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How to transcend land grab economies, even by means of art?The reader REALTY moves from the safety of critique to the vulgarity of suggestions.The pandemic's effect on mobility presents a historic opportunity.Rarely has criticism of our extractive artworld logic of one-place-after-another been louder.

Straipsnyje tiriamos parodų architektūros ir kuratorinės programos sąveikos. Jos nagrinėjamos ne kaip vieno tikslo siekianti duali sistema, bet kaip dvi atskiros sistemos, kurios ne visada užtikrina vientisą parodos turinio artikuliaciją. Būtent architektūrinės ir kuratorinės programų neatitiktis atsiduria tyrimo dėmesio centre, nes praktikoje pastebima, kad tokių parodų yra bene daugiausia. Manytina, kad taip atsitinka todėl, kad parodų salių architektūrinė sandara dažnai nėra lanksti tam tikriems kuratoriniams scenarijams. Straipsnyje siūloma į tai žiūrėti ne kaip į problemą, bet į galimybę, kaip būtų galima tai taikyti sąmoningai ir produktyviai. Tyrimui atskleisti pasirinkti keli metodai, kurie taikomi tiek teorinėje, tiek praktinėje tyrimo dalyse.

This article incorporates research involving artivist and pedagogical curatorships (2007-17) that were developed by contemporary artists, university professors, students from the Faculty of Education, practising teachers and students from nursery, elementary and secondary school. It intends to showcase a series of artistic research projects financed by public institutions, facing the challenge of transforming teacher training. These contemporary artivism-based projects have been able to break academic barriers and obsolete routines in teacher training. One of the results of this experimentation has been materialised in exhibitions at renowned museums and contemporary art centres. They have managed to expand teaching models beyond the classroom space, as the emergence of the collective and the educational interest in the commons. A/r/tography was used as a research methodology that unveils the three interconnected identities of the \"artist, researcher and teacher\" as the person who, in his or her teaching practice, is capable of developing a creative practice with students through experimental processes in artistic research. A/r/tography generates a learning space where educational concepts can be broken. It is in this intermediate zone of intellectual incitement that curators propose artivist projects capable of generating tactics of proximity between two apparently separate fields: art and education.

This article explores two considerations in the push toward joint “LAM” (Library, Archive, and Museum) programs of education and research: the organizational proximity of departments and schools of library and information studies (LIS) and museum studies (MS); and the degree to which individual scholars of LIS and MS share publishing outlets, as an indicator of current levels of scholarly interaction. An environmental scan of LIS and MS programs in the United States, Canada, the United Kingdom, Australia, and New Zealand was conducted to investigate the extent to which the two sets of programs were based in different universities and disciplinary units. A bibliometric survey was also carried out to gauge the extent to which LIS and MS scholars based in Australia publish in common journals, conference proceedings, and books. Findings show that the extent to which LIS and MS programs are offered by the same universities and colleges varies widely across countries, even within the English-speaking world. Further, the results suggest that while museum and curatorial studies tend to be located with arts and humanities disciplines, LIS programs are more likely to be located, particularly in North America, with the social sciences and ICT, although the disciplinary location of LIS programs is relatively diffuse. The bibliometric analysis confirmed the authors’ hypothesis that Australian LIS and MS academics publish in different outlets, with academics from the two groups presenting at only one conference in common and publishing in no common journal in the period studied.

This study explores artistic choices in cinema exhibition, focusing on film theaters, film festivals, and film archives and situating film-curating issues within an international context. Artistic and commercial film availability has increased overwhelmingly as a result of the digitization of the infrastructure of distribution and exhibition. The film trade's conventional structures are transforming and, in the digital age, supply and demand can meet without the intervention of traditional gatekeepers—everybody can be a film curator, in a passive or active way. This volume addresses three kinds of readers: those who want to become film curators, those who want to research the film-curating phenomenon, and those critical cinema visitors who seek to investigate the story behind the selection process of available films and the way to present them.

The state-based accreditation program developed in Texas focuses on the care and management of archaeological collections held in curatorial facilities within the state and may prove beneficial on a broader scale in addressing the national curation crisis. An accreditation program is a peer-evaluation process and tool that helps illuminate the problems, establish priorities, and allocate resources in order to achieve the standards or objectives set. The accreditation process in Texas (through the Accreditation and Review Council (ARC) of the Council ofTexas Archeologists) is based on museum concepts and used the American Association of Museums accreditation program as a model. The process entails an application, institutional self-evaluation, field review by trained peer reviewers, deliberation by ARC members, and determination made; followed later by reaccreditation. Among the benefits of participating in the program, the process provides the opportunity to emphasize the strengths of the curatorial facility, identifY its problems by providing a systematic review of its operations, and help improve its operations and facilities. A state-based program fits into the national scheme of archaeological collections standards and care by being a potential model for a national peer-evaluation program to monitor curation care.