plur exhibit

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In Spring 2015, I curated a special exhibit at the Museum at Bethel Woods: Peace, Love, Unity, Respect: The Rise of Electronic Music Culture in America.

This 2,000 sq foot exhibit focused on the history, aesthetics, and communities that fostered electronic dance music in America. With music, lights, interactive festival artworks, costumes, and artifacts from disco, rave, club, and electronic music culture, the exhibit was a trip through 35+ years of an under-reported musical culture.

The museum is on the historic site of Woodstock, and is dedicated to the preservation of American music subculture. This was their first guest curated exhibit, and first exhibit on contemporary music cultures.

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PLUR exhibit photo archive

Bethel Woods Museum PLUR exhibit site

The Sound of New York City video piece on the PLUR exhibit

Times Herald-Record feature on the PLUR exhibit

EDM Insider piece

 

 

 

free culture exhibit

FREE CULTURE (svobodna kultura) Co-curated by Daphne Carr and Jiri Hula

Dox Centre for Contemporary Art, Prague, CZ (March-May 2010)

National Library/Národní knihovna České republiky (2011)

Free Culture Exhibit at Dox

The exhibit raises questions about the limits of the “private property” model of creative work in the digital era. It address authorship in the era of collaborative creativity, non-profit artistic production, inexpensive or free online distribution, widespread practices of sampling, and accessibility of work that has been digitized and that can be collected into archives. The exhibit focuses on the creator’s control over the manner of their work’s use after publication and in circulation, asking what goals one has for publishing work — profit, prestige, or social good.

Through text, documents, and image we engage the philosophy of “intellectual property” in the Czech Republic and worldwide, and trace the rise of alternative copyright systems that challenge global intellectual property law and corporate control of culture. The exhibit focuses on the rise of the Creative Commons movement and the development of a simple system of licenses that allow authors to control their work. We look at the development and success of Creative Commons in three case study nations —the Czech Republic, Brazil, and the United States. The exhibit also shows the practical realities of contemporary artists and institutions who need to find new funding models as the economics of creative production shift dramatically.

The exhibit also ties the alternative copyright movement to its intellectual heritage—the practices of collage, satire, samizdat publishing, quotation and sampling–and to larger social questions about the benefits of cultural exchange through sharing and gifting. We present a selection of work that has consciously or retrospectively become “illegal art” for their sampling of pre-existing works, including Andy Warhol and Ji?í Kolá?.

The exhibit also presents Creative Commons-licensed tracks by prominent Czech musicians and an open-software remixing system for in-gallery and on-line remix.

digital economies exhibit

Digital Economies and the Politics of Circulation 

“Cultures of Musical Circulation” exhibit, April 2009

As part of the 2009 Digital Economies and the Politics of Circulation conference at Columbia University, I put together an exhibit titled Cultures of Musical Circulation. Faculty, fellows, and students from the CU ethnomusicology program contributed ethnographic materials on the changing face of musical exchange and circulation. I was especially pleased with a series of photos of noise cassettes from Dr. David Novak’s dissertation fieldwork collection (second image).

Cultures of Musical Circulation exhibit display                   Cultures of Musical Circulation exhibit display