Following last week’s feasibility assessment of the artist’s project, this week’s curatorial research expanded into diverse media formats. I gradually realized that relying solely on visual artworks would not only limit budgetary constraints but also restrict audience engagement possibilities. Consequently, I introduced supplementary elements like lectures, literary works, and musical performances, transforming the exhibition from a passive viewing experience into a multifaceted cultural platform.
Guided by this approach, I began exploring the possibility of inviting writers, poets, or researchers to participate in the exhibition. For instance, through live lectures or text readings, the concept of ‘myth as a narrative structure’ could be transformed into linguistic reproduction. This method not only aligns with Roland Barthes ‘perspective on myth as a’ communication system, ‘but also expands the exhibition’s scope from visual storytelling to discourse construction.
Meanwhile, music emerged as another medium under focused exploration this week. Mythological narratives inherently possess strong rhythmic and emotional structures, while music can directly influence audience perception over time. For instance, I began investigating diverse artists: from classical composers like Claude Debussy (whose works incorporate natural and mythological imagery) to contemporary electronic musicians such as Ryuichi Sakamoto, who create spatial auditory environments through sound and technology. These musical practices resonate implicitly with the temporal structures inherent in cinematic imagery.
By incorporating music and live performances, the exhibition format has evolved from static displays to immersive “events”. Visitors no longer merely enter the space to view artworks but actively participate in real-time experiences. This transformation also reduces reliance on high-cost physical exhibits, granting curators greater flexibility within budget constraints.
Building on this multi-media strategy, I began to explore whether the exhibition could extend beyond the museum space into public areas. If part of the exhibition were presented through lectures, sound installations, or ephemeral performances, it might find its way into more open settings such as libraries, community spaces, or semi-open urban environments.
However, this shift has introduced new curatorial challenges: public spaces are not “neutral vessels.” Unlike art museums, they operate under more complex usage rules and audience dynamics.
Through this process, I’ve come to realize that public spaces are not just exhibition venues but curatorial methodologies. They compel me to rethink who the audience is and how exhibitions can be understood under non-predefined viewing conditions.
