Charlas de MoMA A&D: sobre el diseño de la arquitectura y el diseño (segunda parte)
During Fall 2016 we had the unique opportunity to participate in the regular internship program of the Museum of Modern Art in New York and assist with ongoing exhibition projects in the Architecture and Design Department (A&D). This Department was established in 1932 as the first curatorial...
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Universidade de São Paulo. Instituto de Arquitetura e Urbanismo
2019
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Ruggiero, Amanda Saba Michal, Luis |
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Ruggiero, Amanda Saba Michal, Luis Charlas de MoMA A&D: sobre el diseño de la arquitectura y el diseño (segunda parte) |
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Ruggiero, Amanda Saba Michal, Luis |
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Ruggiero, Amanda Saba |
| title |
Charlas de MoMA A&D: sobre el diseño de la arquitectura y el diseño (segunda parte) |
| title_short |
Charlas de MoMA A&D: sobre el diseño de la arquitectura y el diseño (segunda parte) |
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Charlas de MoMA A&D: sobre el diseño de la arquitectura y el diseño (segunda parte) |
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Charlas de MoMA A&D: sobre el diseño de la arquitectura y el diseño (segunda parte) |
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Charlas de MoMA A&D: sobre el diseño de la arquitectura y el diseño (segunda parte) |
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charlas de moma a&d: sobre el diseño de la arquitectura y el diseño (segunda parte) |
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During Fall 2016 we had the unique opportunity to participate in the regular internship program of the Museum of Modern Art in New York and assist with ongoing exhibition projects in the Architecture and Design Department (A&D). This Department was established in 1932 as the first curatorial department dedicated to architecture and design and built on an ambitious collection covering major figures and movement of architectural culture from mid-19th century to the present. With looking back on a rich history of influential exhibitions such as Modern Architecture: International Exhibition (1932), Architecture Without Architects (1964/65) or Deconstructivist Architecture (1988) it has been one of the key institutions to push the format of the architecture exhibition and which it keeps doing up to today.
Having this in mind we both came to New York with great respect and honored to gain insights in this institution for a period of three months. The department currently employs around 15 people which made it a really pleasant, intimate place to work with highly passionate and professional individuals full of remarkable expertise and respect for each other. This said and with the department going through some recent (at that moment) personnel changes, most notably the new directorship of Martino Stierli since 2015, as well MoMA reconfiguring and adding gallery spaces set to be open in 2019, we felt it was a very interesting moment for us to talk to our curator colleagues about their personal history and professional ambitions as curators at MoMA as well specific challenges of exhibiting architecture and design.
Being both educated in architecture in different countries (Brazil and Germany) we could gain not only a lot of professional insights but also talk about personal aspects of the curators´ – not always linear – careers. In total we conducted six interviews with all (senior) curators and one curatorial assistant of the Architecture and Design Department, all of whom we asked the same, around ten questions in order to produce a complete “panorama” of the departments staff at that very moment. In the following we would like to share with you the second half with Juliet Kinchin, Martino Stierli and Sean Anderson. The first three interviews with Paola Antonelli, Barry Bergdoll and Michelle Millar Fisher, were published on RISCO v.16 n.1 2018.
From the interviews, Juliet Kinchin had an approach since a student into intellectual debates and design history rather than architectural history, while Martino as a professor, was also engaged doing exhibitions. Sean Anderson struggled being a professor and practicing architect, and curation for him “means also being able to condense ideas and questions”. Since they had different backgrounds before arrive at MoMA, the teaching position and a special love for research is a shared common background for them.
Juliet Kinchin argues that the curator’s activity apart from the responsabilities also means communicate and creating view points and arguments in a spatial and material form, while Martino talk about the work of curating a show as very much about a teamwork. For Sean Anderson also the very strong critical sensibility, is a must have skill for a curator. Sean Anderson’s advice to young curators is to ask questions and to have as many experiences in the world as possible. Juliet Kinchin talks about integrity, that makes the difference in your work, Martino in the same way, reinforce the ideia to love what you do and so you will be successful.
