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Cultural Survival: Partnering with Indigenous Communities during Pandemic | 6 October 2020 | 7-9 PM IST

October 5, 2020

Virtual Workings – E-residency for arts curators | Open Call

October 2, 2020

The Japan Foundation, Bangkok (JFBKK) and the Asia-Europe Foundation (ASEF) through its arts website culture360.ASEF.org are pleased to launch the open call for Virtual Workings, an e-residency for emerging arts curators from the ASEAN region and Japan. Organised as a response to the impact of the global pandemic, this e-residency will be held online for a period of 6 weeks and will offer an opportunity for capacity building, peer learning and collaboration with a support of an expert in the field who will serve as a mentor to each pair of curators.
About the Residency

Format:

Selected curators will work in pairs. Each pair will be assigned a mentor and will collaborate online over a period of 6 weeks (16 November – 22 December 2020).
Applicants are encouraged to apply in pairs. For individual applicants, the pairing will be done by the organisers.
Each applicant/pair of applicants is/are required to indicate their order of preference in the application form for the below-mentioned themes. This will be taken into consideration during the selection and “pairing” process. Within the chosen theme, each pair will further define and propose the specific topic of their project with the support of the assigned mentor.
Each pair will work on a final output that could take the form of an online presentation, photo documentary, podcast, video documentary, mock project presentation online, amongst others. The final output of the residency will be published on culture360.ASEF.org and partners’ social media channels.
At the end of residency, each pair will take part in a podcast or video interview about the collaborative process as part of a wider sharing of their residency experience
Fee: Each participant will receive a fee of USD 500 for their participation in the residency to be used for the implementation of their project idea (e.g. research fee, purchase of materials or any other necessary service fee)

Mentors and Themes

The 3 mentors for this residency include the following experts:

Ms Luckana KUNAVICHAYANONT (Thailand), Arts consultant & Independent Curator and former Director of Bangkok Art and Culture Centre (BACC)
Ms TAKAHASHI Mizuki (Japan/Hong Kong SAR), Executive Director and Chief Curator, Centre for Heritage, Arts and Textile, Hong Kong
Prof Amareswar GALLA (Australia, India), Director, International Institute for the Inclusive Museum, Australia and Anant National University, India
To know more about the mentors see: https://culture360.asef.org/news-events/asef-japan-foundation-announce-virtual-workings-e-residency-arts-curators/

NEP 2020: It’s Implications for Promoting Indian Art, Culture and Heritage | 27th September, 2020 | 03:00 PM IST

September 25, 2020

Download Event PDF

Click here to access detailed schedule

Heritage Matters Webinar 10 | Urban Futures & Historical Urban Landscapes | 5th September 2020 | 7:30-9:00 PM IST

August 25, 2020

Date: 5th September 2020, Saturday

Time: 1930-2100 Indian Standard Time (7:30 – 9:00 PM)

Recording of Session: Audio | Video

Urbanism as a process and the city/town as an artefact are constructs that are being reassessed during the Pandemic. De-urbanisation, rethinking public spaces, design, and built environment are on the agenda. Urbanism is at once a complexity of synchronous present that must intersect with diachronic layers of history and heritage. Countering cultural amnesia, can civic spaces such as museums become reflexive to reveal urban formations and their future manifestations? Can socio-museology of built environment help us better understand urbanism? How do we reanimate urban centres and their contextual historical cultural landscapes as part of post-pandemic futures and new normalities? And what of our sense of place and identity? Can interdisciplinary approaches to architecture, engineering, economics, anthropology, design, interior architecture, and environmental safeguarding improve our preferred urban futures? These and many other questions will be addressed by a panel of interdisciplinary experts during the Webinar.
Panellists: Professor Dr Uta Pottgiesser, Department of Architectural Engineering + Technology, Delft University of Technology (DelftTU), The Netherlands. Joana Sousa Monteiro, Director of the Museum of Lisbon and Chair of ICOM – CAMOC, the International Committee for the Collections and Activities of the Museums of Cities. Dr Mário Moutinho, Rector, Architect and Senior Researcher, Lusophone University of Humanities and Technologies, Lisbon. Assoc Prof Dr Ashima Sood, Anant National University and PhD in Economics, Cornell University.
Host: Prof Dr Amareswar Galla, Professor and Director, International Centre for Inclusive Cultural Leadership, Anant National University, Salzburg Global Fellow and Chairperson Museums and Historical Urban Landscapes Research Network meeting, Lisbon, September 2021.

