative of the Palais de Tokyo). I tried, wherever possible, to put me down vis-à- vis other curators and artists . For example, Henrique Oliveira, I left relatively free – we very soon established a relationship of trust and exchange, making germinate As this sprawling installation and how it could play with the architecture of the building.

Similarly, for the residents of Pavilion Neuflize OBC, I gave them clues , a starting point what this method Jacobson so they take ownership and shape each according to their sensibilities.

2 / How did you become a curator ? If you were to do another job , what would it be ?

I fell in early curating , featuring objects in my room when I was a child … ! Having developed an interest in art as a teenager , my studies have led me naturally to the question of exposure. I first started to program experimental cinema at the Centre Pompidou then Scratch Projection . Yarn needle , I wanted out of this projection framework to invest physical space. I then directed my studies towards curatorial training (University Rennes 2 and University Paris X Nanterre) .

Having started working young , it is difficult for me to project myself doing another job . Sometimes I have this fantasy of everything behind and go for cocktails on a beach in the Bahamas, but I think I would get bored pretty quickly . I have a constant to be close to the artists and works need …

3 /  » Trustee  » or  » commissioner » ? Is that the terminology is important to you?

For me , it is. I much prefer the idea of ​​ » Trustee » which is a term whose etymology goes back to the Latin verb curare and  » take care of « . I quite like the idea of taking care of artists to accompany both a conceptual and practical point of view .

4 / curator is it an « author » ?

There have been many debates on this qualification copyright , especially in France in the late 1990s with strong personalities such as Stephanie Moisdon- Trembley and Eric Troncy . For my part, without author , I think together fields of artistic action currents of thought . In my view, if the curator is the author , then it is necessarily an exquisite corpse , a writing several hands , the most critical are those of the artists.

5 / How the relationship that binds you to artists you define it? What makes you want to work with one of them in particular?

I hope to establish a trading relationship with the artists. Attempt to support the long term – they bring me so much that I can bring their tracks . The artists who draw me involve a relationship of hand and mind . The idea – or concept – prevails over form. I love that artists lead me to other territories , challenge my assumptions.

6 / The curator should it be dedicated to successfully mount an exhibition? Could you work equally for all periods / areas / artists ?

Some experience acquired over the years. We must keep it cool , while taking into consideration the technical data – I think in particular the standards of preventive conservation of ancient works . We must find the right balance : to have an accurate eye , a healthy relationship with the artists. The most important is to have a vision.

7 / What ethics do you defend ?

That of the artist .

8 / A how public do you go ?

To everyone, to the extent possible. I believe that contemporary art is an ideal vector for reframe our vision of the world, receive from another angle , that – poetic , political – artists .

9 / A curatorial can it still be  » subversive  » today? And how?

I would like exhibitions today are a little more subversive (the ones I see in the first place! ) . This subversive must be in fields other than art, and even less in the history of exhibitions.

10 / We often talk about the book  » White Cube  » by Brian O ‘ Doherty as the reference for curators ? What is yours?

It certainly would not be a book on curatorial issues.

11 / If you were to include an exhibition, a commission as an example, historical or current , which would you choose ?

History : groves and paintings of Hubert Robert .

Current  » Artempo . Where Time Becomes Art  » at the Palazzo Fortuny in 2007.

12 / We often speak of the economic difficulties of being a curator ? How do you experience these problems every day ?

As an independent curator, these economic difficulties are indeed present , hence the need to find additional contract working for an institution.

13 / What future for curatorial practice ?

A polymorphic future that reflect the multiple identities of curators from around the world . More pragmatically , official status and recognized by the French authorities , in this business that is still in its infancy.

14 / What are your plans ?

The Biennale of Contemporary Art in Colmar, designed with Julien Fronsacq and entitled  » Sletto & Corso . » Opened with a parade of floral floats , this event will run from 21 September to 27 October 2013 . And exposure to the gallery Tiziana di Caro in Salerno , near Naples in the spring of 2014.

Publié par carminaubrun

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