Curating Live Arts brings together bold and innovative essays from an international group of theorist-practitioners to pose vital questions, propose future visions, and survey the landscape of this rapidly evolving discipline.

Table of Contents

• Illustrations
• PROLOGUE: Bethinking One's Own Strengths: The Performative Potential of Curating
• Acknowledgments
• A Collective Introduction
• A NOTE ON CURATORIAL STATEMENTS: A Third Space: Chasing the Intangible
• Historical Framings
• — From Content to Context: The Emergence of the Performance Curator
• — Exhibiting Performances: Process and Valorization in When Attitudes Become Forms — Bern 1969 / Venice 2013
• — Can We Curate Dance without Making a Festival?: On Dance Curatorship and Its Shifting Borders
• — Curating Performance from Africa on International Stages: Thoughts on Artistic Categories and Critical Discourse
• — The Curating Nation: Emergence of Performance Curation in Singapore and Its Impact on Cultural Politics
• — The Curatorial Chronotope
• — More Weirdness, More Joy: Performance Curation and Pedagogy at Danspace Project and the Institute for Curatorial Practice in Performance
• Ethical Proposals
• — Dancing the Museum
• — Curatorial Discourse and Equity: Tensions in Contemporary Dance Presenting in the United States
• — Noticing the Feedback: A Proposal to the Contemporary Dance Field, and/or This Revolution Will Be Crowdsourced
• — Email to a Curator: An Introduction to The Curators’ Piece
• — Curation as a Form of Artistic Practice: Context as a New Work through UK-based Forest Fringe
• The Artist- Curators
• — The Artist-Curator, or: the Philosophy of “Do-It-Yourself”
• — Being in the Vanguard of Sensibility: Artists as Curators in Performing Arts— a Study of Collective Affect
• — Familias: Artist-Activist Curation in the South Bronx, New York
• — What We Talk About When We Talk About Curating the “Unexpected”
• — Because I Love Art, I Want Art to Be Different: The Project Perverse Curating and a Few Things I've Learned from It
• — Making Stage: Contemporary Dance and Performance Curation in the Caribbean
• — The Work of the Musician-Curator in Relation to the “Concert Scenario”
• — Pseudo-, Anti-, and Total Dance: A Self-Interview on Curation
• — Collective Creation and Improvised Curation: A Discussion with Body Slam: BODY SLAM IMPROV COLLECTIVE
• Exhibition as Events
• — A New Kind of Critical Elsewhere
• — Re-enact History?: Performing the Archive!
• — Choreographing Archives, Curating Choreographers: Yvonne Rainer, Xavier Le Roy, and the Dance Retrospective
• — Exhibiting Dance, Performing Objects: Cultural Mediation in the Museum
• — The Curator's Work: Stories and Experiences from Tino Sehgal's Events
• Artivism
• — Framing a Network, Charting Dis/Courses: Performance Curation, Community Work, and the Logic/Anxieties of an Emerging Field
• — Food=Need: Constraints, Reflexivity, and Community Performance
• — ARC.HIVE of Contemporary Arab Performing Arts: Memory, Catastrophe, Resistance, and Oblivion
• — Collective Walks / Spaces of Contestation: Site-Specificity, Community Involvement, and Mobility Employed as Curatorial Strategies in the Creation of Participatory Performances
• — Sound Citizen: Curating Sound Art in the Distributed Public Sphere
• Institutional Reinventions
• — Rethinking the Role of Institutions and Curators in a New Interdisciplinary Age
• — The Curator as a Culture Producer
• — How to Build a Manifesto for the Future of a Festival: “Festivals as Thinking Entities,” a Conversation with Judith Blackenberg, Daniel Blanga-Gubbay, Silvia Bottiroli, and Livia Andrea Piazza, initiated by Silvia Bottiroli and Berno Odo Polzer
• — The Curatorial Gesture as a Decolonial Gesture
• — Are You Not Entertained?: Curating Performance within the Institution
• — Bodies in Museums: Institutional Practices and Politics
• — What Can Contemporary Art Perform? And Then Transgress?
• — Epilogue: Situation Critical: What Comes Next for the Field of Performance Curation?