Universitat Internacional de Catalunya - BarcelonaVisual Arts Management
Main language of instruction: Spanish
Head instructor
The subject "Management of Visual Arts" aims to focus on the activity, management and knowledge necessary to make it possible. We analyze the work processes that will eventually lead to presentations of works of art in very different contexts such as exhibitions, collections, fairs, or auctions, while knowledge about the necessary infrastructures and legal conditions will be the protagonists of other subjects.
"Management of the Visual Arts" offers students the possibility of knowing and deepening in the management of art, both related to exhibitions and collections, as well as that derived from the most commercial facets of art. So it is both the management of art linked to public institutions (museums, creative factories, etc.), and that which is carried out from the private initiative (galleries, foundations, auction rooms, specialized companies, etc.). ).
SESSION 1: The collection I (Collecting: origins and typologies)
Public, private and corporate collections; formation of a collection; networking Institutional projects to share collections; case studies: Guggenheim/Sacklers
SESSION 2: The collection II. (Acquisitions)
Types of acquisition: purchase, donation, loan, co-production, dación and deaccesioning; types of contract according to the type of acquisition and work; acquisitions shared between institutions: Three Museums Project; procurement policy. European model vs American model (study collection, promise of give and fractional gift); study of the collection: graphics and infographics; case study: Acquisition of arroba (@) (MoMA, 2010) and Kiss by Tino Sehgal (MCA, 2007)
SESSION 3: The collection III (Management of the collection)
Preventive conservation; restoration; documentation and cataloging of works; limits between the collection and the file; transport, packaging and manipulation of works of art; insurance policy; viewing: The Spanish savings banks (2004); case study: Vanguard Artists Group: Tucumán Arde (1968) (MACBA)
SESSION 4: The collection IV (Dissemination of the collection: exhibitions, loans and the online collection)
The collection in the museum; Organization of the exhibitions as well as their itineraries; management of work loan to third parties (loan contract, facility report, condition report, fees, mail, transportation, culture permits, etc.); dissemination of the online collection: web and social networks (Instagram, twitter, Facebook, etc.); publications and epubs; view: Jef Cornelis: Le Musée d'Art Modern Departement des Aigles (1974)
SESSION 5: The collection V (Market and appraisal of works of art)
Dealers and consultants; auctions; patronage; valuation
SESSIÓ 6: The file
Digital repository: artistic heritage and documentary heritage; Historical archive, acquisitions, donations, deposits, exchanges; cataloging; storage; services: user queries, loans, bank images, student internships, residences, research, etc; dissemination: public relations, activities, web, social networks, communication, content; research and cooperation projects
SESSION 7: Historical exhibitions and great artistic events vs Art Fairs (oral presentation)
Art Fairs; Historical exhibitions and other current projects; historical references: Documenta de Kassel, Sao Paulo Biennial, Venice Biennale, Munster; other artistic events: Whitney Biennial, Biennial Berlin, Manifesta, Sharjah Biennal, Istanbul Biennial, etc; View:: Marc Spiegler, Art Basel Global Director: “1986-2016: from quiet village to a chaotic cosmopolis – three dècades that transformed the art-world”
SESSION 8: Exhibition Space I. (Evolution of the exhibition space)
Brief history of the exhibition space and its evolution taking into account the interdependence between architecture and the evolution of the visual arts; new buildings vs. rehabilitated buildings; virtual spaces; new cultural projects led by artists: Theaster Gates, Mark Bradford and Rick Lowe; Case study: The Wrong Gallery, 2002 (Mauricio Cattelan, Massimiliano Gioni y Ali Subotnick); LIMAC (2002) (ambdós pertanyen a la Tate) així com l’exposició ‘Growth and Form’ (1951) comissariada per Richard Hamilton i adquirida pel MACBA el 2014; Anthony Reynolds gallery; Condo Complex (2016-actualitat).
- Reading: STEYERL, Milestone: "Is a Museum a Factory?"
SESSION 9: The exhibition I (The exhibition space)
Characteristics and typologies; projects conceived for the virtual space: The Performance Room, Tate Modern (2012-ongoing); Case study: Retrospective of Xavier Le Roy and Alhora y Calzadilla, The Tàpies Foundation, 2012-2018; view: Frederick Wiseman: National Gallery, 2014
SESSION 10: Educational programs
Inclusion and accessibility; new formats of dialogue with the public; Case study: Learning Through Art (Guggenheim NY) - Expressart (MACBA)
EXPERT SESSIONS
These sessions, which are a fundamental part of the subject "Management of Visual Arts", aim to have the knowledge and competence of experts in different areas of art management. Some of the sessions will take place at the university headquarters while others will be taken out of the group to make the visits "in situ".
1. File: session with the person in charge of a file or documentation center
2. Private foundations: visit a foundation to learn from the hand of those responsible for its objectives and strategies, as well as financing and obtaining resources.
3. Visit to a museum: the stores will be visited and the problems of conservation and security will be addressed.
4. Creation factories: we will visit some of the production centers of visual arts, public and / or private, that exist in Catalonia as reception and support centers for creators.
5. Video distributors (half session): an expert will expose the processes of production, diffusion, sale or loan of audiovisual works.
6. Artists: an artist will talk about his professional experience addressing the multiple relationships established with the different agents: galleries, museums, critics and / or curators among others. With special emphasis on artist residencies, scholarships and prizes.
7. The art market: (galleries -half session-) explanations about its operation, artists they represent, collectors with whom they work, fairs they attend, goals and growth strategies.
8. The art market: (the fairs) the person in charge of the impulse, organization and operation of an art fair, exposes how it was started and how it is projected into the future.
Throughout the course and depending on the concerns of the students themselves you can adjust the program or add recommended readings and / or links of interest.
The theoretical classes are the responsibility of the professor of the subject and they combine technical information with knowledge based on the practice and execution of the proposed subjects.
This practical aspect is reinforced by sessions carried out by invited professionals, experts in different aspects or phases of art management: artists, galleries, fairs and the art market; the auctions, etc.
Also two or three trips will be made visiting some of the most important artistic infrastructures of the city, to analyze their characteristics, management and contents.
Possibility of doing a job or an exam at the end of the course.