{"id":12930,"date":"2025-04-16T14:00:47","date_gmt":"2025-04-16T14:00:47","guid":{"rendered":"https:\/\/academiaschimbarii.ro\/?page_id=12930"},"modified":"2026-03-20T17:03:29","modified_gmt":"2026-03-20T17:03:29","slug":"unschool-of-curating-7","status":"publish","type":"page","link":"https:\/\/academiaschimbarii.ro\/en\/unschool-of-curating-7\/","title":{"rendered":"Unschool of Curating #7"},"content":{"rendered":"

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Unschool of Curating #8<\/h2>\n

The Art of Chaos<\/i><\/h3>\n

Course leader: Raimundas Mala\u0161auskas<\/h3>\n

Art Encounters Foundation<\/b> (Timi\u0219oara) and Cluj Cultural Centre <\/b>(Cluj-Napoca) are launching the open call for the Unschool of Curating, taking place in Cluj and Timi\u0219oara, Romania between 6 – 13 July, 2025. The programme \u2014 developed collaboratively by the two organizations \u2014 aims to strengthen curatorial networks in Romania and internationally.<\/p>\n

The Unschool of Curating<\/b> is an intensive eight-day seminar, formerly known as The Autumn School of Curating. With its newly adopted name, the programme signals a focus on informal methodologies, alternative pedagogies, and practice-led curatorial discourse.<\/p>\n

Its 7th edition, led by renowned curator\u00a0 Raimundas Mala\u0161auskas<\/b>, offers emerging curators an international platform for dialogue, knowledge exchange, and learning. Over the course of the program the participants will be immersed in the artistic context that both cities have to offer while exploring concepts and conversations around the theme The Art of Chaos:<\/i><\/b><\/p>\n

We are living through a deeper mess than many of us remember. And for those of us\u2014still alive, still trying to make sense of things\u2014the word chaos is everywhere (even the dead are said to be turning in their graves).<\/i><\/p>\n

It arrives from all sides: academia, poetry, the street. Yet rarely is it remembered in its ancient Greek sense\u2014as a gaping openness, a primordial potential. Nor is it treated with the precision of mathematics, where chaos is not a metaphor but a measurable fact. More often, it serves as shorthand for disorder, unpredictability, noise. In other words: a deep mess.<\/i><\/p>\n

But chaos is also generative. It carries the swirling, shimmering potential so often cherished in the arts. There is a whole history of chaos-poetics. And at the same time, chaos is the very condition authoritarian forces exploit to install new masters and new forms of control. It holds a dark potency\u2014charged with fear, ripe with danger.<\/i><\/p>\n

There is always the chance that the poetics of chaos may meet the logistics of chaos to generate something new. And there\u2019s always the chance they\u2019ll never meet at all\u2014each running its course to extremes.\u00a0<\/i><\/p>\n

Today, the art of exhibition-making finds itself in a peculiar relation to chaos. An exhibition is an enterprise of illumination, knowledge, and\u2014in its mass grandeur\u2014a spectacle. But can a curated space remain porous to the unpredictable? Can it hold space for what cannot be resolved?<\/i><\/p>\n

In this seminar, we may ask: how do we care for what resists control and order? Or for what does not ask to be cared for? How do we engage with the hardly controllable\u2014gases, beats, improvised gestures, smells, photons\u2014and the un-curatable, un-curable, unforgivable?<\/i><\/p>\n

Course Leader: Raimundas Mala\u0161auskas<\/h2>\n

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Raimundas Mala\u0161auskas has co-written an opera libretto (Cellar Door<\/i> by Loris Gr\u00e9aud, Palais de Tokyo, 2008), co-produced a television show (CAC TV<\/i>, Vilnius, 2004\u20132006), served as an agent for dOCUMENTA (13), and released Paper Exhibition<\/i>, a book of his selected writings (Sternberg Press, 2012).<\/p>\n

He co-curated the 9th Baltic Triennial of International Art (Vilnius, 2005), the 9th Mercosul Biennial (Porto Alegre, 2013), and the 9th Liverpool Biennial (2017). His childhood paintings were exhibited in a choreographic composition by Alix Eynaudi (2019).<\/p>\n

