Kunstverein Nürnberg – Albrecht Dürer Gesellschaft

Recent years have seen changes to the field of arts education with a number of artist-run education programmes appearing in different geographies. Tracing a history of alternative pedagogy rooted in Latin America from the 1960s it becomes evident that these programmes are in effect formed as perpetual structural and aesthetic critique of dominant institutional models. At a time in which education in Europe has, through the Bologna Process, been standardised to enable international education markets, former art academies have struggled to adopt and reflect the specificity of the field of contemporary art as presented in museums today. By situating specific aesthetic paradigms within communities, by using different pedagogic models, financing structures and art histories, a number of these new programmes have therefore become central to the formation of contemporary art. Difficult to translate, how, then, do museums and other art institutions figure in relation to these communities and their educational practices? If at all possible, how are these institutional forms present(ed) in the context of exhibitions? And finally, how does the site of the museum relate to situated knowledge production elsewhere?

Milan Ther is curator and the director of the Kunstverein Nürnberg – Albrecht Dürer Gesellschaft. Ther was an assistant curator at the Kestner Gesellschaft where he co-organised exhibitions of James Richards and Leslie Thornton, Monika Baer and Marc Camille Chaimowicz. The programme at the Kunstverein Nürnberg pursues the notion of art as knowledge production, often featuring process-based installations made for the site in dialogue with institutional geographies. Exhibitions at the Kunstverein Nürnberg include Karin Schneider’s Milchhof Diagram, Jason Hirata’s 25 OCTOBER, 2015 – 12 MAY, 2019, Leslie Thornton’s GROUND, and Eva Barto’s The Supporters.