Chantal Akerman NOW.
This curatorial research output comprises an exhibition that for the first time brought together the canonical works of internationally renowned artist and filmmaker Chantal Akerman (1950-2015); a single-authored journal publication on the curatorial process and concept; and a co-edited journal special-issue. See Portfolio Booklet for documentation of research dimensions.
- Submitting institution
-
The University of Westminster
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- qqq54
- Type
- T - Other
- DOI
-
-
- Location
- Ambika P3, October 30 – December 6, 2015
- Brief description of type
- Other: Curation
- Open access status
- Out of scope for open access requirements
- Month
- October
- Year
- 2015
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Extensive research for Chantal Akerman NOW took place over two years through a series of meetings and workshops with the artist, the Marian Goodman Gallery exhibition manager, co-curators A Nos Amours, designers, production manager and associated researchers. Supported with funding from Arts Council England and Marian Goodman Gallery, the exhibition itself built on flexible partnerships to deliver an immersive exhibition where space, site, material and collaboration operated as a matrix to be explored and tested.
In supporting articles, Maziere reflects on his approach, tailored to suit Akerman’s practice, and offering the openness and flexibility to support an artist whose work deals with borders, itineraries, identity and states of mind that helped shape the presentation and display. He argues that the process of curation reflects Akerman’s own way of working – that is, not fully conceptualised from the outset, but realised in an open form of process-led production. Maziere positions the final formal and aesthetic presentation as a result of a flexible and experimental strategy that maximises the qualities offered by Ambika P3, another dimension of collaboration and dialogue with the space that shaped the exhibition.
The curatorial research strategy for Chantal Akerman NOW provides critical insights into the practice and context needed to create a less object-centred form of exhibition, in favour of interpretative itineraries for Akerman’s distinctive work and reception. The exhibition, whilst challenging to deliver, as it was international, collaborative and conceptually complex, is a fitting testament to the strength of the work of the artist.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