Heritage Matters 9 | Valuing Modern Heritage | 22 August 2020 | 7:30-9 PM IST

August 17, 2020

Date: 22nd August 2020, Saturday

Time: 1930-2100 Indian Standard Time (7:30 – 9:00 PM)

Link to the Recording: Audio | Video

The focus of this Webinar is on the lesser represented and largely unprotected architecture heritage of early 20th century India. The panellists will present perspectives on how Modern Heritage of India is yet to be recognised for its true value and given the status of statutory protection. They will discuss as to how international organisations like UNESCO, ICOMOS, WMF, Getty Foundation and others are advocating for the recognition of Modern Heritage in India. They will interrogate the role of government bodies, status of protection and community awareness that will determine the fate of modern heritage in future. What is the nature and quantum of Modern Heritage in India? How is it different from other parts of the world? Who owns and who values this heritage? What is the representation of Modern Heritage on the World Heritage List of India? What is the protection status of Modern 20th-century heritage considering the fact that ASI Act only recognises heritage structure more than 100 years old? Does the general public associate with Modern Heritage?

Panellists: Eric Falt, Director, UNESCO South Asia Office; Amita Baig, India representative for the World Monuments Fund; Dr Shikha Jain, Past Advisor and multiple grantee for the Keeping It Modern initiative of the Getty Foundation; and Nishita Kedia, Assistant Professor, School of Architecture, Anant National University.

Host: Prof Dr Amareswar Galla, Professor and Director, International Centre for Inclusive Cultural Leadership, Anant National University and Jury Member, World Monuments Fund, New York. 

Heritage Matters 8 | Safeguarding Intangible Cultural Heritage | 9-10th August 2020 |4-7 PM IST

August 4, 2020 / Leave a comment

Recording Link: Day 1 | Day 2
Heritage Matters Webinar 8 – takes you on the International Day of the World’s Indigenous Peoples to Arna Jharna: The Thar Desert Museum, Jodhpur, Rajasthan. Join us for blended Webinars and festival on Safeguarding Intangible Cultural Heritage. A virtual celebration includes indigenous performances and exhibitions of artworks and crafts from the Langa, Kamad, Kalbelia, and Mangariyar communities. Versatile singers ‘Mr Chanan Khan and Mr Kutla Khan’ will be remembered.

Panellists Day 1:

Keynote Speaker: Prof. Dr. Amareswar Galla, Anant National University, Ahmedabad, India & International Institute for the Inclusive Museum, Australia/USA.

1. Dr. Shubha Chaudhuri, Associate Director General (Academic), Archives and Research Centre for Ethnomusicology, American Institute of Indian Studies, India;

2. Prof. Dr. Sarit Kumar Chaudhuri, Professor and Director, Department of Anthropology, RG University, Arunachal Pradesh;

3. Dr. Subhra Devi, Assistant Curator, Department of Cultural Studies, Tezpur University, Assam; and

4. Dr. Anand Krishnan Plappally, Associate Professor, IIT Jodhpur.

Panellists Day 2:

1. Dr. Sachidanand Joshi, Member Secretary, Indira Gandhi National Centre for the Arts, New Delhi;

2. Dr. B Venugopal, Honorary Director, Centre for Intangible Heritage studies, Sree Sankaracharya University of Sanskrit, Kalady, Kerala.

