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KNOWLEDGE PRODUCTION IN VISUAL ARTS ORGANISATIONS

A Case Study on the Triangle Network

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Abstract

Table of Contents

Table of Contents
Acknowledgements
Introduction

PART I
Visual Arts Organisations Within the Contemporary Arts Landscape

CHAPTER 1
Knowledge Production from Curatorial Discourse to Institutional Aim
1.1 Artistic Research
1.2 The Role of the Curator
1.3 New Institutionalism

CHAPTER 2
Visual Arts Organisations: Three Case Studies from the Triangle Network
2.1 Triangle Network
2.2 Network as Rhizome
2.3 Three Case Studies
Gasworks – London, England
HANGAR – Lisbon, Portugal
32ºEast | Ugandan Arts Trust – Kampala, Uganda

PART II
The Three Vertices of Knowledge in Visual Arts Organisations: Mediation, Representation and Conviviality

CHAPTER 3
From Education to Mediation: Breaking Down Barriers
3.1 Curating and Education
3.2 Process- vs. Product-Orientation
3.3 Dialogue, Conversation and Mobility
3.4 Mediation
3.5 Architecture as a Mediating Tool

CHAPTER 4
Representation – Curating ‘Other’ Knowledge(s)
4.1 Making Heterogeneity a Point
4.2 Representation and Identity Politics
4.3 Context-Specific Knowledge Production Between Local and Global

CHAPTER 5
Conviviality – What Being Together Means for Knowledge Production
5.1 Shared Space | Shared Time – The Importance of (the) Experience
5.2 Coming Together at the Table: Food + Drinks = Knowledge?

CONCLUSION
Knowledge Production in VAOs – How to Make it Happen?
References

Annexes
ANNEX A – Interview Alessio Antoniolli, Gasworks
ANNEX B – Interview Bruno Leitão, HANGAR
ANNEX C – Interview Teesa Bahana, 32ºEast

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