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.