Natalie Hope O Donnell: Space as curatorial practice, the exhibition as a spatial construct

Lecture and Q&A session in conjunction with the one week residency seminar at KiT for MA Curatorial Practice, Bergen Academy of Art and Design, organised by Anne Szefer Karlsen. Open to everyone interested – particularly suitable to BFA/MA art students, curators, BFA/MA architecture students, art professionals etc.

Recommended reading for the session 'Space as curatorial practice: the exhibition as a spatial construct':

Helen Molesworth, "Whitney Biennial," Artforum 52, no. 9 (May 2014). pp. 310-311.

Germano Celant, "A Visual Machine: Art Installation and Its Modern Archetypes," in Thinking About Exhibitions, ed. Reesa Greenberg, Bruce W. Ferguson, and Sandy Nairne (London: Routledge, 1996). Originally published in documenta 7, volume 2 (1982), pp. xiii-xvii.

Daniel Birnbaum and Sven-Olof Wallenstein, "Figuring the Matrix: Lyotard’s Les Immatériaux, 1985," in Place and Displacement: Exhibiting Architecture, ed. Thordis Arrhenius et al. (Zürich: Lars Müller Publishers, 2014).

Natalie Hope O’Donnell is a curator at the Munch Museum in Oslo, and project leader of the museum’s off-site contemporary art programme, Munchmuseet on the Move. Her educational background includes a BA in Modern History and Politics from the University of Oxford (2002) and an MA in Curating Contemporary Art from the Royal College of Art in London (2008). Her PhD at the Oslo Centre for Critical Architectural Studies (OCCAS) is entitled Space as Curatorial Practice (2015). Past curatorial projects include the major retrospective of Norwegian artist Hariton Pushwagner at MK Gallery in Milton Keynes (2012) and the Museum Boijmans van Beuningen in Rotterdam (2013); an exhibition of Norwegian film and video art of the 1990s at Atopia, Oslo (2013); and the First Supper Symposium with Pussy Riot, Judith Butler and Rosi Braidotti in Oslo (2014). Hope O’Donnell chairs the Norwegian Association of Curators and runs its lecture series together with Milena Hoegsberg and Leif Magne Tangen. She is interested in curating as a spatial practice, feminist and queer performance art, and the exhibition as an historical and cultural construct.