The cultural management is crucial to the development of arts, above all in countries like Chile where the production, creation of spaces, curatorship, coordination and –many times- the mounting and the lighting are in hand of the same artists. From there, Felipe and Ángela Cura have worked as visual artists generating their own exhibitions, making curatorship internationally and engaging with other artists with national career to carry their own exhibitions out.
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Both of them studied bachelor’s degree in Arts in Universidad de Chile. Ángela in goldsmith, giving lessons of this specialty in the same university; while Felipe in Painting, and since then he has devoted himself to the coordination of art spaces. In the following, they deepen a little bit the activities that they have developed after university and the topics that they will address this next July 11th in Café Moritz.
How did you start engaging with cultural management?
After we both finished University, we started organizing exhibitions in which we invited some friend artists, this instances were the first experiences in which we engaged in cultural management (production, curatorship among others). A few years later Felipe worked as a coordinator in two art rooms in Santiago and this was the definitive boost for raising the autonomous initiative of contemporary art.
Do you think is self-management necessary? In which way?
We think self-management is very important. Mainly because it’s an instance in which there is a greater creative freedom. In a self-managed project, limits are set by ourselves, they are not imposed.
What is Galería Temporal about and how it has been developed?
Galería Temporal (temporary gallery in Spanish) is a transitional and mobile space of contemporary art exhibition. Started in the late 2010 in a showcase of the center of Santiago. Since then it has appeared in different places and times with proposals that have been developed according to the various contexts that have been hosted, but focusing in the relationship with public space. The aim is to broaden possibilities of connecting with contemporary art in the city, at the same time that making the local artistic field tense, in which certain instability comes back to the temporal and transitional of generalized condition.
As curators, how do you know new artists?
We often go to see exhibitions both in institutional and autonomous spaces (especially where artists with a short career go). If we are interested in any of the artists’ work we contact them and we ask their portfolio to know more about their work. Furthermore, we are frequently receiving and checking all kind of publications (fanzines, catalogues, newspapers) that allow us to know and keep track of the new artists’ production.
What topics, in general, will you addressing in Masterclass AAL?
The Marterclass of AAL is focused in four projects developed by Galería Temporal, “Primera temporada” (2011-2012), “Circuito Temporal” (2014), “Desplazamiento temporal” (2015) and the current exhibition cycle. Through this review we will tell about the different changes and turns that we wanted to include in Galería Temporal, and how these transformations are manifested in other topics of the project, for instance, in its curatorial axes, in developed publications, in how to raise money, among other issues.