At Tate, Paul co-programs events such as The Status of Difference (ideas/debate series, 2008-2010), Conversation Pieces (ongoing artist talks series), Global Modernities (Tate Triennial conference, March 2009) and Afrodizzia (Late at Tate, Feb 2010).
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The people of the Dutch province of Limburg have been called the Chinese of Europe because of their many dialectal homonyms: though they do distinguish between the haas that means “hare” and the haas that means “glove”, outsiders will be hard put to hear the difference.
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emphasize what its work is ultimately about, namely art as a service, the differences between Orgacom and all other organization and communications bureaus would be rendered obsolete and the specific contribution Orgacom is able to offer potential clients would become obscured.
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There is a fine, but clear difference between an artistic reconstruction of an historical event made in order to question, or reconsider social attitudes of interpretation; and an artistic interpretation of a past event created to explore newly applied layers of meaning that effect its reading today.
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There is a fine, but clear difference between an artistic reconstruction of an historical event made in order to question, or reconsider social attitudes of interpretation; and an artistic interpretation of a past event created to explore newly applied layers of meaning that effect its reading today.
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Braun’s photographic documentation bypasses the Museum’s security systems to expose the assembled dignitaries, their translators and guards all of whom were unaware that their carefully orchestrated surroundings articulated their outdated assembly and anticipated their inevitable failure to make any real difference to anything.
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He will tentatively suggest that rather than managing ‘difference and diversity’ (multiculturalism) the debate should move on to encompass questions of curating difference, which is a problematic and incomplete assertion but one that draws attention to the way that critical curating has greater potential than cultural managerialism to address questions of power and knowledge in the museum in a way that engages directly with issues of creative practice, the artist’s perspective, research and knowledge production.
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He will tentatively suggest that rather than managing ‘difference and diversity’ (multiculturalism) the debate should move on to encompass questions of curating difference, which is a problematic and incomplete assertion but one that draws attention to the way that critical curating has greater potential than cultural managerialism to address questions of power and knowledge in the museum in a way that engages directly with issues of creative practice, the artist’s perspective, research and knowledge production.
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