3. Dr. Madan Meena, Director, Bhasha Research and Publication Centre, Baroda;

4. Prof K.G. Suresh, Dean, School of Modern Media, UPES, Dehradun;

5. Prof. Ashok Ogra, Advisor (Mass Communication), Apeejay Institute of Mass Communication, New Delhi;

6. Mo Diener, Artistic Director, Roma Jam Session art Kollektiv, Switzerland; and

7. Mr. Kuldeep Kothari, Secretary Rupayan Sansthan (Rajasthan Institute of Folklore), Jodhpur

Sardar Vallabhbhai Patel Stadium received The Getty Keeping it Modern Grant

July 16, 2020

Sardar Vallabhbhai Patel Stadium, Ahmedabad, India (architect: Charles Correa; structural design: Mahendra Raj, 1966) and Gandhi Bhawan, Chandigarh, India (architect: Pierre Jeanneret, 1962)from India are among 13 significant 20th-century buildings that will receive $2.2 million in Keeping It Modern grants from the Getty Foundation.

This is the final year of grants for this conservation initiative, launched in 2014 to help professionals worldwide engage in the proactive research and planning needed for the long-term preservation of modern buildings.

Keeping It Modern has supported a total of seventy-seven projects in forty different nations around the world. This year’s grants include new projects in Chile, Kuwait, Nigeria, Portugal, and Senegal. Getty received ninety inquiries from geographically diverse applicants in 2020, indicating greater international awareness of, and support for research and planning before beginning conservation work.

“Modern architecture, with its experimental materials and structural innovations, is a powerful cultural expression that took many forms worldwide,” said Joan Weinstein, director of the Getty Foundation. “These buildings embody human ingenuity, but many are showing their age and face irreversible damage or even demolition if we fail to act. Our Keeping It Modern grantees across the globe are working to safeguard this modern heritage for future generations, and to produce models of best practice that other stewards of modern architecture can learn from.”

“Before the launch of Keeping It Modern, the conservation of modern buildings often took a ‘discover as you go’ approach that could have disastrous consequences,” said Antoine Wilmering, senior program officer at the Getty Foundation who oversees the initiative. “Leaders in the field became increasingly vocal about changing this habit, so we decided our grants should promote research and planning before conservation work even begins.”

A 2019 survey of the 24 Keeping It Modern grantees who had completed their projects at that time found that 88% of grantees had already activated their conservation management plans or were set to do so in the future. Even with two-thirds of the grant projects still in progress, the results show increased receptivity to prioritizing research and planning.

“I have seen firsthand how Keeping It Modern has not only established exemplary processes for the conservation of modern heritage across the world but has transformed how civic leaders perceive this heritage,” said Shikha Jain, an internationally-recognized expert in architectural conservation who has led grant projects and served as an advisor for the initiative. “This phenomenal impact was evident in our projects at Chandigarh [India], where stakeholders now agree that 20th-century buildings can have cultural value and have become true custodians of modern heritage.”

Even though this is the last year of the grant competition, Keeping It Modern will continue for several years until projects reach completion. The Foundation will also provide support for regional grantee-led workshops for architects and decision-makers to help reinforce the need for research and planning and to introduce the methodology of conservation management plans. A first regional workshop was held in the Sidi Harazem bath complex in Morocco, with others planned in East-Central Europe, Asia, and Latin America.

Keeping It Modern was developed by the Getty Foundation to complement the Getty Conservation Institute’s Conserving Modern Architecture Initiative (CMAI). CMAI will continue to pursue model field projects, offer training programs, and disseminate publications related to modern architecture conservation.

