By reading Terry Smith’s “Mapping the Contexts of Contemporary Curating ”alongside artist Marina Abramović’s exhibition, I have thought more deeply about curating and the theme of ‘self-exploration.’

Origins and Historical Evolution of Curating

In ancient times, curation was like alchemy, used to sell beliefs.

Cappella Sistina

For example, the Sistine Chapel Ceiling Exhibition instilled sacred narratives in its audience through grand artistic manoeuvres. Later, in the 19th century, public museums showcased the history of civilisations, nations, and art and took on educational and cultural shaping functions. Thus, I have learned about the evolution of exhibitions from private, religious displays to public educational tools.

Theme Reflection

Marina Abramović’s exhibition fits within the framework of the Visual Arts Exhibition Complex (VAEC). It is not only an aesthetic experience but also a complex cultural assemblage that promotes ideas about the role of art in shaping self-awareness and psychological transformation.

For example, in Marina Abramović’s “The Artist Is Present,” the viewer experiences an inner flow of emotions and introspection in the silence of mutual gazing. The exhibition transforms the artwork into a ‘container of energy,’ while the viewer’s body serves as a conduit for the flow of emotional and spiritual energy.

I think that the essence of art curation is healing, the core of an exhibition lies in its sense of ritual, and contemporary art ‘works’ serve more as a medium for energy transfer. Therefore, I will explore how curation can be used as a narrative tool for ‘self-exploration.’

Rreference:

  1. By The original uploader was Snowdog at Italian Wikipedia. – http://artchive.com/ftp_site.htm Transferred from it.wikipedia to Commons by Pierpao using CommonsHelper., CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=18462479

  2. Archives, A. (2022). Marina Abramović – Sean Kelly Gallery. Skny.com. https://www.skny.com/ct/yi-shu-jia/marina-abramovic/huan-deng-pian?view=slider#2

  3. Smith, T. (2017). Mapping the Contexts of Contemporary Curating: The Visual Arts Exhibitionary Complex. Journal of Curatorial Studies, 6(2), 170–180. https://doi.org/10.1386/jcs.6.2.170_1