Joao Ribas: As curating becomes more and more “visible,” that is, as the field constructs its own history and the charge of the curator expands beyond its traditional role, a certain antagonism seems to have arisen. This revolves around the ostensive division of labor between artist and curator and the denotation of meaning this implies.
Everyone does everything, or so we’re reminded. We are all in each other’s space. The borders of disciplines are collapsing.
Jens Hoffmann: I am entering this conversation from the position of the curator—a curator who has often been accused of taking a very authorial and creative position in the creation of exhibitions. I am emphasizing words like “author” and “creation” on purpose to express my place in this conversation, and my overall standpoint in the realization of exhibitions.
What Is a Curator?
That smooth-faced gentleman, tickling Commodity, Commodity, the bias of the world…
Raimundas : One night I fell asleep in a bar in Vilnius and woke up the next morning in a market in Roma as a cup of coffee.
“The pure work of art implies the elocutionary disappearance of the poet, who yields the initiative to words, set in motion by the clash of their inequalities...
In 1934, during Hitler’s ascendance to power, Walter Benjamin gave a lecture called “The Author as Producer,” at the Institute for the Study of Fascism in Paris. With urgency, Benjamin questioned the role of the author and the artist.
Unitednationsplaza is exhibition as school. I realize that this sounds somewhat paradoxical, yet it’s the only way to describe the project that was intended to start as a biennial (Manifesta 6), scheduled to take place on Cyprus in Nicosia in the fall of 2006. Instead, after much turmoil, it was realized as an independent temporary school in Berlin, and then crossed the Atlantic to continue under the name Night School at the New Museum in New York as an artist’s commission.