![]() ![]() What conversations develop in the academy but perhaps not in the museum? The young discipline of curatorial studies finds itself, just like museums at large, under massive pressure, as all previous certainties are questioned, from historical narratives and framings to basic assumptions on which the entire modern system of knowledge and disciplinary divisions rest. ![]() These include exhibitions such as “Animism” “Forensis,” the first Forensic Architecture exhibition “Parapolitics” and, more recently, the Sylvia Wynter-inspired exhibition “Ceremony.” It became time for me to begin to translate these experiences into a curriculum, a toolbox. There my many collaborators and I developed exhibitions that were themselves forms of research in the sense that they developed historiographic models and methods to overcome the false oppositions-such as art and politics-that dominate discourse. For more than ten years, I headed the exhibitions department at the Haus der Kulturen der Welt (HKW) in Berlin. ![]() I transitioned from a full-time curatorial position to the MA Art Education, Curatorial Studies only a few months ago, but I had always taught on the side, if only for a few days a month, out of a passion for the kind of conversations that are unique to the academy and a curiosity about changing frames of perception. ![]()
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