TrAIN Open Lecture: Professor Victoria Walsh: Curatorial and Artistic Research in an Age of Migrations, Chaired by Paul Goodwin
In June this year a major new iconic building and extension to Tate Modern will open to the public increasing the existing space of the museum by 60%. But as Tate Modern 2 opens up new vistas of the world’s leading financial centre, and digital technology mediates everyday experience, what kind of interface does the museum offer between artist and artwork, artwork and audience, object and networked image? What can curators and artists bring to the encounter in the art museum in the 21st century, or is the art museum the new heritage industry? Drawing on three collaborative research projects with curators, artists and theorists the talk will offer a series of reflections about the role curatorial and artistic research can play as the analogue museum encounters the distributed politics and networked culture of the present.
Professor Victoria Walsh is Head of the Curating Contemporary Art programme at the Royal College of Art (RCA), London, where she is Professor of Art History and Curating. Before moving to the RCA she was Head of Public Programmes at Tate Britain. In this role she secured Tate’s first major national research funded project ‘Tate Encounters’ (2007-2010) which led to the publication Post Critical Museology: Theory and Practice in the Art Museum (Dewdney, Dibosa & Walsh. Routledge, 2013). Building on the findings of this project focused on the art museum in the global city and the impact of migration and technology on audiences and urban visual culture, she went on to lead two further collaborative research projects , ‘Cultural Value and the Digital’ (Tate), and ‘Transfigurations’. Funded as part of the major EU research programme ‘Museums in an Age of Migrations’, and working with curator Paul Goodwin (Train), Transfigurations considered new models and practices of curatorial and artistic research working with artists Kader Attia, Camille Henrot, Lawrence Abu-Hamdan, and Leo Asemota and partner institutions MACBA, Bétonsalon, Stedelijk Museum, and Whitechapel Gallery.