Alanna Heiss

Alanna Heiss
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»Platziere den Künstler, nicht die Kunst« – Alanna Heiss, Gründerin und langjährige Kuratorin des P.S.1 Contemporary Art Center in New York, gibt in ihrem Notizbuch »Die Platzierung des Künstlers« ihre wichtigsten Credos preis. Die Hauptaufgabe der Kuratorin/des Kurators ist es aus ihrer Sicht, Neutralität zu wahren. Entgegen der Vorstellung vom »Kuratieren als Kunst« unterstreicht Heiss die Notwendigkeit, die Künstler und ihre Werke ins Zentrum zu rücken. Das Kuratieren sollte ihnen ermöglichen, schlüssige Statements zu machen und in Dialog mit dem Publikum zu treten. Diese Position geht einher mit der Diskretion, Hilfestellung und Umsichtigkeit des Kurators, der sinngemäß wie ein »Concierge« handeln sollte, der die Arbeit im Hintergrund erledigt. Alanna Heiss gründete das P.S.1. Contemporary Art Center und leitete es von 1976 bis 2008; sie ist Direktorin der Clocktower Gallery und der dazugehörigen Radiostation ARTonAIR.org, New York. Sprache: Deutsch/Englisch

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Alanna Heiss. Alanna Heiss

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Carolyn

The text that follows was a lecture given by Alanna Heiss during a conference that took place April 26–29, 1978, at LAICA, the Los Angeles Institute of Contemporary Art, housed on 2020 South Robertson Boulevard. Heiss’ text was published in a book titled The New Arts Space: A Summary of Alternative Visual Arts Organizations Prepared in Conjunction with a Conference. It focused on “curatorial” practice (this may be one of the first texts to use that adjectivized noun so common today), at a time when curating was not constituted as a parallel and at times even competitive practice to artistic research.

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P.S.1 was so named because it was located in what had once been a public school, across from a taxi parking lot and the post office on Forty-Sixth Avenue, and near the subway stop on the 7 line, which cuts horizontally across from the outskirts of Flushing in Queens all the way to Times Square on Forty-Second Street. A particularly diverse and eclectic set of subway riders are found on the 7 line.

Heiss’ way of working has always been based on a belief in and commitment toward artists. In the early 1970s, when applying for funds and needing to fill in a line on the application form where it was requested that the applicant state what type of institution they were applying for, Heiss decided to write “alternative space” as an expression that would appear institutional enough to gain support while vague enough to stay outside the system. Since then, this term has become standard to indicate artist-run spaces and other independent or non-profit art spaces. The possibility of the alternative, of an alter-worldliness, the potential within the space for otherness, even to oneself, all remain political, aesthetic, social, psychological, and scientific questions of great importance. The alternative is the space not of normalization, but of the hōs mē—a space to act as if the actual condition were not, to act therefore with the imagination, as if we were already after, already elsewhere, without waiting for solutions proposed by existing political systems.

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