Temas

• What is the role of curator in the changing perspectives of the art institution in this next decade?
• Which are the main differences and challenges of curatorial practices for institutional and the independent curators? How to consider experimental curatorship nowadays?
• Which characteristics and/or differences have we come across between collective curating and the notion of 'authorship'? Are these problematic issues?
• How do we consider the development of the curatorial activity in the next decade? 
   

2. O ensino de curadoria: desafios para programas curatoriais

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  In relation to the globally evolving and newly developing education system of the curatorial studies. What are the main challenges of curatorial education today?
• Is it possible to come up with common theories for contemporary curatorial education across heterogeneous contexts, or is curating only a context-specific and context-sensitive practice?

• Which role do theories of curating play in practice? How to better relate theory to practice?
• Is the development of curatorial programs a real demand of the art field? How is the jobmarket for the professionals formed in these schools? Are newly formed curators being acting in other fields?
• Curatorial studies are addressing other cultural practices? Is it being self-critical about the hierarchical models within the art institution and the art system?
• Is curating in a process of becoming a language? If so, who can appropriate this set of productive and communicative tools? How metalinguistic is this language?

3. Artistas como curadores

• How to define the new positions of the artist/curator and curator/artist, when both starts to use (pre existing) cultural productions as elements for discursive and performative art projects.
• Are artists, curators and critics public intellectuals? What does this mean in terms of actions and roles if we consider the art system as part of the public realm?
• Is there any common issues of responsibility between curator and artist within the exhibition, or these are part of the premises of a project, and thus part of an art process?
• Is a curator ‘more professional’ than an artists or this is a matter of institutional / hierarchical positions? How to overcome these polarization and built productive collaborations?
  

4. Crítica e Curadoria: história e contemporaneidade da curadoria, o que estamos esquecendo?

• What is the relationship between Critique and Curating?
• How curatorial discourse operates: based on past models or is it really proposing new paths?
• What are the opportunities, possibilities and impossibilities of curating becoming more critical?
• What role the socio-political and economic contexts play regarding curatorial criticism?
• Influence of curating experimental practices since 1960 -(e.g. Zeemann, Zanini, etc.) Since then how the traditional narration of art history and sovereignty of geopolitics has been disarticulated? Was that productive?
• Innovations in curatorial practices since the ‘60s. How new technologies and the rise of the debate on globalization have affected the nature of the exhibitions, specially with the use of the internet and associate media?
• Influence of artistic practice on curatorial practice. 
  

5. Curadoria como mediação crítico-criativa: contextualizando, unindo e criando redes entre a arte contemporânea e a sociedade

• Why hierarchical orders, based on educational principals, still dominates in the relationship between Contemporary Art and Society? Why educators are normally associated with the role of bridging these poles? How about artists or curators? Should they not be more aware of this important role? 
• Why curating is not facing the challenge of developing horizontal, dialogical actions, those that in fact addresses the role of the audience in the artistic process?
• What are the demands to built critical situations based on the relation between curating and reception/participation?  
• Who is experiencing contemporary art? How audiences are addressed? Are we really hearing/considering the others, those that do not relate directly with contemporary art? 
• After 60's conceptual art developments, art practice has incorporated critic and theoretical strategies as 'material' of work production. What are the perspectives for collaborative work in this scenario, regarding the critic, the artist, the public and curator's roles?
• In an ever growing 'society of control', critical mediation wouldn't be a disruptive force to produce other meanings and reactions than just answers or additions to a market driven system?
• Curator as mediator, middleman, educator, supervisor, intermediary? Is there a better denomination?