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project by the nomadic
visual artist Kristoffer Ardeña)
at
Selasar Sunaryo Art Space, Bandung, Indonesia, 19 May 2013, with
curators Rizki Lazuardi
and Chabib Duta Hapsoro, focused on the
artist-curator relationships. The discussion at Cemeti Art House in
Yogyakarta, Indonesia, on the other hand, focused on the curatorial text. For Yogyakarta,
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the following curators were
invited: Mira Asriningtyas, Pitra Hutomo and Grace Samboh.
Here
are some of the questions that arose during the discussion at Cemeti Art House
(5 April 2014):
1. Why
ask curators to include all the 15 videos?
2.
Why can’t curators select videos she or he
wants to curate?
3.
Why can’t curators add more videos in the
selection? Curators felt like they were given an assignment instead of a
challenge.
4.
Is Kristoffer Ardeña acting as a
meta-curator? How is Dear Curator Curate
Me an artistic project?
5.
Are different models possible to express
curatorial intentions? Is it possible to make a video as a curatorial discourse
instead of writing a text?
6.
A researcher in the audience posed an
interesting point on the dilemma and difficulties of gathering data from past
exhibitions, if curators would opt to make non-text-based curatorial
discourses, how would this facilitate research on these exhibitions in the
future?
7.
What are the functions of texts within
curatorial practices?
8.
What are the relationships between the
curator and the artist(s)/artworks/exhibitions to the curatorial text? How to
engage with artists and their art as a curator?
9.
Who reads curatorial essays? Who is our
audience? Is there enough of a critical mass?
10. What are
the relationships between the curator and the public in relation to the
curatorial text?
11. Should
curators write curatorial texts that are readily understandable by the general
public?
12. Is
there such a thing as a curatorial art writing style?
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