Critical Distance PROGRAMMING Social studies at Critical Distance, Session one: a contingent curriculum

Social studies at Critical Distance: a convivial reading/writing group for the curatorially inclined.
Session one: A contingent curriculum

Join us for conversation and co-learning in an informal, intimate, and unintimidating atmosphere this coming Thursday, July 16th from 6:30-8:30pm. For this first session, titled ‘A contingent curriculum,’ we will explore concepts, politics, and practices of improvisation, contingency, catastrophe, and collaboration between curator, artist, and diverse publics in relation to our current exhibition, contemporary painting, and curating more broadly.

No prerequisites required to participate. PDFs of excerpts from some of the publications shown in this post will be provided to confirmed participants. Reading ahead of the session is encouraged but not required. Additional readings will be introduced for us to consider and respond to in-session. There will be opportunities for writing if desired, and participants may be invited to collaborate on or contribute to publishing initiatives currently under development at Critical Distance.

Registration is PWYC, with all proceeds going towards snacks/drinks, facilitation, and materials for participants. Limited spots available, so register soon to avoid disappointment.

—> REGISTER HERE

Selected publications include but are not limited to:

Lê Quan Ninh. (2014). Improvising Freely: The ABCs Of An Experience

Pauline Oliveros. (2024). Quantum Listening

César Aira. (2018). On Contemporary Art 

Robin Mackay. (2011). The Medium of Contingency 

Claire Bishop. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship

Walter Benjamin. (1940). On the Concept of History

Deleuze’s On Painting: Courses, March-June 1981. (2025).

Maria Lind. (2010). Selected Maria Lind Writing