Individual Task
What are my values?:
I hope that through my exhibition I can collect stories and artefacts that can awaken the viewer’s memories of their first love. Through these awakened memories, taking part in an emotional journey with my own first love experience gives one of my viewers a chance to think about their past relationships.
What might my vision be?:
I hope to enable my audience to find the courage they had when they first fell in love, and to start their subsequent emotional lives with a new mindset.
What are my ethics when working with others, how might I put this into practice?:
When working with others, I think the most important thing is respect, to respect other people’s creations and ideas. In this curation, I felt I needed to find the inspiration for the artists’ creations and respect them.
What context might I want to work in?:
I wanted to do the curatorial work after I had a clear theme and had done some research on it. And I would like to have some help in collecting artworks.
What relationship might I want with audiences?:
I wanted to have some emotional connection with the audience and wanted to add some interaction.
What artists might I want to work with?:
I would like to work with any artist who has a relevant theme and I hope to find an artist who best fits my theme.
What thematics might I want to look at, if any?:
I think I need to read something about first love, love, breakups, etc.
What form might my curatorial project take?;
I think it will probably be an offline exhibition, where displaying artworks may require the use of a display screen.
What approach might I take to curating?:
The main method is still to collect artworks and then try to dig out the story behind the artwork and tell the story of the artwork to the audience.
What might my financial and organisational approach be?:
I’m still thinking about this one, and I don’t really know how to get financial support.
Reading Notes
-
The Curatorial Turn: From Practice to Discourse by Paul O’Neill（pp.13-24 ）
“demystification”
Demystification is about making visible the mediated part of the formation, production and dissemination of an exhibition.
In the 1960s, curatorial criticism and curatorial criticism became more discursive.
In the 1990s, the new curatorial form, ‘neo-criticality’, expanded the form of curation, making exhibitions more discursive, conversational and incorporating some political discussion. (Liam Gillick has pointed out that ‘once a critic, now a curator’.)
In other words, as a result of the shift in the identity and status of the curator, the ‘art text’ has changed in galleries, art centres and exhibitions. Curators can express their thoughts and opinions on art through curatorial events, and readers of the former art magazines can read about art in exhibitions.
The Curatorial Turn
Group Exhibition – a space that brings more people into the exhibition, creating a cross-cultural context in which diverse interests can engage with the art of the time.
“The temporary art exhibition has become the primary medium for the dissemination and reception of art; as such, it is the primary medium for debate and criticism on any aspect of the visual arts.”
Curators have moved from being removed from the process of art production to being actively involved in it, thus increasing the cultural significance and value of art making.
Biennial culture and the culture of curation
Since the late 1980s, a growing number of major international group exhibitions on a transnational and multinational scale have developed contemporary curatorial practice, constantly bridging the ‘local’ and the ‘global’.
Biennale International Exhibitions
The curator can enter a virtual view of the world and the viewer may follow in the curator’s footsteps, making the exhibition more tangible and continuous in its engagement with the viewer.
Many biennials are often monstrous, local and modestly targeted. As the art world has expanded globally, biennials have become a vehicle for many arts to gain value in the international art scene.
Audience dissent
“The ‘mega-exhibition’ redefines the social relationship between the work of art and its audience.
Global tourism sales rely heavily on the interrelationship of culture and place.
Art production is the catalyst for the globalisation of culture.
Recent comments