exhibited without wall labels, overlapping one another to the point that museum
visitors could not make a distinction between one artist’s contribution and the next.
By some, Hickey’s biennial was considered an extreme example of current tendency
to privilege curatorial vision over the artist and the art object.
Hou Hanru once told me about his project of projecting 100 videos by artists and
non-artists on a screen simultenously and how democratic the whole thing was, for
none of names of the video makers were publicized.
Oh, except of course the curator’s name.
Obviously we have another different definition of democracy here.
Of course as one web hops, there is also the talk of curator as en editor. Francesco
Bonami makes this analogy and jokes about how being a “not-such-good-artist” led
him to be a curator. Yet, in the same interview we hear Bonami talking about how he
cannot explain his curatorial selection process. It is very similar to many artists,
unable to explain why they do what they do.
Tom Morton on the other hand, also questions this notion of “curator as editor” as it
(the editorship) relies on analogy every bit as much as the idea of the “curator as
artist”
In the past, ten to fifteen years the process of curating and the person who practices
it have emerged center stage in public discourse. If this person is the new artist, I do
90 SESSION 3 / 3. OTURUM / ERDA⁄ AKSEL
Hou Hanru bana bir keresinde sanatç› ve sanatç› olmayan kiflilerin 100 videosunu efl
zamanl› olarak bir ekrana yans›tma projesinden ve videolar› yapanlar›n hiçbirinin ad›
belirtilmedicurrency1i için bu olay›n tümünün ne kadar da demokratik olducurrency1undan
bahsetmiflti.
Tabii küratörün ad› hariç.
Besbelli burada demokrasinin farkl› bir tan›m›yla karfl› karfl›yay›z.
‹nternettte gezerken, küratörün editör olarak adland›r›lmas› konusu da var tabii.
Francesco Bonami bu örneksemeyi yap›yor ve “o kadar da iyi olmayan bir sanatç›”
olmas›n›n onu nas›l da küratör olmaya yöneltticurrency1i hakk›nda flaka ediyor. Ancak yine
ayn› röportajda Bonami’yi, küratöryel seçim sürecini nas›l aç›klayamayacacurrency1›
hakk›nda konuflurken görüyoruz. Bu da, yapt›klar›n› neden yapt›klar›n›
aç›klayamayan bir çok sanatç›yla benzerlik gösteriyor.
Tom Morton dicurrency1er yandan, “editör olarak küratör” kavram›n›, “sanatç› olarak
küratör” düflüncesi gibi onun (editörlücurrency1ün) da her parças› örneksemeye dayand›currency1›
için sorguluyor.
Geçticurrency1imiz on-onbefl y›lda, küratörlük yapma süreci ve bunu yapan kifli, genel
söylemde merkez evrede su yüzüne ç›kt›. Ecurrency1er bu kifli, yeni sanatç› ise, gerçekten
bununla ilgili bir sorun olducurrency1unu düflünmüyorum. Sonuçta sanat›n tarihi, eski
sanatç›lar taraf›ndan genellikle yuhalanan ve alay edilen yeni sanatç›lar›n tarihidir.
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