An Appraisal of Private Psycho-Pathological Distortions of the Public Conscience
This thesis argues that the tacit dialectical relationship between the public and the private could be successfully uncovered by creating a curatorial framework, even if this structure is put under conditions of restrain. Attempts to critically analyse this association have been made by socio-political theorists and artists since the antiquity. For the former, it was the theory of Bourgeois Public Space by Jürgen Habermas that provoked acute reflections from feminist theorists such as Nancy Fraser and Seyla Benhabib. While for the latter, the modernist Marxist-Leninist communist theory as implemented in USSR, replacing the public sphere and the private realm with a dialectically paradoxical equal social sphere, was diagnostically and analytically decomposed by the unofficial artistic production of postmodern art practice of the Moscow Conceptualism.
I will argue that the inability of modernistic theories and practices to provide solutions was highlighted by the postmodern critical and analytical theoretical and artistic practices. However, it was only the introduction of the curatorial strategy of the AptArt project space between 1982 and 1984, which primarily operated in the private realm, which brought these into disparity perceptible to the public. Therefore, I will propose that curators could create platforms on which a more cohesive understanding of given terminology and artistic practices can be analytically shaped. Importantly, I will maintain that the inability to identify paradoxes and complications within the art discourse might make these frameworks impossible.
School of Fine Art
MA Curating Contemporary Art, 2014
For long as I can remember I have been fascinated with paradoxical meanings that underline human perceptions. Throughout my youth I was mainly interested in politics and art. So it was only natural that I choose to study BA Fine Art at the Goldsmiths College, University of London. During the studies I discovered that exhibition making and working with different elements of such a complex process allowed me to explore my interests further.
Being able to ask aesthetic questions, set frameworks and respond with intricate structures are key elements that led me to choose to further my education at MA Curating Contemporary Art programme at the Royal College of Art. Throughout my time here, I co-curated Escalator Retreat 13 – Tracing the Tacit, Wysing Arts Centre, Cambridge, 2013 (a five-day artist oriented programming project) and the graduation exhibition ... all silent but for buzzing ... Royal College of Art, London, 2014. These curating experiences have provided an opportunity to experience the tacit meanings of various processes of curating contemporary art.
As an extra curricular activity, Anna Clifford and I co-founded the Life-Agency in June 2013. It has been our interest to promote multidisciplinary collaboration and process above product. As we create experiments that encourage dialogue between otherwise disparate practices, the aim itself is to promote conceptual exchange and generate unexpected outcomes. We facilitated an event Life (Bildung), Barbican Centre, London, 2013 and were given an opportunity, by then Head of MA Curating Contemporary Art Ruth Noack, to facilitate two exhibitions, both titled Addendum (On the Shortness of Time), Galerie Avu & Red Gallery, Prague – London, 2014.
- BA Fine Arts, Goldsmiths College, University of London, 2011
- Duty Manager, Picturehouse Cinemas Ltd, Hackney, London, 2013 – present
- Addendum (On the Shortness of Time), Galerie Avu, Prague and Red Gallery, London, 2013; Life (Bildung), Barbican Centre, London, 2013; Escalator Retreat 13: Tracing the Tacit, Wysing Arts Cetre, Cambridge, 2013; Otherness/Exile, DOX: Center for Contemporary Art, Prague, 2011; TAKE AWAY NX, Take Away Shops, New Cross, 2010
- 'Luke Abbott and others, Q: Where do you see yourself in twenty-five years?' Wysing Arts Centre: Cambridge, 2014; Michael Rittstein, Anna Clifford and Miloslav Vorlicek, Addendum (On the Shortness of Life), Red Gallery: London, 2013