Curation as Writing/Exhibition as Book – Part III: Geir Haraldseth

The final bloc of ‘Curating as Writing/Exhibition as Book’ asked whether, in  a  world  that  is  in  collapse,  continuously  dismantling  itself,  the  exhibition is a narrative  form  that  is  able  to  capture  transient  and  liminal  states  of  being experienced collectively, through a shift from a solitary, and perhaps personal act, to an interdisciplinary and communal one.

In his presentation Curating a Book and Writing an Exhibition Geir Haraldseth considered the ease and flexibility of producing an exhibition compared to a publication. Haraldseth presented a number of case studies of exhibitions he has curated using reproductive formats such as video, photocopying and the local replication of artworks from cheap materials. These ‘pirated’ exhibition formats also allow for more flexible approaches, and sometimes no approach at all, to relevant art world stakeholders. Inversely, he produced a graduation catalogue which confounded the notion of a degree show by containing images of students’ unfinished work and source material. Haraldseth presented the results of a workshop he recently conducted with emerging curators, in the form of flourishes of colourful confetti on which were printed questions deconstructing curatorial methodologies.




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