A virada curatorial: da prática ao discurso

Paul O’Neill

Resumo


O artigo discute em termos históricos e teóricos o desenvolvimento da curadoria, a partir dos anos 1960, como uma atividade que passa a englobar uma dimensão discursiva e criadora, sobretudo em mostras coletivas e temporárias, notadamente bienais e megaexposições. O discurso crítico sobre a obra de arte como objeto autônomo se desdobra em uma modalidade de crítica curatorial, em que a exposição e o conjunto de obras no contexto expositivo adquirem primazia em relação aos objetos de arte em si. Contudo, argumenta o autor, a crítica curatorial respondeu com uma separação do gesto artístico e curatorial – sendo que tais divisões não são mais aparentes na prática das exposições contemporâneas.

 

Abstract

This paper discusses in historical and theoretical terms the development of curatorship, since the 1960s, as an activity that starts to encompass a discursive and creative dimension, especially in group and temporary shows, notably biennials and mega exhibitions. The critical discourse about the work of art as an autonomous object unfolds in a modality of curatorial criticism, in which the exhibition and the set of works in the exhibition context take precedence over the objects of art itself. However, the author argues, curatorial criticism responded with a separation of artistic and curatorial gestures – when such divisions are no longer apparent in the practice of contemporary exhibitions.


Palavras-chave


Discurso curatorial. Crítica curatorial. Bienais. Megaexposições. Curador-artista

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Referências


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DOI: https://doi.org/10.22456/2179-8001.108102

Direitos autorais 2020 Paul O’Neill

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