\u00a0<\/p>\n

His recent projects include\u00a0trust & confusion<\/i>, an eight-month-long live art exhibition at Tai Kwun Contemporary, Hong Kong (2021);\u00a0914<\/i>, the Russian Pavilion at the 59th Venice Biennale (cancelled);\u00a0Mars Returns<\/i>, a 14-hour-long event at Mykolas \u017dilinskas Gallery, Kaunas, Lithuania;\u00a0Mundus Mal-a-Showcase<\/i>, a one-night event at Centre Wallonie-Bruxelles, Paris; and\u00a02019<\/i>, an exhibition at Grazer Kunstverein.\u00a0Suzon<\/i>, his second book of selected writings, was recently published by Verlag der Buchhandlung Walther und Franz K\u00f6nig.<\/p>\n

\t\t\t\t\t\t\t\t\t\t\t\tRead more<\/a><\/p>\n

From 1994 to 2006, Mala\u0161auskas worked as a curator at the Contemporary Art Centre (CAC), Vilnius. Since then, he has curated numerous international projects including The Last Piece by John Fare<\/i> (gb agency, Paris, 2007); Paper Exhibition<\/i>(Artists Space, New York, 2009); Repetition Island<\/i> (Centre Pompidou, 2010); Into the Belly of a Dove<\/i> (Museo Tamayo, Mexico City, 2010); Satellite Series 4<\/i> (Jeu de Paume, Paris, 2011); oO<\/i>, the Lithuanian and Cyprus pavilions at the 55th Venice Biennale (2013); Fusiform Gyrus<\/i> (Lisson Gallery, London, 2013); Meeting Points 8<\/i> (Brussels, Beirut, Cairo, 2016\u20132017); On Campus<\/i> (Monash University, Melbourne, 2017); and Rosalind Nashashibi<\/i>, a solo exhibition at Kunstinstituut Melly (Rotterdam, 2018), among others.<\/p>\n

His longest-running project, Hypnotic Show<\/i> (ongoing since 2008), is an exhibition that takes place through hypnosis. The Clifford Irving Show<\/i> (2008\u20132010) explored notions of truth, life-writing, identity, and play over a two-year period.<\/p>\n

Mala\u0161auskas has taught at California College of the Arts (San Francisco, 2008), Impulstanz Festival (Vienna, 2015), HEAD \u2013 Gen\u00e8ve (2017\u20132019), and Sandberg Institute (Amsterdam, 2011\u20132015).<\/p>\n

He was born in Vilnius, Lithuania.<\/p>\n

The programme of the Unschool of Curating is split between three days in Cluj and three days in Timi\u0219oara and includes lectures and working sessions with the course leader, presentations and workshops with guest speakers, visits to local galleries, art venues and exhibitions, and meetings with curators and artists. Two public events are organized as part of the programme – a public lecture of the course leader in Cluj and an open conversation with participants in Timi\u0219oara.<\/p>\n

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Guest Speakers<\/h2>\n

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\n\t\t\tTarek Atoui
\n\t\t\tAbout
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\n\t\t\tPierre Bismuth\u200b
\n\t\t\tAbout
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\n\t\t\tMalak Helmy\u200b
\n\t\t\tAbout
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\n\t\t\tFabian Giraud\u200b
\n\t\t\tAbout
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\n\t\t\tLizaveta German\u200b
\n\t\t\tAbout\t\t<\/p>\n

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Photo Gallery<\/font><\/h2>\n<\/h2>\n

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After movie<\/font><\/h2>\n<\/h2>\n
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Application Process
<\/b>The Unschool of Curating is free of charge and open to international participants.<\/h6>\n

WHO CAN APPLY:<\/strong><\/h3>\n

\u00a0<\/p>\n

Emerging professionals in the field of contemporary art curating, with at least 3 years\u2019 experience.\u00a0The Unschool of Curating\u00a0is\u00a0free of charge<\/b>\u00a0and\u00a0open to international candidates.<\/b>\u00a0We strongly encourage Romanian curators to apply to the programme, as well as professionals from the wider region.\u00a0<\/p>\n

The courses will be held in English. Availability in person for the entire course is required in Cluj and Timi\u0219oara.\u00a0<\/p>\n

APPLICATION DEADLINE: <\/b><\/h3>\n

May 15th, 2025.<\/b>\u00a0Selected participants will be notified by\u00a0May 24th, 2025.<\/b><\/p>\n

WHAT IS COVERED BY THE PROGRAMME<\/strong><\/h4>\n

The programme is free of charge. Organisers will cover:<\/p>\n