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- Colleague from the Museum of Contemporary Art in Skoplje visit MoCAB
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Public Lecture by Hou Hanru / The Curatorial Course “What Could/Should Curating Do?” / MoCAB, Wednesday, October 10. 2018 at 6 p.m.Talk programs | 10.10.2018
Public Lecture by Hou Hanru Reengaging a Contemporary Art Institution with Civic Society
Curatorial Course “What Could/Should Curating Do?”
Museum of Contemporary Art, Ušće 10
Auditorium "Miodrag B. Protić"
Wednesday, October 10, 2018 at 6 p.m.
In collaboration with the Museum of Contemporary Art Belgrade, the fourth lecture within the series of public programs organized by What Could/Should Curating Do? will be presented by Hou Hanru (Artistic Director of MAXXI – National Museum for 21st Century Art and National Museum of Architecture, Rome, Italy). Following the recent lectures describing new and different perspectives on the theories and practices of exhibition-making, Hou Hanru's presentation will outline certain aspects of the program developed by Hou at MAXXI, detailing his vision-strategies for the reengagement of a contemporary art institution with civic society in this time of “global crisis.” As part of this, he will also discuss some of the challenges of running a XXI century institution, its complexity, reality, and actions.
As Hou explains: “I think that society needs institutions or organizations that can preserve those elements that are supposed to be experimental, complicated, and controversial, while playing a very important part of the knowledge production of today. It’s also very important for museums to be able to provide the conditions that allow intellectually complicated projects to exist. Otherwise we follow the path of the entertainment industry.”
Hou Hanru is a prolific writer and curator based in Rome, Paris, and San Francisco. He is currently the Artistic Director of MAXXI (National Museum for 21st Century Art and National Museum of Architecture), Rome, Italy. Hou Hanru has curated and co- curated over 100 exhibitions in the last two decades across the world. Some notable examples include: China/Avant-Garde (National Museum of Art of China, Beijing, 1989); Cities On The Move (1997–2000); the 2nd Johannesburg Biennial (Hong Kong, etc.) (1997); the Shanghai Biennale (2000); the Gwangju Biennale (2002); the Venice Biennale (French Pavilion, 1999; Z.O.U.—Zone Of Urgency, 2003; and Chinese Pavilion, 2007); the 2nd Guangzhou Triennial (2005); the exhibition and public program of the San Francisco Art Institute (2006–2012); the 10th Istanbul Biennial (2007); Trans(cient)City(Luxembourg 2007); the 10th Biennale de Lyon (2009); the 5th Auckland Triennial (Auckland, New Zealand, 2013); Open Museum Open City (MAXXI, Rome, 2014); Transformers: Choi Jeong-hwa, Didier Fuiza Faustino, Martino Gamper, Pedro Reyes (MAXXI, Rome, 2015–2016); Istanbul, Passion, Joy, Fury (MAXXI, Rome, 2015–2016); Please Come Back, the world as prison? (MAXXI, Rome, 2017); Piere Giraldi (MAXXI, Rome, 2017); Home Beirut (MAXXI, 2017–18); Growing in Difference, the 7th Shenzhen Hong Kong Bi-City Biennial of Urbanism and Architecture (UABB 2017–2018), among others. He is also a consulting curator of Chinese art for the Guggenheim Museum, New York, and co-curator of Tales of Our Time (2016), Art and China after 1989: Theater of the World (2017–18), and One Hand Clapping (2018).
He is an advisor for numerous cultural institutions, and frequently contributes to various journals on contemporary art and culture, lectures, and teaches in numerous international institutions. His books include Hou Hanru (Utopia@Asialink, and School of Culture and Communication, University of Melbourne (2014)); Paradigm Shifts (Walter and McBean Galleries Exhibitions and Public Programs, San Francisco Art Institute (2011)); On the Mid-Ground (English version published in 2002 by Timezone 8, Hong Kong, and Chinese version published in 2013, by Gold Wall Press, Beijing); Curatorial Challenges (conversations between Hou Hanru and Hans Ulrich Obrist, in Art-It magazine as “curators on the move,” Japan, 2006–2012, Chinese version, Gold Wall Press, Beijing, 2013); among others.
The WCSCD curatorial course and series of public lectures are initiated and organized by Biljana Ciric together with Supervizuelna. The lecture by Hou Hanru is made possible with the help of MoCAB and the Istituto Italiano di Cultura Belgrado, with the additional support of Royal Inn Hotel and Car:Go.
Project patron: Wiener Städtische; project partners: The Museum of Contemporary Art Belgrade; GRAD—European Center for Culture and Debate; EVA International – Ireland’s Biennial, ’Novi Sad 2021 – European Capital of Culture’ Foundation and Zepter Museum.
The project is supported by: the Goethe Institute in Belgrade; Istituto Italiano di Cultura Belgrado; the Embassy of Sweden; the Embassy of the Kingdom of the Netherlands; the Embassy of Ireland in Greece; the Embassy of Indonesia; the EU Info Centre; Mondriaan Fund, the public cultural funding organization focusing on visual arts and cultural heritage; Pro Helvetia - Swiss Art Council; and galleries Eugster || Belgrade, HESTIA Art Residency & Exhibitions Bureau, Center for the Promotion of Science and Zepter Hotel, Royal Inn Hotel and CAR:GO. Media partners: EUNIC Serbia, RTS3.