IN·FLO·RES·CENCE. The Showroom – Katherine Finerty
21 April 2021 | 6pm
IN·FLO·RES·CENCE a talk given by Katherine Finerty, curator at The Showroom.
Katherine discusses a new interdisciplinary platform for audiences to encounter compositions and conversations where sound and art can cross-pollinate and regenerate.
Championing the power of jazz, the lecture expands on the ways this project fosters freedom, experimentation, improvisation, rhythm, polyrhythm, collaboration, dialogue, and sophistication – hard work fuelled by epiphanies, a call and response.
This project is conceived by Reece Ewing and curated with Katherine Finerty, in collaboration with The Showroom, London, directed by Elvira Dyangani Ose.
Katherine Finerty is currently Curator & Communications Manager at The Showroom, London, and co-curator of the IN·FLO·RES·CENCE project (2020 – present). She is also an independent curator and writer focusing on research-based and socially-engaged practices, translocal identity politics, and contemporary arts of the African diaspora. Finerty works collaboratively to develop alternative cultural discourses and multi-disciplinary art experiences that encourage progressive exchanges and participation. Her curatorial practice embraces sound as a powerful tool for storytelling and brings together artists, musicians, poets, DJs, and more to create collective interdisciplinary platforms. In 2019 Finerty co-curated Collective Intimacy (180 The Strand and The Showroom, London) and The Showroom Mural Commission - Simnikiwe Buhlungu: Notes to Self (Intimate 1) with Elvira Dyangani Ose. She has a Masters in Curating Contemporary Art from the Royal College of Art, London; a BA in History of Art and Africana Studies from Cornell University, New York; and has studied History of Art at Pembroke College, University of Cambridge.
Eleni Han is a PhD researcher at the Royal College of Art’s School of Architecture, focusing on the relationship between architecture, urbanism and photography. Eleni trained as an architect and engineer at the University of Thessaly in Greece and holds a second master’s degree in Architectural Design from the University of Pennsylvania’s School of Design. She is an architect and educator in London with a particular interest in curating and exhibition design. Together with Guillermo Ruiz she is leading the research project Curating as Research, creating a network of researchers and curators around the world and investigating the possibilities of interdisciplinary research.
Guillermo Ruiz de Teresa is an architect and urban researcher whose work focuses on the intersection of space, the state and power. He is based in London, where he is a Stavros Niarchos PhD researcher at the Royal College of Art’s School of Architecture. He trained as an architect at the Architectural Association School of Architecture, London and Universidad Iberoamericana, Mexico City, and received a Master in Design Studies from Harvard University’s Graduate School of Design.
Ines Weizman is the head of the PhD programme at the Royal College of Art’s School of Architecture. She is the founding director of the Centre for Documentary Architecture (CDA). In addition to numerous books and publications, Weizman has set up exhibitions and installations such as Repeat Yourself: Loos, Law, and the Culture of the Copy, exhibited at the 2012 Venice Architecture Biennale and in 2013 at the Architecture Centre in Vienna and the Buell Center at Columbia University, New York. Her other research and exhibition projects include Celltexts: Books and Other Works Produced in Prison (2008, with Eyal Weizman), first exhibited at the Fondazione Sandretto Re Rebaudengo in Turin and The Matter of Data (2019), which was shown in Weimar, Tel Aviv-Yafo and Berlin.
Architectures of the New Curatorial – the new lecture series from School of Architecture Research
This series, which launched earlier this term, has been initiated and organised by PhD students Eleni Han and Guillermo Ruiz de Teresa with the support of Ines Weizman, Head of the PhD Programme in the School.
Speakers are invited to reflect on the recent challenges to curatorial practices, particularly concerning an arguably new kind of architecture for research that has gained urgency during the recent pandemic. On the one hand, the pandemic revealed even further the systemic inequality intersecting multiple layers of society, but also affecting the concept of the museum and exhibition-making platforms. On the other hand, the conceptualisation of the exhibition space expanded hastily to the digital. This lecture series aims to reflect on these “architectures of the new curatorial”, inviting curators, architects and researchers that have recently produced exhibitions, or are developing work concerned with the intersectional and transnational politics of their research as a form of counter-institution, as well as how they engage the changing relation between analogue space and digital media. This lecture series looks to the practice of curating as research as a way to build new understandings of institutions, while also destabilising existing established ones.
The lectures and conversations will discuss three strands of questions: One is looking at current museum practices that address their problematic histories and institutional forms and protocols. For some institutions, it has meant a process of collective reckoning that questions their legacies, the financing of their buildings and governing structures, their endowed chairs celebrating histories of oppression, or their exhibition practices perpetuating gendered and racial discrimination. The second is looking at models of new curatorial research in architecture that helps engender feminist, anti-racist, decolonial modes of counter-institutional practices. Looking at these questions with a focus on their architectures and temporality, the conversations in this series will look at concepts of research that aim to expand their cooperation with local partners and alternative constituencies to go beyond the actual event of an exhibition. The third is looking at the potentials of digital media and exhibition design to connect new publics and ideas. It will look at what is gained and what is lost in that translation, in the politics of these technologies, as well as how conditions of precarity and exploitation are reframed and transformed when migrating to digital.
With support from the Paul Mellon Centre for Studies in British Art.