TABLE OF CONTENTS

PRINT October 2009

CURATING

“the curatorial”

IS THERE SOMETHING we could call the curatorial? A way of linking objects, images, processes, people, locations, histories, and discourses in physical space? An endeavor that encourages you to start from the artwork but not stay there, to think with it but also away from and against it? I believe so, and I imagine this mode of curating to operate like an active catalyst, generating twists, turns, and tensions—owing much to site-specific and context-sensitive practices and even more to various traditions of institutional critique. The curatorial would thus parallel Chantal Mouffe’s notion of “the political,” an aspect of life that cannot be separated from divergence and dissent, a set of practices that disturbs existing power relations. At its best, the curatorial is a viral presence that strives to create friction and push new ideas, whether from curators or artists, educators or editors.

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