A one-year specialization course aimed at those wishing to develop the necessary skills to organize exhibitions and cultural events in the visual, digital and performative arts, in particular photography and moving images.
If art’s task is to ask questions, propose possible visions and spark processes of critical thought, the curator’s role is to interpret and mediate the messages that art can transmit so that we stop, observe and reflect. It is an important role. It involves care and responsibility for the artists and their works, public relations, far-reaching knowledge of the world around us, attention to change, and awareness of the current topics in the social, political and cultural debate.
Course: 19 September - 30 June 2023
Enrolment: 24 August - 10 September 2022
Language: Italian - English
Attendance requirements: One-year course | 1 week per month, from Monday to Saturday
Information:
Contact us for information or to book an appointment. Our offices are open from Monday to Friday, 9 am to 1 pm and 2 pm to 5 pm.
Email: formazione@fmav.org
Telephone: +39 059 22 44 18
ICON is a vocational course covering the figure of curator in its entirety, in which students study, gain knowledge, learn to plan and build up personal networks. The course focuses on how the image is redefined in the current context. It looks at the possibilities given by technology to come up with innovative models of art and try out new cultural experiences that can grasp changes and anticipate the urgencies of the contemporary world. The course is aimed at people trained in art who are looking for a vocational course in the field of curatorship and event organization as well as all art lovers from other educational or career backgrounds who want to acquire curatorship skills. It is also a course for people who already work in this sector but wish to boost their knowledge and efficacy on the job.
ICON gives students the skills needed to work as exhibition curators and art event organizers in the contemporary image and visual arts sector, as consultants in the public or private sector – in museums, foundations, private collections, non-profit organizations, galleries, fairs or festivals – as editors in the publishing industry or specific campaign promoters in various professional contexts.
FMAV and Modena, city for the media arts FMAV is a is a culture production hub and professional training and teaching centre for contemporary art and visual culture. This means unique opportunities to meet leading figures in art in a student-friendly city, where art and culture increasingly come face to face with technology and innovation: Modena is the first city in Italy to have been named a UNESCO creative city for the media arts.
The School of Advanced Studies in Modena is a prestigious institution dedicated to photography, the moving image and the various practices linked to digital and the performative arts. It has an innovative educational model that is completely integrated in the artistic sector, in an exclusive environment devoted to advanced study supported by small class sizes and direct teacher-student relationships.
Studying in safety The times we are living in have changed our way of learning and being together but not our enthusiasm or our commitment to devise high-level training courses where we can learn in safety, without missing out on the pleasure of exchanging views, sharing and creating with other people. Rapidly changing times require high-speed adaptability: the school’s staff and teachers are always ready to reorganize programmes and lessons on the basis of the changes that might happen.
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The course will only be held when the minimum number of participants is reached.
End-of-year exhibition
The curator course members are involved in curating and organizing a group exhibition with works from the historical and contemporary collections managed by Fondazione Modena Arti Visive.
Discover the students’ projects from the past course exhibitions: new curatorial proposals, ready to be readapted for specific location requirements and to be really put into practice.
The training course is based on practice and methodological learning of the different curatorship skills and helps students build critical and planning competencies.
The course modules deal with the fields of curatorship through the analysis of case studies, best practices and benchmark models: the lessons lead students to identify a work method which they then put into practice in individual and group work. In the workshops, all students devise and discuss new projects to build up their own line of curatorial research. The course programme is rounded off by guided tours of particularly significant events, meetings with managers of institutions and other entities in the sector, in-depth study opportunities and job training with FMAV project organizers.
The art system and figure of curator
The main , the : the multiple the profession of curator.
History of exhibitions and display techniques
Evolution of display methods and techniques, case studies and devising an exhibition layout.
Project management
Fundraising, budget and feasibility studies.Economic sustainability of cultural projects and fundraising activities.
Exhibition organization and production
The planning phase and practical organization of an exhibition: relations with artists and galleries, transport, loans and insurance.
