curating and caring, curating and affect, feminist curating, social reproduction, art patronage precarious labour in art
This article considers the changing definitions of curatorial labour in the light of affective economies of care and love. It examines how recent conceptions of curating shift emphasis from caring for objects and collections to producing and managing social networks, collective energies and professional relationships. While curators prioritize their care for artworks and artists, they often overlook the low-status and infrastructural activities that sustain curatorial production. At the same time, by over-identifying with their work, and instrumentalizing their personal relationships and energies, curators risk self-exploitation and burn-out. By recognizing curating’s inter-dependent nature, this article prompts a redefinition of curatorial care and calls for a reallocation of curatorial and institutional priorities and resources.
Photo Catastrophes, performance at MUAC by Chto Delat
School of Mutation within the framework of the iteration We have a situation here. The online meeting is on Thursday July 9th at 19:00 CEST. Facilitated and composed by Dmitry Vilensky, with Janna Graham.
register here [registration open until Wednesday July 8th at 12:00 CEST]
The questions for the assembly:
- The practices of care do not need a critical apparatus. Aiming for good and wellbeing – they themselves become an unconditional good. Can we care critically, or can we criticize with care?
- How can we formulate the good of art and how will it differ from the immediate humanitarian benefit of caring for life in general – the reproductive labor?
- How to build relationships of equality in a situation of care?
- Your favorite art projects, which is based on the practices of care?
- Many art institutions in their recent statements speak about their priority of caring for artists in their programs. What manifestations of institutional care do we need to continue our work in art?
- Practices of caring can be considered as part of the practices of the participatory and community based art with their old dilemma – to do “for” or to do “with/together.” Is it possible to combine these positions?