The Exhibitionist (Issue 6)


The Exhibitionist is a magazine aimed at fostering curatorial self-analysis and self-reflexivity, establishing a framework in which to discuss the current debates and shifts in exhibition making while revealing the broader historical arc in which curating is situated.

In this issue:

Jens Hoffmann

Curators’ Favorites
Magali Arriola on Giorgio de Chirico: La fabrique des rêves (Giorgio de Chirico: The Dream Factory) which was presented at the Musée d’Art Moderne de la Ville de Paris in 2009, (“Backward Glancing”)

Tumelo Mosaka reconsiders Places with a Past, the seminal exhibition curated by Mary Jane Jacob for the 1991 Spoleto Festival USA in Charleston, South Carolina, (“What Art Does Best”)

Sarah Rifky recollects Al Nitaq, a multi-venue festival in Cairo in 2000 and 2001, through the affective lens of the imperfection of personal memory, (“Have You Met Mario?”)

Back in the Day
Dan Cameron argues that the collision of the historical and the contemporary was the most compelling aspect of America: Bride of the Sun, a 1992 exhibition at the Royal Museum of Fine Arts in Antwerp that looks at 500 years of mutual influence between the Americas and Flemish art, (“The Conquest, Revisited: America: Bride of the Sun Twenty Years On”)

Missing in Action
Republishing little-known or hard-to-find texts written by curators at the very moments they were organizing some of the seminal exhibitions of the 20th century, establishing conversations and ideas that would lay the groundwork for the curatorial field in the 21st century:

Harald Szeemann, “Exchange of Views of a Group of Experts”
Introduced by Chelsea Haines

Assessments: Intense Proximity: La Triennale 2012
Nicolas Bourriaud (“The Collapse of Distance”), Stéphanie Moisdon (“France Meets the World”), Vivian Sky Rehberg (“Present Tense”), and Cristina Ricupero (“Too Close for Comfort”) assess the project and its argument that the traditional notion of “distance” has collapsed in the current moment

Typologies: The Biennial
Nancy Adajania, Hou Hanru, and Adriano Pedrosa argue for the possibilities and the limitations of this exhibitionary form of the biennial at the current moment

Paul O’Neill interrogates the “paracuratorial,” a term used to describe curatorial activities supplementary to, or produced in parallel with, exhibition making, (“The Curatorial Constellation and the Paracuratorial Paradox”)

Rear Mirror
Glenn Adamson examines the pleasures and pitfalls of curating Postmodernism: Style and Subversion 1970 to 1990 at the Victoria and Albert Museum in London, (“Too Many Teapots? Thoughts on Curating Postmodernism 61”)

Nato Thompson recounts his attempt to survey 20 years of politically and socially engaged art with his exhibition Living as Form, presented by Creative Time in 2011 in New York, in the midst of the emergence of the Occupy movement, (“Reflections on Living as Form”)

Tara McDowell

Designed by Jon Sueda / Stripe

First printing, 2012
83 pages, black and white with 8 page full color insert, 8 × 11 inches

ISSN: 2038-0984