Communication, press office and social media
Features of the different means of communication and building an effective promotional plan. Specific focus on social media.
Archives and collections; market and collecting
Collection management and care, digitization processes and main market trends: galleries, fairs and collecting.
Multiplatform project
Devising complex art projects: new, interdisciplinary technologies and project usages.
Publishing
Overview of books, journals, catalogues, magazines and multimedia products for contemporary art.
Copyright
Main copyright regulations, protection requirements and duration of protection of intellectual works.
Devising new projects
The practical planning phases from coming up with the idea to drafting individual end-of-year projects.
Workshop
Writing
Study and practice in writing texts and apparatus criticus aimed at specialist and general audiences.
Workshop
Exhibition planning
Shared planning and organization of a group exhibition taken from collections managed by FMAV, to take place at one of the foundation’s venues.
Workshop
Visual culture
A closer look at the focal points of visual culture and reflection on the role of the image and its prospects in the contemporary world.
Workshop
Job training
A series of meetings with stakeholders and professionals in the sector, plus specific training modules held by the foundation department heads.
Meetings
Guided tours
Guided tours of exhibitions and significant events on the art scene and meetings with the initiative organizers and institutions.
Stefano Coletto, laureato in Storia dell’arte con una tesi in Estetica presso l’Università Ca’ Foscari di Venezia, lavora dal 2003 come curatore presso l’Istituzione Fondazione Bevilacqua La Masa, prima come curatore delle mostre e poi come coordinatore delle attività.
Edoardo Bonaspetti è co-direttore di Ordet, uno spazio di produzione artistica e culturale a Milano, direttore artistico della Fondazione Henraux e direttore editoriale per Skira.
Julia Draganović, nata in Germania, è curatore e critico d’arte contemporanea. Il suo interesse si focalizza sulle nuove pratiche artistiche, soprattutto su quelle che riguardano le pratiche sociali, l’arte nello spazio pubblico e i nuovi media nel senso più ampio.
Claudia Löffelholz, curatrice e critica d’arte contemporanea, è la Direttrice della Scuola di alta Formazione e del Dipartimento educativo di Fondazione Modena Arti Visive.
Marcella Manni, laureata in Filosofia all’Università di Bologna, si specializza in Diritto dei beni culturali sempre all’Università di Bologna e poi in Gestione museale alla LUISS Business School di Roma; nel 2009 consegue un diploma di master di secondo livello in Consulenza filosofica a Ca’ Foscari, Venezia. Ha fondato e dirige Metronom, occupandosi di progetti di ricerca sulla cultura visuale contemporanea, attraverso la produzione di mostre, incontri, rassegne dedicate in modo particolare alle esperienze artistiche di più recente generazione. Con Metronom ha avviato nel 2015 il progetto LIVEstudio, residenza d’artista e nel 2013 Generazione critica, un convegno annuale dedicato alla critica d’arte e una omonima rivista online bilingue, generazionecritica.it e, dal 2018, Digital Video Wall, un progetto di approfondimento e ricerca sull’arte digitale. Nel 2020 è tra i vincitori al bando INCREDIBOL!, innovazione creativa, Comune di Bologna con la app YOUR OWN WALL.
Marina Paulenkaè artista, curatrice, art consultant e docente con esperienza nella direzione artistica e nella gestione e sviluppo di istituzioni e organizzazioni culturali.È stata direttrice artistica di UNSEEN Foundation e UNSEEN, piattaforma con sede ad Amsterdam per la fotografia contemporanea che presenta gli ultimi sviluppi nel campo della fotografia e amplifica le carriere di artisti chesi spingono oltrei confini.
Emanuela Sesti, laureata in Storia dell’arte con una specializzazione in Arte medievale e moderna, si è occupata di ricerca per il Centro nazionale delle ricerche e l’Università degli studi di Firenze.