The 13 buildings receiving funding this year include:

Rietveld Academie, Amsterdam, Netherlands (architect: Gerrit Rietveld, 1963)

Swimming Pools, Leça, Portugal (architect: Álvaro Siza, 1966)

International Fairgrounds, Dakar, Senegal (architects: Jean-François Lamoureux and Jean-Louis Marin, 1974)

Kuwait Towers, Kuwait City, Kuwait (architect: Malene Bjørn, 1976)

Monasterio Benedictino de la Santísima Trinidad de las Condes, Santiago, Chile (architects: Brother Martín Correa and Gabriel Guarda OSB, 1964)

Obafemi Awolowo University, Ife-Ife, Nigeria (architect: Arieh Sharon, 1962-76)

White Tower, Ekaterinburg, Russia (architect: Moisei Reisher, 1929-31)

Sardar Vallabhbhai Patel Stadium, Ahmedabad, India (architect: Charles Correa; structural design: Mahendra Raj, 1966)

Oberstufen-Schulzentrum Wedding (secondary school), Berlin, Germany (architects: Pysall, Jensen, Stahrenberg & Partner, 1976)

Tecton Buildings at Dudley Zoo and Castle, Dudley, West Midlands, United Kingdom (architects: Berthold Lubetkin and the Tecton Group, 1937)

The following building received a Keeping It Modern planning grant in 2019, and has received another this year for the immediate stabilization of its interior artwork:

Buzludzha Monument, Hadzhi Dimitar Peak, Bulgaria (architect: Georgi Stoilov, 1981)

The following two buildings received earlier Getty grants for conservation research and planning and are now receiving implementation grants to support treatment efforts:

First Presbyterian Church, Stamford, Connecticut (architect: Wallace K. Harrison, 1958)

Gandhi Bhawan, Chandigarh, India (architect: Pierre Jeanneret, 1962)

View all current and past Keeping It Modern grantees.

Click here to read more about the Sardar Patel Stadium

Source: Getty

Heritage Matters | Webinar 7 | Art, Ephemerality & Performance | 18 July 2020 | 7:30-9:00 PM IST

July 13, 2020 / Leave a comment

Date: 18th July 2020, Saturday

Time: 1930-2100 Indian Standard Time (7:30 – 9:00 PM)

Webinar Recording: Audio | Video

Topic: Art, Ephemerality & Performance
The visualisation of creativity through performance art is often transient. How does one document the atmosphere of the moment of performance? How does one capture performativity and iteration in different spaces? Is its capture in digital or any form an act of freezing the moment? Is that which is fluid frozen at the time of capture? How are the performances of Marina Abramovich, Nikhil Chopra and Anunaya Chaubey captured and through whose lenses? Is this documentation for the present or posterity or both? What methods are deployed? What is the atmosphere of such captures? What does the atmosphere mean in performance art? Lonnie Bunch III, Secretary of the Smithsonian Institution, appeals to the public to document the range of captures of Black Lives Matter movement through the eyes or lenses or smartphones of the protesters. There is an urgency to capture global resistance to racism, COVID 19 realties and Climate Crisis. In what ways does this dynamic collecting facilitate understanding contemporary history? Panellists in the Webinar include an art educator, art historian and an academic and artist. It is moderated by a historian and heritage action specialist.

Panellists:   Dr Ida Brændholt Lundgaard, Senior Advisor, Danish Agency for Culture and Palaces, Copenhagen & former Head of Education, Louisiana Museum of Modern Art, Denmark. Dr Bindu Bhadana, Doctorate from Karl Jaspers Centre for Advanced Transcultural Studies, University of Heidelberg & Professor, Anant National University, Ahmedabad. Dr Anunaya Chaubey, Well known artist, Provost of Anant National University & Salzburg Global Fellow.

Host: Professor Dr Amareswar Galla, Director, International Centre for Inclusive Cultural Leadership, Anant National University, Ahmedabad, Founding Executive Director, International Institute for Inclusive Cultural Leadership, Australia/USA & Salzburg Global Fellow.

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Remembering Dr. George F MacDonald (1938-2020)

July 2, 2020

Dr. Amareswar Galla (Amar), the then Chairperson of Asia Pacific Executive Board of International Council of Museums interviewed Dr George F MacDonald, the Chief Executive Officer of Museum Victoria, Australia’s largest public museums organisation, on 2 November 2000. The following are abridged reflections of Dr. MacDonald at the opening of the Melbourne Museum, the flagship of Museum Victoria. Transcribed text was approved by Dr MacDonald. Two decades on the museological wisdom in these reflections remains just as valid.

