Exhibitionist #10

Overture

Jens Hoffmann, Julian Myers-Szupinska, and Lumi Tan

A half-century after the emergence of the curator in the contemporary sense, and 27 years after the founding of the first study of curatorship at École du Magasin in Grenoble, France, misgivings remain about the curatorial role. On the one hand, curators are faulted for being mere facilitators and cultural managers whose intrusion into the essential components of exhibition making—art, artists, publics, and counterpublics—is unnecessary, even unwelcome. (Our cover depicts Cindy Sherman at Artists Space in the 1970s, posing cheerfully as this sort of worker bee.) On the other, curators are accused of usurping artists’ rightful share of self-determination and interjecting a distracting performance of their own authorship into the happy and transparent relationship between art and people. These complaints cast curators as megalomaniacs or middlemen, lackeys or celebrities, exhibition makers or exhibitionists. Taken together, these anti-curatorial postures produce an odd double picture of a figure that in one gesture arrogates and abolishes their own position.

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Contents

  • Overture

    Jens Hoffmann, Julian Myers-Szupinska, and Lumi Tan

  • Curators’ Favorites

    Dominic Willsdon
    Architecture Versus the Kids

    Wassan Al-Khudhairi
    Forceful Change

    Matthias Muehling
    Not My Favorite

  • Back in the Day

    Geir Haraldseth
    The Lost Tribes of the Moderna: A Discord from 1969

  • Missing in Action

    Jan Hoet
    L’Exposition imaginaire—Contradiction in terms?

    Introduced by Chelsea Haines

  • Attitude

    Martin Waldmeier
    “I Propose, Therefore I Am”:
    Notes on the Art World’s Proposal Economy

  • Assessments: Philippe Parreno’s
    Anywhere, Anywhere out of the World

    Florence Ostende
    One Brain Cannot Take It All

    Pierre-François Galpin
    Paris Spleen

    Anne Dressen
    Ménage à trois

    Liam Gillick
    How-To

  • Rigorous Research

    Prem Krishnamurthy
    Selling Socialism: Klaus Wittkugel’s
    Exhibition Design in the 1950s

  • Six x Six

    Zoe Butt, Nazli Gürlek, Daniel Muzyczuk, Remco de Blaaij, Patrick D. Flores, Nicolaus Schafhausen

  • Rear Mirror

    Johanna Burton and Anne Ellegood
    Too Much, Never Enough:
    Take It or Leave It: Institution, Image, Ideology

    Sofía Hernández Chong Cuy
    Of Whether and Weather:
    On the 9a Bienal do Mercosul | Porto Alegre