Thinking Contemporary Curating

Thinking Contemporary Curating
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What is contemporary curatorial thought? Current discourse on the topic is heating up with a new cocktail of bold ideas and ethical imperatives. these include: cooperative curating, especially with artists; the reimagination of museums; curating as knowledge production; the historicization of exhibitionmaking; and commitment to extra-artworld participatory activism. Less obvious, but increasingly of concern, are issues such as rethinking spectatorship, engaging viewers as co-curators and the challenge of curating contemporaneity itself. In these five essays, art historian and theorist Terry Smith surveys the international landscape of current thinking by curators; explores a number of exhibitions that show contemporaneity in recent, present and past art; describes the enormous growth world wide of exhibition infrastructure and the instability that haunts it; re-examines the contribution of artist-curators and questions the rise of curators utilizing artistic strategies; and, finally, assesses a number of key tendencies in curating as responses to contemporary conditions. Thinking Contemporary Curating is the first book to comprehensively chart the variety of practices of curating undertaken today, and to think through, systematically, what is distinctive about contemporary curatorial thought.This is the eBook edition of Thinking Contemporary Curating, print form to be published in September 2012.

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Terry Smith. Thinking Contemporary Curating

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ICI PERSPECTIVES IN CURATING NO. 1

Contemporary

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I mean a practice that goes beyond curating, which I see as the technical modality of making art go public in various ways. “Curating” is “business as usual” in terms of putting together an exhibition, organizing a commission, programming a screening series, etcetera. “The curatorial” goes further, implying a methodology that takes art as its starting point, but then situates it in relation to specific contexts, times, and questions in order to challenge the status quo. And it does so from various positions, such as that of curator, an editor, an educator, a communications person, and so on. This means that the curatorial can be employed, or performed, by people in a number of different capacities in the ecosystem of art. For me, there is a qualitative difference between curating and the curatorial. The latter, like Chantal Mouffe’s notion of the political in relation to politics, carries a potential for change.18

Irit Rogoff offers a more deconstructive version, one that moves the idea more firmly beyond its efforts to first recognize, then “unbound,” the various art world roles:

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