Dr MacDonald, Dr Joanne MacDonald and Prof Galla at the UBC Museum of Anthropology, Vancouver, 2014.

Amar: What does the opening of the Museum Victoria mean to museum development and re-development in Australia and within the museum world in general? What does it mean to George MacDonald CEO who oversaw the foundation of a major national museum in the world, i.e. the Canadian Museum of Civilisation, Ottawa, and now another major museum development on the other side of the world?

George: The thing that did strike me is that dates and events are very important, and they galvanise thinking and create thresholds and so on. I think the opening of Victoria Museum of this magnitude at this point in time as we enter a new millennium certainly struck me as being an opportunity to make a statement – To try and balance things a little differently than had been previously done. The more I thought about it the more I realised that what I was doing in Ottawa was to respond to a generation of visitors, which covered 80 percent of the people who were coming to the museum, raised in the television age from their very earliest memory. That generation were looking at the world through a television screen which is very different than looking at the world as you move around a village or a town or within your own experience frame of reference. Suddenly you were in this bionic electronic world that was being shown to you through a window that was global, and people accelerated their sophistication very rapidly. Now it has been about 50 years that television has been current in North America and in that 50 years people have become very sophisticated in a whole series of things such as how things work and the long sequences of history consistently recapitulated in television series. I thought that’s it, we are doing a project for a whole new generation of people and we won’t re-do it for some time. Read the full interview here.

Read Here: In Memoriam George F MacDonald, 1938-2020

Read Here: The Museum is the Medium ’Remembering Dr. George F MacDonald'(1938–2020)

Remembering Dr. George F MacDonald (1938-2020)

July 2, 2020

Dr. Amareswar Galla (Amar), the then Chairperson of Asia Pacific Executive Board of International Council of Museums interviewed Dr George F MacDonald, the Chief Executive Officer of Museum Victoria, Australia’s largest public museums organisation, on 2 November 2000. The following are abridged reflections of Dr. MacDonald at the opening of the Melbourne Museum, the flagship of Museum Victoria. Transcribed text was approved by Dr MacDonald. Two decades on the museological wisdom in these reflections remains just as valid.

Dr MacDonald, Dr Joanne MacDonald and Prof Galla at the UBC Museum of Anthropology, Vancouver, 2014.

Amar: What does the opening of the Museum Victoria mean to museum development and re-development in Australia and within the museum world in general? What does it mean to George MacDonald CEO who oversaw the foundation of a major national museum in the world, i.e. the Canadian Museum of Civilisation, Ottawa, and now another major museum development on the other side of the world?

George: The thing that did strike me is that dates and events are very important, and they galvanise thinking and create thresholds and so on. I think the opening of Victoria Museum of this magnitude at this point in time as we enter a new millennium certainly struck me as being an opportunity to make a statement – To try and balance things a little differently than had been previously done. The more I thought about it the more I realised that what I was doing in Ottawa was to respond to a generation of visitors, which covered 80 percent of the people who were coming to the museum, raised in the television age from their very earliest memory. That generation were looking at the world through a television screen which is very different than looking at the world as you move around a village or a town or within your own experience frame of reference. Suddenly you were in this bionic electronic world that was being shown to you through a window that was global, and people accelerated their sophistication very rapidly. Now it has been about 50 years that television has been current in North America and in that 50 years people have become very sophisticated in a whole series of things such as how things work and the long sequences of history consistently recapitulated in television series. I thought that’s it, we are doing a project for a whole new generation of people and we won’t re-do it for some time. Read the full interview here.

Read Here: In Memoriam George F MacDonald, 1938-2020

Read Here: The Museum is the Medium ’Remembering Dr. George F MacDonald'(1938–2020)

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