SECTION 4. Final Considerations on Curatorship Experience
I am thankful to Social Creatives for having given me the opportunity to work with mural artists and experience the mesmerising world of murals in a completely new setting.
Upon completion of my MA studies in Asian Art History, my continuing education in curating is carried out mostly through hands-on experience and subsequent reflection on the experience.
The reading of texts is an additional tool that can help that experience being focused, relevant and professional.
Yet, curating art to me is mostly working directly with artists, with people, not only abstraction. It is about getting to know their artistic journey in order to create the most efficacious setting for them to exhibit and for the audience to appreciate not only their art but art in general as a tool of communication amongst people with different backgrounds for the promotion of a better, more integrated society.
Collaborations offer us opportunities of confrontation not just with others, but with ourselves too, testing our knowledge and understanding of the world in a continuous and open-minded flux.
The curatorship experience with Social Creatives has certainly made me more aware of how ideas can operate with people in an environment where freedom appears to be paramount: yet I found so much sensitivity on the part of the artist for the truly all-encompassing audience, the passer-by of any age, any sex, any background, any education, … Their art genuinely speaks to anybody, because it is sited in the real life and in the every day.
The creative process too is unusual and so genuinely meaningful: it is open to all and cannot shy away from mistakes or flaws. It is real.
Similarly, and fully aware of the implications, I have tried not to impose my enthusiastic visions, but gently negotiate them with the incipient knowledge of the artists in their professional roles and as human beings, in a sort of reverse mechanism of curatorship, where I became devoid of certain powers and had to work in a different manner than before.
Re-negotiating my comfortable position as relatively authoritative within the context of an exhibition, I have attempted new modalities in dealing with the artists, with the ideas, with the new environment without any expectation on myself and with a spirit of discovery.
The Social Creatives Vijaya Memorial High School and Nepal Cultural Association mural at Vijaya Memorial High School and Nepal Cultural Association and the various murals of Kolor Kathmandu remain testament to a visually successful effort that brought together not just two countries but many types of synergies, hopefully making us all the more rich and ready for new projects.
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I am thankful to Social Creatives for having given me the opportunity to work with mural artists and experience the mesmerising world of murals in a completely new setting.
Upon completion of my MA studies in Asian Art History, my continuing education in curating is carried out mostly through hands-on experience and subsequent reflection on the experience.
The reading of texts is an additional tool that can help that experience being focused, relevant and professional.
Yet, curating art to me is mostly working directly with artists, with people, not only abstraction. It is about getting to know their artistic journey in order to create the most efficacious setting for them to exhibit and for the audience to appreciate not only their art but art in general as a tool of communication amongst people with different backgrounds for the promotion of a better, more integrated society.
Collaborations offer us opportunities of confrontation not just with others, but with ourselves too, testing our knowledge and understanding of the world in a continuous and open-minded flux.
The curatorship experience with Social Creatives has certainly made me more aware of how ideas can operate with people in an environment where freedom appears to be paramount: yet I found so much sensitivity on the part of the artist for the truly all-encompassing audience, the passer-by of any age, any sex, any background, any education, … Their art genuinely speaks to anybody, because it is sited in the real life and in the every day.
The creative process too is unusual and so genuinely meaningful: it is open to all and cannot shy away from mistakes or flaws. It is real.
Similarly, and fully aware of the implications, I have tried not to impose my enthusiastic visions, but gently negotiate them with the incipient knowledge of the artists in their professional roles and as human beings, in a sort of reverse mechanism of curatorship, where I became devoid of certain powers and had to work in a different manner than before.
Re-negotiating my comfortable position as relatively authoritative within the context of an exhibition, I have attempted new modalities in dealing with the artists, with the ideas, with the new environment without any expectation on myself and with a spirit of discovery.
The Social Creatives Vijaya Memorial High School and Nepal Cultural Association mural at Vijaya Memorial High School and Nepal Cultural Association and the various murals of Kolor Kathmandu remain testament to a visually successful effort that brought together not just two countries but many types of synergies, hopefully making us all the more rich and ready for new projects.
CLICK HERE TO GO TO THE NEXT SECTION