On Thursday 21 September, 14:00-18:00, Ultima Oslo Contemporary Music Festival will present the symposium Glitch Curation – on the moral, legal and ethical borders of music curation. If you’re interested in questions around curatorial copyright, the intertwined worlds of law and art, and would like to get to know a variation of curatorial practices marked by urgency and artistic drive – please join us!
Full description and schedule at www.ultima.no/en/glitch-curation-symposium
Participation is free, and your ticket includes a meal during the break. You can sign up via the link.
PROGRAMME
14:00-14:05 Arrivals – Sentralen, Øvre Slottsgate 3, Oslo
14:05-14:15 Sonic offering by Amuleto Manuela
14:15-14:30 Introduction by Sofie B. Ringstad, host
Welcome by Heloisa Amaral,
Artistic Director of Ultima Oslo Contemporary Festival
14:30-15:15 Apprehending Sound: Ordering and Interference
Talk by Danilo Mandic (University of Westminster)
15:15-16:15 Panel: Ethics in new music curation
With meLê yamomo (University of Amsterdam), Irene Revell (Electra Productions), Katía Truijen (Rewire Festival, Studio for Immediate Spaces at the Sandberg Instituut and //\ hoekhuis) and Anne Szefer Karlsen (Professor of Curatorial Practice, University of Bergen). Moderated by Sofie B. Ringstad
16:15-16:30 Break with light meal
16:30-17:45 Institutional Audibilities – Archival Poetics
Presentations by the Sounds Now Curating Course
17:45-18:00 Sonic offering by Amuleto Manuela
When does curating ‘malfunction’, or not work as it should, and to what extent should curators interact with works and materials from outside their own field of knowledge? Treading on the opaque borders of curatorial copyright, the symposium Glitch Curation seeks to decipher the current discourses and frontiers of new music curation, exploring its moral, legal, and ethical aspects as well as its Eurocentric background.
The symposium begins with Danilo Mandic, a legal scholar working at the intersection of law and humanities, who will hold a lecture on the legal limits of sonic experimentation. In his work, Mandic looks at the relationship between law and sound and investigates the extent to which sound quality informs new methodological approaches for hearing, understanding, and thinking about law. With his cross-disciplinary approach, he provides the audience with terminology to discuss the often-disruptive entanglements between artistic creation, curating, and copyright.
Then follows a panel on the ethical and practical limits of new music curation, composed of meLê yamomo and Irene Anita Revell, as well as curators Katía Truijen and Anne Szefer Karlsen. Truijen contributes with alternative perspectives on listening within the current technological and ecological context. At the same time, Karlsen’s involvement in, among others, the Dream Contract for Curators adds crucial expertise from the visual art field concerning the negotiation of expectations between curators and artists. The panel is moderated by symposium host Sofie B. Ringstad, a curator, writer, and manager of music agency Sonic Labour, who has put together the symposium programme.
Glitch Curation concludes by showcasing the practice of the participants of Ultima’s international curating course Institutional Audibilities – Archival Poetics. The course approaches curation through its institutional structures, archival practices, inclusion, and historical dynamics. The presentation is introduced by the course mentors meLê yamomo, whose artistic work and research aims at decolonizing Southeast Asian sound archives, and Irene Revell, a curator and writer addressing music and sound histories from a feminist perspective.
Framing the theoretical discussion will be Colombian-born, Berlin-based sound artist Amuleto Manuela. Rooted in her relentless push towards a ‘plurality of worlds that listen to each other’, she brings a sonic offering via turntables at each end of the symposium.
