Abstract
With the 1960s on, influenced by the pioneering curator Harald Szeemann and then, the second wave mega-curators, the notion of curating became more visible, discussed, and studied in the realm of museums, galleries, and the biennials respectively. While the 1960s marked the indisputable authority of Szeemann and the curator in the art circles in Europe and the United States, the 1980s led to an inquiry of this authority, and the 2000s beheld the change in the form of curatorial practice. In this text, first, the historical background for a more democratic state of curatorial authority will be laid out. In this context, the 50th Venice Biennale organized by Francesco Bonami in 2003, Okwui Enwezor’s Documenta 11 in 2002, Carlyn Christov - Bakargiev’s 14th Istanbul Biennial in 2015 are analyzed as case studies. Such comparison, which look into the theme, venues, and curatorial methods, reveal the techniques, technologies, and methods used by these curators to create a democratic exhibition platforms.
Presenters
Pinar Uner YilmazAdjunct, Department of Interior Architecture and Environmental Design, Izmir University of Economics, Turkey
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Curating, Biennials, Contemporary Art, Alternative Exhibitions, Democratic Curating
