The role and responsibilities of curators in technological art projects
December 20, 2013 | LoVid studio visit 1
January 24, 2014 | LoVid studio visit 2
Two times studio visits with Tali (LoVid) can be described as intense brainstorm, and high productive. The follow up on email platform is as efficient as face to face meetings.
Despite the strong computer art aesthetics, refined interactivity interface, and the artists’ focus on the integration of technological art into public space with the support of AR technology, I was particularly interested in my interaction with Tali (LoVid) while working as a curator. In a certain way, Tali as an artist has the skill to provide guidance to curators in collaboration. The methodology she applies induces them to question their role and responsibilities in such an artistic process based project.
In Sarah Cook’s essay entitled “Immateriality and its Discontents: An Overview of Main Models and Issues for Curating New Media” [in Christiane Paul, New Media in the White Cube and Beyond: Curatorial Models for Digital Art, University of California Press, 2008], she noted that “… curator is now often implicated in the production of the work, working closely with the artist as a commissioner or enabler, and is concerned with the whole physical and intellectual experience of an exhibition or off-site project. This is a very different role from that of the art historian or scholarly curator, whose principal task has been to research the history of a particular artistic movement of moment, to select key examples of the artist’s work, and to present this research within the conventions of a historical presentation.” [P28]
Regarding the curatorial practice, she commented: “As the comment suggests, curatorial practice has shifted in the past twenty to thirty years from museology to a more process-based methodology that focuses on temporary exhibitions and the specific context of their audiences.” [P29]
Working with different artists within “Curating Process” provided me the occasion to discover the methodology of practicing as “a commissioner or enabler,” additional to these, I am also working at times as a project manager, coordinator, communicator, producer, venue facilitator, or a simple assistant or archivist. Different from the year 1990s where museum curators enjoyed one man authority and power in exhibition making, curators in our time work as the artists’ collaborators, share their creative process, arrange exhibition venues, document shows, facilitate the communication between artists and institutions, and seek constantly new opportunities to showcase artists’ works. Curators became an important part of the artistic projects’ production. In another way to say, they are by themselves one of the raw materials that artists develop to constitute the process.