Luis Michal, Amanda Saba Ruggiero |
| publisher |
Universidade de São Paulo. Instituto de Arquitetura e Urbanismo |
| publishDate |
2019 |
| url |
https://www.revistas.usp.br/risco/article/view/158343 |
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oai:revistas.usp.br:article-1583432021-01-02T22:06:34Z Charlas de MoMA A&D: sobre el diseño de la arquitectura y el diseño (segunda parte) MoMA A&D talks: on curating architecture and design (Second part) Palestras do MoMA A&D: sobre projeto e design de arquitetura (parte dois) Ruggiero, Amanda Saba Michal, Luis Curator MoMA Exhibition Interview curaduria MoMA Exposición Entrevista Curadoria MoMA Exposição Entrevista During Fall 2016 we had the unique opportunity to participate in the regular internship program of the Museum of Modern Art in New York and assist with ongoing exhibition projects in the Architecture and Design Department (A&D). This Department was established in 1932 as the first curatorial department dedicated to architecture and design and built on an ambitious collection covering major figures and movement of architectural culture from mid-19th century to the present. With looking back on a rich history of influential exhibitions such as Modern Architecture: International Exhibition (1932), Architecture Without Architects (1964/65) or Deconstructivist Architecture (1988) it has been one of the key institutions to push the format of the architecture exhibition and which it keeps doing up to today. Having this in mind we both came to New York with great respect and honored to gain insights in this institution for a period of three months. The department currently employs around 15 people which made it a really pleasant, intimate place to work with highly passionate and professional individuals full of remarkable expertise and respect for each other. This said and with the department going through some recent (at that moment) personnel changes, most notably the new directorship of Martino Stierli since 2015, as well MoMA reconfiguring and adding gallery spaces set to be open in 2019, we felt it was a very interesting moment for us to talk to our curator colleagues about their personal history and professional ambitions as curators at MoMA as well specific challenges of exhibiting architecture and design. Being both educated in architecture in different countries (Brazil and Germany) we could gain not only a lot of professional insights but also talk about personal aspects of the curators´ – not always linear – careers. In total we conducted six interviews with all (senior) curators and one curatorial assistant of the Architecture and Design Department, all of whom we asked the same, around ten questions in order to produce a complete “panorama” of the departments staff at that very moment. In the following we would like to share with you the second half with Juliet Kinchin, Martino Stierli and Sean Anderson. The first three interviews with Paola Antonelli, Barry Bergdoll and Michelle Millar Fisher, were published on RISCO v.16 n.1 2018. From the interviews, Juliet Kinchin had an approach since a student into intellectual debates and design history rather than architectural history, while Martino as a professor, was also engaged doing exhibitions. Sean Anderson struggled being a professor and practicing architect, and curation for him “means also being able to condense ideas and questions”. Since they had different backgrounds before arrive at MoMA, the teaching position and a special love for research is a shared common background for them. Juliet Kinchin argues that the curator’s activity apart from the responsabilities also means communicate and creating view points and arguments in a spatial and material form, while Martino talk about the work of curating a show as very much about a teamwork. For Sean Anderson also the very strong critical sensibility, is a must have skill for a curator. Sean Anderson’s advice to young curators is to ask questions and to have as many experiences in the world as possible. Juliet Kinchin talks about integrity, that makes the difference in your work, Martino in the same way, reinforce the ideia to love what you do and so you will be successful. Luis Michal, Amanda Saba Ruggiero Durante o outono de 2016, tivemos a oportunidade única de participar do programa regular de estágios do Museu de Arte Moderna de Nova York e auxiliar nos projetos de exibição em andamento no Departamento de Arquitetura e Design (A&D). Este departamento foi criado em 1932 como o primeiro departamento curatorial dedicado à arquitetura e design e construído sobre uma coleção ambiciosa que abrange grandes figuras e movimentos da cultura arquitetônica de meados do século XIX até o presente. Com uma retrospectiva de uma rica história de exposições influentes, como Arquitetura Moderna: Exposição Internacional (1932), Arquitetura Sem Arquitetos (1964/65) ou Arquitetura Desconstrutivista (1988), foi uma das instituições principais a pressionar o formato da arquitetura. exposição e que continua fazendo até hoje. Durante el otoño de 2016, tuvimos la oportunidad única de participar en el programa regular de pasantías en el Museo de Arte Moderno de Nueva York y ayudar con los proyectos de exhibición en curso en el Departamento de Arquitectura y Diseño (A&D). Este departamento fue creado en 1932 como el primer departamento curatorial dedicado a la arquitectura y el diseño y construido sobre una ambiciosa colección que abarca grandes figuras y movimientos en la cultura arquitectónica desde mediados del siglo XIX hasta la actualidad. Con una retrospectiva de una rica historia de exposiciones influyentes, como Modern Architecture: International Exhibition (1932), Architecture Without Architects (1964/65) o Deconstructivist Architecture (1988), fue una de las principales instituciones para presionar el formato de la arquitectura. exposición y sigue haciendo hoy. Universidade de São Paulo. Instituto de Arquitetura e Urbanismo 2019-09-17 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://www.revistas.usp.br/risco/article/view/158343 10.11606/issn.1984-4506.v17i2p129-130 Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online); Bd. 17 Nr. 2 (2019); 129-130 Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online); 卷 17 编号 2 (2019); 129-130 Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online); v. 17 n. 2 (2019); 129-130 Risco - Revue de Recherche en Architecture et Urbanisme; Vol. 17 No 2 (2019); 129-130 Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online); Том 17 № 2 (2019); 129-130 Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online); ##issue.vol## 17 ##issue.no## 2 (2019); 129-130 Risco - Journal of Architecture and Urbanism; Vol. 17 No. 2 (2019); 129-130 Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online); V. 17 N. 2 (2019); 129-130 Risco - Revista de Investigación en Arquitectura y Urbanismo; Vol. 17 Núm. 2 (2019); 129-130 1984-4506 por https://www.revistas.usp.br/risco/article/view/158343/156170 Copyright (c) 2019 Amanda Saba Ruggiero, Luis Michal |