17 October – 21 November 2012
LUX – London
Curation seemingly no longer indicates a position held but an action taken, where shops are curated, fashion collections are curated and content should be curated. It implies the selection of objects rather than the care of a community, the visible production of events as opposed to the invisible preservation of a collection. Moving image artworks, perhaps due to their temporal and experiential nature, share a particular affinity to this peculiar position, film curating often taking a more live and transitory, programming role. Yet as many artworks now occupy a number of different temporary visibilities, in terms of where they are shown and their constituent parts, both programming and exhibition making are problematised by their representative, as opposed to mainly preservative, responsibility to works.
In short, the discriminating function of taste as both inclusive and exclusive. This series of six conversations with contemporary curators will begin to critically examine some of the conceptual and practical issues around curation through the specific conditions of moving image works. Each session will consist of a one hour conversation with screening followed by a one hour group discussion. In terms of professional practice, labour relations and the cost of display, digital, video and film formats, live screening, online domain and exhibition space, the core task will be to discuss, as practitioners, artists, curators, researchers and viewers, what you think needs to be shown, why it should be shown and the responsibility of making these things visible.