The International Journal of Cultural and Creative Industries
(IJCCI) organized by the Institute of Creative Industries Design (ICID)
at National Cheng Kung University (NCKU), southern Taiwan, has just
released its third issue of the first volume in July 2014, the
The publication was designed as a special issue of "Contemporary
Curation: Theory and Practice" which addresses both theoretical and
practical aspects of contemporary curation and covers key aspects of the
history, theory and practice of curating from the 20th
NCKU ICID Professor Ming Turner, IJCCI's Guest Editor, said, "The
selected essays research and reflect upon a wide range of curatorial
contexts from exhibitions, off-site projects, events and the theoretical
perspectives of contemporary curation."
"The focus of this special issue is the application and dissemination of
defined curatorial contexts and strategies from policy, strategic,
experimental, empirical or theoretical perspectives," Turner added.
The special issue contains eight aricles written by curators, artists,
art historians, writers, and academics from seven countries.
The Academic Research section features the growing role of
curator from a caretaker of artwork to a project manager who manage the
overall planning and operations of curational projects (by Gonca Aslan
and Cagri Bulut, Turkey) and the practice of transforming aircraft
carriers from military into educational and exhibition purposes (by
Benjamin Hrushka, United States).
The Industry Insight section features the exchanging roles of
artists and curators (by Elisabeth S. B. Pilhofer, Germany), how a Dutch
TV personality/author Boudewijn Büch promoted arts from elite
consumption to public consumption (by Alex van Egmond, the Netherlands),
the challenges faced by curators while dealing with institutional and
Aboriginal stakeholders in Australia (by Gretchen M. Stolte, Australia),
and two disparate ways of displaying the history of war by the same
curator yet with different effects to the public (by Malgorzata
The Glocal Perspective section features a comparative study of
two cases that show the process and reception of two
government-commissioned public arts by Indigenous women artists in
Australia (by Jay Younger, Australia) and the Guest Editor's own
curational project in the Museum of Contemporary Art in Taipei that
involves the art works of local and international artists under the
theme of Post-humanist Desire.
All articles are available online on www.ijcci.net
and IJCCI Facebook page (www.facebook.com/ijcci).
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