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Oct 01
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20 years of the School for Curatorial Studies Venice
Interview with Aurora Fonda of the School for Curatorial Studies Venice
by Alessandra Galletta
More than a school for curators, it is now a cultural institution frequented by young people from all over the world who want to participate in the art of exhibiting art. He turns twenty years old School for Curatorial Studies Venice founded by Aurora Fonda and Sandro Pignotti in 2004 in Venice with the aim of creating an open laboratory for the visual arts and for all professions related to contemporary art. The Summer School has also been active since 2015, bringing together participants from all over the world. We retraced 20 years of training with Aurora Fonda in this interview.
Since 2003 you have been the director of the AplusA gallery in Venice, and only a year later you had the idea of founding a curators’ school from scratch. Lack of available professional figures, or desire to implement a new teaching of contemporary art?
It can be said that this need was born in the field, in carrying out my role as director of the gallery, in particular since it is the official home of the Slovenian Pavilion on the occasion of the Biennale. When a gallery transforms into a national pavilion, interesting positions open up for interns, trainees and students who want to experience working in the field.
Offer them an opportunity to learn and have direct discussion with the hot topics of curation, exhibition design, communication…
The boys were all very active, proactive and willing, and complained about the fact that their university studies did not include the practical experiences that would certainly have complemented the theoretical lessons. I felt the sense of their lack, and I thought about how to contribute to the training of future international curators. The more contemporary art can count on trained spokespersons, the stronger and clearer its message will arrive.
Where did you start?
Once I realized that in 2004 there were no real courses for curators in Italy – with the exception of a small one in Florence – and that no public institution was offering them, I thought that structuring a real curator course should be born in the private sector.
We started with a first three-week edition which was immediately a great success. The participation was so numerous that we immediately organized a second edition and since then the number of students has always grown.
What aspects of curating do you pay most attention to, what are your privileged experiences?
Already from the first edition of the course it was clear to me that the children not only did not foresee a direct relationship with the artists, but they struggled to find a way of relating with them, because they were unfamiliar with artist studies and consequently with their practice. For my training, however, this is a fundamental aspect, both for the profession of curator and for personal enrichment.
So it can be said that the first supporters of the school were the artists themselves?
Not only that, even later. We started inviting artists and organizing a full calendar of visits to their studios; in this way the program was lengthened from time to time, as we added lessons, meetings, workshops… Fueling the activities in direct collaboration with the artists has definitely made our school grow.
Has the demand from foreign students also grown over time?
Yes, a lot, and to deal with this demand in a more structured way, since 2015 we have activated the Summer school, a program in English aimed at international students which brings together people from all parts of the world. While with the pandemic we began to offer online courses, which instead of limiting moments of dialogue, discussion and discussion on topics, have contributed to strengthening that sense of community, where everyone feels part of a project.
Another strong point of the school is that a lot of theory is studied… but at a certain point it must be put into practice
After understanding the complex concept of “exhibition”, thanks to the fundamental contribution of the teachers, students are asked to discuss and develop the creation of an exhibition concept. Once the methods and motivations have been approved – expressed in a project already developed at a professional level – we proceed with the choice of the artists, the selection of the works and all the organizational phases are gradually carried out, from transport and insurance up to the preparation of the exhibition and its correct communication.
(continued on webpage)
Also see:
https://www.linkedin.com/in/aurora-fonda-20965821
https://www.curatorialstudiesveniceonline.com/the-tutors-i-docenti/aurora-fonda
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Sep 15
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The Power of the Eyes, Hands, Help, Care, People, Slovenia, Love, Passion, Network Everywhere and Anywhere
MarquesBlackStar – September 15, 2008
Dear global friend,
Network anywhere and everywhere…because modern life is all about the care that we have for other people. We need to respect everyone from different walks of life, because we never know what they know… imagine a Doctor Biologist taking care about your healthy fish…
Dr. Irena Fonda
Dr. IRENA FONDA IS a GREAT BRAND in SLOVENIA…
For me a networker has great passion for people. I want to tell you my point of view about that, because I’m in the city of the light… Paris, three days ago I landed in a paradise called SLOVENIA…
Networking is a way of living, making new friends for life. We just carry on traveling like the navigators without destination…We have something in our days…the power of the people that IS help others to achieve dreams… we will carry on our trip in a much safer way. NETWORK WITH YOUR HAPPY HEART AND EVEN MUSIC CAN HELP A LOT…
Can you imagine that we are on the boat…with Andreja, Tina, me, Hanka and Miss FONDA.
Every human being has got the mission of being great in all senses. CAN YOU CLOSE YOUR EYES FOR 30 SECONDS AND THINK ABOUT A SMALL BALL…
A small boy loves to throw a small ball away… now think about one bird distant at the sky…
Now imagine a ball with YOU, or a single bird look at you from the sky, don’t you think that is better to have a bird on the grass singing for him and for you AND WHY NOT THE ONES THAT LOVE YOU AND HELP YOU…
1000 kilos ball …how many hands you need to throw the big but fantastic ball way.. do you think that you can do that alone only using your own hands…!
Fonda Fishery
I’m very happy to let you know that passion, care and action help you so much that you cant imagine…You need then the great and positive power and the instant confidence for looking for what you dream about…but not eating alone or doing everything alone without the wise advise of long life learners… NETWORKING IS LIKE EVERYTHING IN LIFE… you become what you practice with vision, inspiration! You need people and mother nature…!
So, as a networker farmer …I’m very happy to advise you to plant goods seeds whenever you are or you go… feed every seed …don’t forget the small detail that make a great difference in others people life…
We learn from the most simple things in life… I KNOW THAT EVERYONE KNOWS THE PRECIOUS RULES OF A GOOD NETWORKER… BUT as a heart friend I only want to say that you should give…
and help from the heart… because the universe is great and everyone should be happy for the wind, the sun or the rain…
Thanks to BNI, ECADEMY AND ALL MY DEAREST NETWORKING FRIENDS THAT I HAVE THE SAME DESIRE OF LOVING EVERYONE AS I LOVE MYSELF.
Happy day from the city of the light.. PARIS.
Warmest regards.
Victor Marques
VitoriaKoi, Bringing Portugal to You…
Portugal @ Your Doorstep!
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Mar 18
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Calls for mining to be exempt from environment laws
ABC News – Mar 18, 2008
A group of landowners from Adelaide River south of Darwin are calling for changes to legislation regulating exploration and mining. Dr Michael Fonda says rural residents are concerned about the potential impact of increased exploration for uranium. He says rural communities should have the same protection from resource development as urban areas.
Adelaide River south of Darwin
Dr Fonda says the group is lobbying for exploration to be prevented on larger blocks, as part of the review of the Northern Territory Mining Act, and is calling for the Environmental Protection Board to consider introducing Environmental Impact Statements for exploration licences. “The EPA is at the moment having its legislation revised and we think it would be a good idea to have environmental impact statements compulsory in the process of new mining applications, which they aren’t at the moment.”
But the former chief executive of the Northern Territory Minerals Council Kezia Purick says the suggested changes would prevent access to outback Australia would unfairly compromise the resource industry. “No company would ever actually get on the ground if they had to go through a full EIS, bearing in mind that and Environmental Impact Statement can take upwards of 12 to 18 months to complete and it can cost upwards of nearly $1 million. “Exploration can be a high risk activity and it’s high risk high reward, but it can also be high risk high loss.”