شناسایی وظایف مدیریتی کیوریتور در روند خلق نمایشگاه های هنری معاصر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تحولات اخیر در بستر هنر معاصر، رشد تحقیقات مبتنی بر کیوریتوری از سال های 2000 بدین سو و ایجاد رشته مطالعات نمایشگاهی، بر اهمیت حضور، جایگاه و نقش نمایشگاه گردان در فرایند تولید کارنماهای هنری تأکید داشته است. این در حالی است که لزوم حضور کیوریتور در صحنه نمایشگاهی ایران با توجه به فقدان مطالعات نظری و تاریخی در این حوزه مغفول مانده و درک درستی از فرایندهای کار کیوریتور وجود ندارد. بدین جهت، این پژوهش با توجه به مبانی تولید یک نمایشگاه هنری، فرایندهای کیوریتوری را بررسی و مشخص ساخته و قصد دارد با مدنظر قرار دادن سطوح مدیریتی و گونه های مختلف کیوریتوری، یک الگوی نمایشگاه گردانی جامع بدست آورد. لذا، این پژوهش برای نیل به این هدف یک پرسش اصلی را مطرح می کند: نقش و وظایف اجرایی و مدیریتی کیوریتور در رابطه با سازمان دهی و نمایشگاه گردانی یک رویداد هنری چیست؟ برای پاسخ به این سؤال، این متن با روش توصیفی و تحلیلی و گردآوری اطلاعات به روش تحقیق کتابخانه ای و میدانی، در ابتدا مفهوم نمایشگاه گردان را تشریح می کند و سپس بر اساس پیشنهادات کیوریتور-پژوهشگرانی چون کارِن لاو و آدریَن جورج و بررسی یک نمونه نمایشگاهی معاصر به یک مدل فراگیر کیوریتوری دست می یابد. یافته ها نشان می دهند، فرایند ایده پردازی، برنامه ریزی، هدایت، سازمان دهی، نظارت و مهار، تصمیم گیری، ایجاد ارتباط، خلاقیت و نوآوری و استفاده از امکانات و منابع، مهم ترین مؤلفه های مدیریت و کیوریتوری یک رویداد هنری بوده و باآنکه روند ایجاد هر نمایشگاه هنری امری خلاقه و متفاوت از دیگری است، لیکن، کیوریتور با پیروی از الگوی پیشنهادی می تواند یک نمایشگاه موفق هنری ترتیب دهد.Exploring Curatorial Mnagement Roles in Contemporary Art Exhibition-Making
The evolving role of the curator in contemporary art has undergone a significant transformation, moving from the traditional functions of caretaking and preservation to encompass a complex array of creative, managerial, and collaborative responsibilities. Recent scholarship highlights the profound impact of curatorial practice on the exhibition-making process and the introduction of new art movements; however, there remains a notable lack of comprehensive studies focusing on the integrative managerial aspects of curatorship. This gap is particularly evident in contexts where academic discourse on curation is still developing, such as in Iran. Recognizing the importance of this field, the current research aims to address this gap by examining key curatorial processes and proposing a structured model for comprehensive curatorial management.The primary objective of this study is to answer the question: What are the executive and managerial roles of a curator in organizing an art event? To tackle this inquiry, the research employs a descriptive and analytical approach to delineate the curator's function, drawing insights from the perspectives of leading curators, scholars, and researchers in the field. In doing so, this study seeks to enrich the understanding of curatorial responsibilities and establish a framework that reflects the evolving nature of curatorship in contemporary art.Central to this investigation are the models proposed by Karen Love (2010) and Adrian George (2015), which serve as foundational references for the proposed curatorial management framework. Through a thorough analysis of their contributions, this research identifies nine core stages of curatorial management: Ideation, Planning, Leading, Organizing, Monitoring and Control, Decision-Making, Communication, Creativity and Innovation, and Resource Mobilization. Each of these stages reflects a curator’s journey from the initial conceptualization of an exhibition to its completion, necessitating a harmonious blend of artistic vision and strategic management skills.Historical precedents provide critical insights into the proposed model, with particular emphasis on the 1966 exhibition “Primary Structures,” curated by Kynaston McShine at the Jewish Museum in New York. McShine’s innovative approach in highlighting young minimalist sculptors from the United States and the United Kingdom marked a significant shift in exhibition design. He emphasized audience interaction and spatial engagement, demonstrating how curatorial decisions can significantly enhance the viewer's experience. His pioneering curatorial practice underscored the relevance of philosophical influences, such as phenomenology, in the planning and execution of exhibitions. By showcasing how the conceptual framework of minimalism could reshape viewer engagement, McShine illustrated the transformative potential of curatorial strategies. This approach laid the foundational principles for integrating curatorial creativity into the proposed model.The proposed model delineates the specific stages involved in effective curatorial management. The process begins with Ideation, where curators engage in conceptual development, brainstorming ideas and themes that will inform the exhibition. This is followed by the Planning stage, which establishes the overall approach and structure of the exhibition, including logistical considerations and artistic objectives. In the Leading phase, curators develop strategies to guide the exhibition’s direction, which can range from adhering to traditional institutional frameworks to embracing artist-centered practices that foster collaboration and innovation.The Organizing stage addresses the logistical needs of the exhibition, ensuring that all components align with the planned vision. This includes coordinating with artists, venues, and other stakeholders. Following this, the Monitoring and Control phase ensures that the exhibition aligns with its objectives and adheres to established standards, allowing for adjustments as necessary. Decision-Making is a critical aspect of curatorial work, as curators face a multitude of choices regarding artwork selection, spatial arrangement, and interpretive design. Each decision has implications for how the exhibition is perceived and experienced by audiences.Effective Communication is essential in curatorial practice, involving engagement with various stakeholders, including artists, audiences, and institutions. Curators must strive for a balanced interaction among artworks, viewers, and artists, fostering an environment that encourages dialogue and engagement. The stages of Creativity and Innovation push curators to develop unique installations that challenge conventional exhibition formats and engage audiences in transformative ways, enhancing the overall impact of the exhibition.The final stage, Resource Mobilization, encompasses the securing and management of the financial, human, and logistical resources necessary to bring an exhibition to fruition. This step is crucial as it highlights the curator’s responsibility to balance artistic aspirations with practical demands throughout the exhibition process.In conclusion, this study asserts that a curator's role extends beyond traditional boundaries, positioning them as project managers who seamlessly integrate creative leadership with administrative expertise. The proposed model serves as a scalable framework, adaptable to diverse curatorial contexts, affirming the critical and multifaceted role of the curator in contemporary art. By articulating the specific stages and responsibilities inherent in curatorial practice, this research provides valuable insights into effective exhibition-making. Furthermore, it underscores the potential for future curatorial studies to expand upon the dynamic interplay between art, audience, and space, fostering a deeper understanding of the curator’s impact in the evolving landscape of contemporary art.
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