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  5. Volume 10, Issue 1, 2021

Journal of Curatorial Studies - Volume 10, Issue 1, 2021

Volume 10, Issue 1

Volume 10, Issue 1, 2021

Language: English
  • Articles

      • Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936–1943)

        https://doi.org/10.1386/jcs_00029_1

        (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.

    • Necessarily Provisional: Ireland at the Venice Biennale

      https://doi.org/10.1386/jcs_00030_1

      Ireland’s history at the Venice Biennale is one of uncertain circumstances and regular mobility. This article reflects on Ireland’s status as one of the non-permanent, ‘provisional’ pavilions at the Biennale, and considers the multiple ways in which Irish exhibitions (since the early 1990s) have dealt with curatorial challenges in this unpredictable context. By tracing the history of Ireland’s diverse exhibitionary efforts to test models of national representation away from the Biennale’s core group of settled, permanent pavilions, I argue (with reference to writings by Maria Lind and Irit Rogoff) for the merits of curating in a ‘provisional’ mode, finding useful lessons in Ireland’s varying levels of commitment to realizing ‘context-sensitive’ pavilion projects.

    • Exhibiting Parafictional Artists: Curatorial Approaches to Fiction and Authorship

      https://doi.org/10.1386/jcs_00031_1

      This article identifies and analyses parafictional strategies in artistic and curatorial practice. By examining exhibitions that have included artists working under fictitious identities from the mid-1990s to the present, I argue that they emerged in response to the conflictual demands of the art world. These case studies have been organized into three categories according to their main curatorial approach: projects in which artists remained anonymous or were asked to produce work under a purposely invented personality; exhibitions that turned the intersection of fiction and authorship into a theme to be researched; and curatorial initiatives that embraced the working logic of fiction in their own methodology. These strategies investigate how authorship, agency, style and self-promotion function in the contemporary art world.

  • Curatorial Reflection

      • A Call to Otherness: Inscribing Digital Vernaculars into the Art Institution

        https://doi.org/10.1386/jcs_00033_7

        In the mid-2010s, a number of renowned museums and galleries across the world held retrospective exhibitions positioning digital arts within western art history. While inscribing some techno-aesthetic forms and behaviours into the contemporary arts institution, these exhibitions nevertheless cemented the exclusion of others. By examining the role and shortcomings of curatorial practices in this process, this article seeks to frame curating as an art of inclusion able to carve institutional and epistemic space for otherness. In doing so, I argue for the relevance of , defined as a range of tactics that enable the apprehension of digital vernaculars – everyday, ‘lower’ expressions of digital media culture – within institutional sites and discourses. Through these tactics, curators may provoke under-represented cultural actors, forms and behaviours into recognition, reverse the violence of institutional occlusion, and fertilize art histories.

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