Bas Vroege ha studiato Economia presso l’Erasmus University Rotterdam (1976-1979, BA) e Fotografia all’Accademia St. Joost di Breda (1979-1981). Nel 1980 è co-fondatore di Perspektief, centro per la fotografia a Rotterdam, di cui è direttore dal 1985 al 1992. Dal 1988 al 1992 ha diretto la Biennale di Fotografia di Rotterdam.
Photo editor, visual consultant e curatore, lavora nel campo della fotografia dal 2000, affiancando all’attività editoriale quelle di consulenza, progettazione e didattica, studiando vecchie e nuove modalità dell’indagine fotografica, con particolare attenzione alla pratica documentaria e all’analisi del paesaggio sociale.
Massimo Stefanutti (Venezia, 1957) fotografa dai primi anni ’70 con una vecchia Rolleicord e dal 1977 è socio del Circolo fotografico La Gondola, del quale è l’attuale presidente. Nel 2001 scopre la fotografia stenopeica e ne diventa, in pochi anni, uno dei maggiori esponenti a livello nazionale e internazionale.
Critico d'arte e curatore, attualmente insegna all'Accademia di Brera e all'Accademia di Belle Arti di Bologna. Dal 2013 al 2016 ha insegnato Iconografia fotografica al Politecnico di Milano, sede di Piacenza.
Marianna Martinoni è fundraiser, consulente e formatore nel settore della raccolta fondi, in particolare per le organizzazioni che operano in ambito culturale. Tra i clienti accompagnati negli anni figurano piccole e grandi organizzazioni, teatri, orchestre, gallerie e associazioni culturali.
Socio dell’Associazione italiana fundraiser (ASSIF) dal 2001 e fondatore di Terzofilo nel 2015, è relatore e docente di workshop, giornate di studio, master e convegni concernenti il fundraising, sia su tematiche specifiche in campo culturale sia su temi generali.
Restauratrice di opere cartacee e fotografiche. E’ docente a contratto presso l’Università degli Studi di Torino e la Scuola di Alta Formazione Icrcpal, Corso di laurea magistrale in Conservazione e Restauro dei Beni Culturali.
Flavia Fossa Margutti nasce a Lucca (Italia) nel 1964. Nel 1988 si laurea in storia dell’arte presso l’Università di Urbino “Carlo Bo”. Nel 1990 è chiamata presso la Casa Editrice Electa come redattore di cataloghi di mostre. È qui che inizia a occuparsi di Comunicazione lavorando all’Ufficio Stampa come responsabile del settore mostre e cataloghi.
Curatrice e conservatrice museale, storica d'arte contemporanea specializzata in fotografia, con un'esperienza trentennale nel campo dell'arte, è attualmente responsabile dei Progetti di Fotografia Contemporanea presso l’ICCD del MiBAC, Roma.
Brandei Estes è a capo del dipartimento di Fotografia della casa d’aste Sotheby’s a Londra. Ha lavorato per oltre dieci anni con gallerie di fotografia e arte contemporanea tra Parigi e Londra, prima del suo ingresso a Sotheby’s nel 2013.
Laureata in Conservazione dei Beni Culturali all’Università di Bologna, dal 2001 è curatrice di mostre storiche e contemporanee nell’ambito della fotografia artistica.
Dal 2008 al 2012 è stata direttrice del Fotomuseo G. Panini di Modena.
Dal 2012 al 2017 è stata curatrice per Fondazione Fotografia Modena per la quale ha curato numerose mostre di fotografia storica e contemporanea, ha collaborato alla realizzazione dell’intera attività espositiva (fra cui le personali di Edward Weston, Walter Chappell, Mimmo Jodice, Hiroshi Sugimoto), oltre ad occuparsi delle collezioni fotografiche della Fondazione.
Attualmente collabora come curatrice per la fotografia con Fondazione Modena Arti Visive.
