For The Exhibitionist’s second edition of “La Critique,” in which contributors are asked to reflect on the preceding three issues of the journal, the editors decided to create the issue entirely through conversations in order to elicit dynamic and frank responses between a diverse group of curators who may not have been previously familiar with each other’s work.
In the first Response section, six curators discuss their takes on the collection today. Pairings include Frances Morris and Manuel Borja-Villel, both at the forefront of reinventing the traditional structure of the museum collection; Julieta Gonzalez and Suhanya Raffel expound upon the opportunities and challenges of collection building in institutions at the geographic margins of the art world; finally, Pieranna Calvachini and Judith Dolkart both work in institutions in which the entire museum, not just the collection, is dictated by the taste and personality of a long-since-dead founding patron.
Temporary exhibitions, within and outside the contemporary art world, are the focus of the second Response section. Maurice Berger and Bice Curiger both bridge the contemporary and historical in their exhibitions through a variety of means and methods; Stephanie Barron is joined in conversation with Nanette Jacomijn Snoep about curatorial innovation outside of the realm of contemporary art; and Patrick Allegaert and Anselm Franke engage in a wide-ranging conversation about the conceptual and practical elements of constructing (and critiquing) new exhibition experiences.
In the “La Critique” section, conversations each involving three curators allow for an open discussion of The Exhibitionist’s mission and relevance. Juan A. Gaitán, Sarah E. Cook, and Lia Gangitano, all currently working outside traditional museum structures, and their conversation assesses the model of the curatorial auteur that has been championed by the journal from its start. In a separate but convergent conversation, Adam Lerner, Weng Choy Lee, and Khwezi Gule discuss the benefits and necessity of bringing the “outside” world into the exhibition space. As a final touch, the editors added an extra layer to the conversations by providing extended footnotes for each one. These contain further relevant information and resources inspired by the each contributor’s responses.
The Exhibitionist welcomes Julian Myers as our new Senior Editor, and JiaJia Fei as Web Editor. Visit www.the-exhibitionist.com to read our new blog dedicated to the intersection between art and technology.
The Exhibitionist is a journal made by curators, for curators, focusing solely on the practice of exhibition making. The objective is to create a wider platform for the discussion of curatorial concerns, to encourage a diversification of curatorial models, and to actively contribute to the formation of a theory of curating. It is distributed in North America by MIT Press Journals.
The Exhibitionist: Journal on Exhibition Making
Editor: Jens Hoffmann
Senior Editor: Julian Myers
Associate Editor: Lumi Tan
Web Editor: JiaJia Fei
Editorial Coordinator: Alison Smith
Editorial board: Carolyn Christov-Bakargiev, Okwui Enwezor, Kate Fowle, Mary Jane Jacob, Constance Lewallen, Maria Lind, Chus Martínez, Jessica Morgan, Hans Ulrich Obrist, Paul O’Neill, Adriano Pedrosa, Dieter Roelstraete, Dorothea von Hantelmann
The Exhibitionist is supported by Ross Sappenfield and Outset USA.