This week, I participated in a cross-group curatorial meeting, where I shared my independent curatorial project, Against the System – Artists Who Rejected the Art World, with classmates from outside the Sleepwalkers collective. It was both inspiring and challenging to receive fresh perspectives beyond my immediate group.
My curatorial pitch focuses on artists who deliberately distanced themselves from institutional visibility and commercial structures—figures like Lee Lozano, Gustav Metzger, and Cady Noland. I posed a key question: if these artists rejected museums and galleries, how can we exhibit their work today without undermining their intent?
The feedback I received was incredibly helpful. One key observation was that all the artists I selected are already famous. As an emerging curator, I was encouraged to look into lesser-known or contemporary artists whose practices embody similar refusals but who are still on the margins of visibility. The suggestion to explore artists influenced by Outsider Art, Art Brut, or who work outside conventional art education was especially valuable.
Photograph taken by the author
Another point raised was the feasibility of my proposed exhibition spaces—an abandoned factory or a hidden room within a museum. While conceptually strong, both present logistical and accessibility challenges. We also briefly discussed whether my project could take the form of a publication—a curated “invisible” exhibition in print or online format—which may better suit artists who resist commodification and traditional display.
Possible solutions moving forward:
– Research and approach local emerging artists practicing withdrawal, refusal, or anti-institutional strategies.
– Explore self-taught or neurodivergent artists whose works align with the Outsider Art ethos.
– Prototype a zine-style or digital platform exhibition that resists visibility while still creating a form of curatorial encounter.
– Consider semi-public spaces (e.g. storage rooms, flats) instead of fully abandoned sites.
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