Curating multimedia arts festivals: the analysis and development of site-responsive strategies

本研究的目的是为分析和发展节日策展策略提供一个新的关键框架。这是东北视听艺术学院（AVANE）和纽卡斯尔大学美术系的合作项目，由国际文化与遗产研究中心提供支持。AVANE的主要目标是提供两年一次的电子艺术AV节，该节日在纽卡斯尔，盖茨黑德，米德尔斯堡和桑德兰的城市中心举行。本项目将以影音节为例，批判性地分析大型电子艺术节的现场响应策展策略，以期构思出创新的策展策略，以影响多媒体艺术节的实践。在这样做的过程中，它将对特定地点的节日策展研究领域做出独特的贡献。该研究位于当代艺术实践、策展和现场响应实践之间一个富有成效但研究不足的领域。目前对节日的研究往往集中在社会或经济影响、游客动机和围绕可持续旅游的问题上。即使是像Documenta， Skulptur Projekte m<s:1> nster和Electronic Arts国际研讨会这样的主题节日，更多的是关于个人艺术品的报道，而不是作为一个实体的节日本身及其与场地的关系。利用数字资源创造性地占领公共空间（例如城市屏幕）的节日和竞赛同样缺乏为创新模式提供信息所需的具体关键背景，也没有考虑到当代（特别是城市）空间对新媒体实践构成的挑战。在大多数研究生策展课程中，策展人在媒体节中的作用并没有得到解决，结果是这个项目试图解决的是一个实质性的技能和知识差距。该项目的总体目标是在多地点的城市地形上提供节日策展的批判性分析，并为此类节日的现场响应策展策略提供信息，特别是涉及电子媒体。具体目标是：-开发一个新的分析艺术节策展的关键框架-为多媒体艺术节提出创造性的策展策略-使AVANE能够反思其节日发展。预计学生将解决以下目标：-提供影音节的关键案例研究-提供艺术和新媒体节及其策展策略的分析-将影音节置于更广泛的国家和国际背景下-确定关键问题并将其应用于AV12的现场案例研究-通过进行研究，特别是针对av14，理论化新的节日策展策略。基础是以节日和策展为中心的研究问题，例如：节日与实践：电子艺术节是如何发展的？在艺术节中，委托和策展有什么区别？以公共空间为中心的艺术节是如何演变的？策展的模式是什么？对电子媒体有什么影响？英国东北部的电子媒体节实践与英国和欧洲的多媒体艺术节策展实践（如文献展、ISEA）有何关系？策展：多站点策展会带来哪些问题？与艺术家相比，策展人在协商/调解空间/地点问题上扮演什么角色？在一个多地点的节日中，新媒体作品的潜力/问题是什么？多伙伴艺术节对策展策略的影响是什么？节日模式本身在多大程度上可以被理论化为一种公共干预？这个博士学位对于批判性的语境化和支持将是重要的

The aim of this research is to provide a new critical framework for analysing and developing festival curatorial strategies. This is a partnership between Audio Visual Arts North East (AVANE) and Newcastle University's Fine Art Department , supported by the International Centre for Cultural and Heritage Studies. AVANE's main objective is delivery of the biennial AV Festival of electronic arts, which takes place across the urban centres of Newcastle, Gateshead, Middlesbrough and Sunderland. Using the AV Festival as a case study, this project will critically analyse the site-responsive curatorial strategies of a large-scale electronic arts festival, with a view to conceptualising innovative curatorial strategies to influence practice in multi-media arts festivals. In so doing, it will make a unique contribution to the under-researched field of site-specific festival curatorship.The research sits in a productive but under-researched area between contemporary arts practice, curatorship and site-responsive practice. Current research into festivals tends to focus on social or economic impact, visitor motivation and issues surrounding sustainable tourism. Even with keynote festivals such as Documenta, Skulptur Projekte Münster and the International Symposium of Electronic Arts more is written about individual artworks than the festival as an entity in its own right and its relationship to site. Festivals and competitions drawing on digital resources to creatively occupy public space (e.g. Urban Screens) likewise lack the specific critical context needed to inform innovative models and to consider the challenges posed to new media practice by contemporary, particularly urban, space. The role of curatorship in media festivals is not addressed in most postgraduate curating courses and the result is a substantial skills and knowledge gap which this project seeks to address. The project's overall aim is to provide critical analysis of festival curatorship over a multiple-site urban terrain and inform site-responsive curatorial strategies for such festivals, particularly involving electronic media. The specific aims are:- To develop a new critical framework for analysing festival curation- To propose creative curatorial strategies for multi-media arts festivals- To enable AVANE to reflect on its festival developmentIt is anticipated that the student will address the following objectives:- Provide critical case studies of AV Festivals- Provide analysis of arts and new media festivals and their curatorial strategies- Place AV Festivals within broader national and international context- Identify key issues and apply them to live case study of AV12- Theorise new festival curatorial strategies, through conducted research, particularly with a view to AV14Underpinning this are research questions centred on festivals and curation, such as:Festivals & Practice: How have electronic arts festivals developed? What is the difference between commissioning and curatorship within festivals? How have arts festivals centred around public space evolved, what have the patterns of curatorship been and what are the implications for electronic media? How does electronic media festival practice in the North East relate to practices of multi-media art festival curatorship in the UK and Europe (e.g. Documenta, ISEA) particularly since 2000?Curation: What problems does multiple-site curatorship impose? What is the role of the curator in negotiating/mediating issues of space/place in relation to that of the artist? What are the potentials/problems of new media works across a multiple-site festival? What implications do multi-partner festivals pose for curatorial strategies? To what extent can the festival model itself be theorised as a public intervention?This PhD will be important in critically contextualising and pro