Avv. Gilberto Cavagna di Gualdana. Andersen, partner.Specializzato in diritto della proprietà intellettuale, con particolare esperienza nell’assistenza stragiudiziale e nella difesa giudiziale di clienti nazionali e internazionali, ha maturato una significativa esperienza in diritto dell’arte e dei beni culturali. Laureato presso l’Università di Milano e già mandatario abilitato avanti l’Ufficio Italiano Brevetti e Marchi, prima di Andersen ha collaborato con primari studi nazionali. Docente a corsi specialistici e autore di articoli su giornali e riviste dedicate al tema della proprietà intellettuale, cura un blog dedicato alle tematiche del diritto d’autore e della proprietà industriale su Linkedin (TIP TAP - Thoughts on IntellectualProperty and Art Protection). E’ stato premiato come Avvocato dell’Anno Arte 2022 da Legalcommunity.
Daniela Tozzi è curatrice e art producer indipendente. Nel 2006 inizia il suo percorso professionale in ambito artistico lavorando per sei anni presso la OTTO Gallery di Bologna.
Nel 2010 fonda Adiacenze insieme ad altri soci, spazio curatoriale di sperimentazione artistica, nel quale si dedica alla curatela delle mostre con particolare attenzione all’ambito produttivo e organizzativo dei progetti. Parallelamente si occupa della comunicazione, dell’ufficio stampa e affianca gli artisti nella redazione dei testi critici dei progetti espositivi e dei propri materiali di presentazione.
Dal 2014 si dedica all’ideazione di workshop e laboratori per artisti e curatori proponendo progetti multidisciplinari che toccano il campo artistico in generale sia all’interno di Adiacenze, sia per enti pubblici e privati. Esce da Adiacenze nel 2022 proseguendo da freelance il lavoro di art producer e curatrice indipendente e portando avanti insegnamenti quali la progettazione, nuove forme di mercato e comunicazione online in corsi di formazione per galleristi, curatori e artisti da lei organizzati o per enti e fondazioni pubbliche e private.
Marta Papini (1985) è l’organizzatrice artistica de Il latte dei sogni, 59esima edizione della Biennale di Venezia, curata da Cecilia Alemani.
Di recente ha curato Lonely Are All Bridges. Birgit Jürgenssen and Cinzia Ruggeri alla Galerie Hubert Winter, Vienna (2021) e organizzato Il mondo magico, il Padiglione Italia 57esima edizione della Biennale di Venezia (2017, curato da Cecilia Alemani), oltre ad aver co-curato The Artist is Present, Yuz Museum, Shanghai (2018, con Maurizio Cattelan).
Curatrice, ricercatrice e cultural manager nata in Cile e cresciuta tra Argentina e Sud Africa. Dopo essersi laureata e aver proseguito studi post-laurea all’Università di Città del Capo, Sud Africa ha conseguito una specializzazione in Storia dell’arte all’Università di Barcellona e all’Università di Siena.
Responsabile della Fondazione Sozzani di Milano e dal 2015 exhibition manager presso 10 Corso Como Galleries (Shanghai, Seoul, New York).
Testimonials
For me it was a positive experience that helped me grow. The course helped me to get clarity on my professional and personal goals thanks to the team talks and individual work on different levels and topics. The course gave me the chance to get out there and put myself to the test.
Silvia Vercelli - Studentessa ICON 2016
To really get into contemporary art, you have to study photography. But dealing with photographic images means taking part in a wider set of activities, which start from the visual to produce contents, documents and organize archives. It also means creating formats for reflection on society, fashion, communication and anthropology.
Stefano Coletto - Docente
Against a background of changing techniques and digital broadcasting channels, our school sets out to train a generation of curators who can deal with the dynamism of the contemporary image in its vast range of approaches and its hybridization, from analogue photos to post-Internet works. The course provides specific practical skills and intends to be a place to meet, make connections and cue reflection to form a professional profile that will create leading players in the art system.
Claudia Löffelholz - Head of the School of Advanced Studies
The course gave me an all-round view of the world of curatorship. The thing that probably stuck most is the whole host of creative forms that an exhibition and exhibition concept can take today, also thanks to the use of new technologies. The module held by Bas Vroege was very instructive and stimulating as it made us think outside the box as to how we could put photos on show, also following new routes of communication.
