Evidently, I am an advocate of learning through doing, hence my position of thinking about dilemmas through practice. During my Inhale/Exhale project, my peers were asking me a specific question.
So, I want to open a discussion of when does a curator need to be present; is his role and participation in the production of work necessary for his understanding and further interpretation of the said work of art? What do curators gain when being personally engaged in creation? In addition, how do they apply to curating what they have learnt in the process?
Ellegood, A. and Tribe, K. (2016) ‘Long term relationship’, The Exhibitionist, 12, pp. 15-21.
Fontaine, C. and Hoffmann, J. (2016) ‘Artistic bitches and curatorial bastards’, The Exhibitionist, 12, pp. 22-26.
Gioni, M. (2011) ‘The limits of interpretation’, The Exhibitionist, 4, pp. 17-22.
Hoffmann, J. (2010) ‘Overture’, The Exhibitionist, 1, pp. 3-4.
Hoffmann, J. (2010) ‘Overture’, The Exhibitionist, 2, p. 61.
Katzenstein, I. and Cambre, J. J. (2016) ‘Agreement’, The Exhibitionist, 12, pp. 27-39.
O’ Neill, P. (2007) Curating Subjects. London and Amsterdam: Open Editions and De Appel.
O’ Neill, P. (2012) ‘The curatorial constellation and the paracuratorial paradox’, The Exhibitionist, 6, pp. 55-60.
Rinder, L. (2011) ‘Curatorial control’, The Exhibitionist, 4, pp. 84-86.
Von Hantelmann, D. (2011) ‘The curatorial paradigm’, The Exhibitionist, 4, pp. 6-12.
Vidokle, A. (2010) ‘Art without Artists?’, e-flux, 16. Available at: http://www.e-flux.com/journal/16/61285/art-without-artists/ (Accessed: 15 December 2016).
White, M. and Thompson, N. (2008) ‘Curator as Producer’, Art Lies, 59. Available at: http://www.art-lies.org/article.php?id=1659&issue=59&s=1 (Accessed 15 December 2016).
Žerovc, B. (2015) When attitudes become the norm: the contemporary curator and institutional art. Ljubljana: Igor Zabel Association for Culture and Theory.
LIST OF PHOTOGRAPHS:
- featured image: personal archive