By: Elena Filipovic
"This is an anthology of essays that first appeared in The Artist as Curator, a series that occupied eleven issues of Mousse from no. 41 (December 2013/January 2014) to no. 51 (December 2015/January 2016). It set out to examine what was then a profoundly influential but still under-studied phenomenon, a history that had yet to be written: the fundamental role artists have played as curators. Taking that ontologically ambiguous thing we call "the exhibition" as a critical medium, artists have often radically rethought conventional forms of exhibition making. This anthology surveys seminal examples of such exhibitions from the postwar to the present, including rare documents and illustrations. It includes an introduction and the twenty essays that first appeared in Mousse, a newly commissioned afterword by Hans Ulrich Obrist, and two additional essays that appear here for the first time."
"The Artist as Curator" is an anthology of essays edited by Elena Filipovic, which first appeared in a series that occupied eleven issues of Mousse magazine. The book explores the intersection of art and curating, delving into the roles and practices of artists who also function as curators. Here is a comprehensive overview of the book:
The essays in the anthology explore various instances where artists have taken on curatorial roles, often critiquing the traditional systems of exhibition-making and reception. The book chronicles how artists have employed unique approaches to curating, including digital art practices that necessitate new forms of curating.
Key essays include:
The book has received significant attention for its innovative approach to understanding the role of artists in curating exhibitions. Here are some critical perspectives:
Overall, "The Artist as Curator" offers a nuanced exploration of the intersection of art and curating, highlighting the critical and subversive potential of artists taking on curatorial roles. The anthology has been praised for its innovative approach to exhibition history and its emphasis on subjective, collaborative, and critical curatorial practices.