Daniela Bazzani - Student
Curators have to be able to deal with artists and institutions, find funding, and above all, pinpoint and help to build a “critical” way of thinking. To do so, you have to ask questions about and be able to interpret the present, while looking beyond the boundaries of photography.
Luca Panaro - Professor
My advice is to stay determined, in your studies and in project work. Be patient and wait to find the right moment to get a new project off the ground and bring it to life. Never think that you’ve made it, there’s so much to learn and observe around us, so many life experiences that we can make our own.
Gabriele Romeo - Student
Curatorship is a trade, a profession that requires know-how on the practices and procedures. My course takes a practical and pragmatic slant; the idea is to take down the mindset that a curator’s work is all about “thinking” and that’s it. While thinking has to be the first stage in building a project, it’s also true that there are a whole series of practical steps that are just as necessary. There are systems, methods (but also trends and behaviours) that you have to know and follow in every phase: from drawing up the concept to the relationship with the artists and the lenders, the display, the catalogue, communication, etc. These aspects are often undervalued but they play a substantial role in an exhibition’s success.
Francesca Fabiani - Professor
Thanks to the research work I did during the course, I was able to successfully curate and put on the exhibition that I presented as my end-of-course exhibition project.
Jana Liskova - Student
Photography has a unique relationship with reality and so even now it remains a powerful tool that makes us reflect on society and the role that we play in it. But we live in a world saturated by the media and so we have to use innovative strategies and exploit different platforms to wow the public. On the course, students can come into contact with international experts and specialists. This is fundamental in a hyperconnected world, where borders are less and less important, and it helps to create a solid structure of educational opportunities and international internships
Bas Vroege - Professor
Thanks to the curators course, I got to know some exceptional people, professionals and projects. I also made contacts and had to constantly produce ideas to share with colleagues and propose to public and private institutions and galleries.
Ilaria Dall’Olio - Student
Since July 2021, thanks to ICON, I’ve been working with Generazione Critica, an online magazine of research on the contemporary world. I started getting into curating exhibition projects on contemporary artists without ever abandoning my writing as a critic and journalist. I hope to soon take part in a project for Art City Bologna 2022 with a cultural association from Bologna.
Antongiulio Vergine - Student
What I found most enriching was getting to know great professionals from the sector. It really meant a lot to be able to listen to the lives of some of the leading figures in contemporary art and to come into direct contact with them. At the same time, sharing this course with my fellow students enabled me to create new contacts and discover realities I had had no idea about before.
Rita Meschiari - Student
The internship at the Accademia Tedesca at Villa Massimo in Rome allowed me to appreciate the job of curator even more, in particular how this figure can support artists, cultural workers and projects.At the moment I’m working on socio-cultural projects and I’m always looking for the best way to communicate and raise awareness on social themes through art and creativity.
Samira Mosca - Student
During my internship at Leporello in Rome, a specialist photography bookshop, I was able to see the practicalities of managing a place like that from close up. I was also able to take part personally in the different activities offered by the bookshop, planning them and putting them on, in particular the press office activities that I looked after myself during the months of my placement.So it was a fundamental step in my professional training, both in terms of the skills I acquired but above all the relationships and contacts that it allowed me to develop.
Giorgia Padovani - Student
I'm working in various associations and publishing teams. I write articles, organize events and along with some organizations that I came into contact with when I was putting together my individual project, I’m running a multi-purpose community-building space in the multi-ethnic neighbourhood where I held my end-of-course exhibition.
Course: 19 September - 30 June 2023
Enrolment: 24 August - 10 September 2022
Language: Italian - English
Attendance requirements: One-year course | 1 week per month, from Monday to Saturday
Information:
Contact us for information or to book an appointment. Our offices are open from Monday to Friday, 9 am to 1 pm and 2 pm to 5 pm.