![]() ![]() In this process, a large part of you is extracted from you, and now exists everywhere and nowhere, independently of your five senses. “It’s you – and all of your online behaviours, enriched data sets and millions of meta-data points.” “Guess what this century’s most valuable resource is,” they ask. Whatever delight the curators might have felt at this astonishingly creative media moment was eclipsed by their sense that it’s controlled out of view by forces bent on quantifying our every experience and harvesting the data generated for profit. The self has been made “extreme,” they proposed, by the connectivity and instantaneity of our new media environment, and this deracinated self only feels real when packaging itself for consumption by a crowd. Museum of Contemporary Art (MOCA) TorontoĪge of You, curated by Douglas Coupland, Hans Ulrich Obrist, and Shumon Basar, was a didactic exhibition, developing an argument about the fate of the self in the age of social media. To think about the curator as author, I chose three authors who’ve curated – specifically, a show at MOCA Toronto that moved and provoked me when I happened on it. ![]() ![]() That’s when a curator treats their exhibition as a composite language of things and words and images in which to express a sensibility or chase an argument. Harald Szeemann’s Live in Your Head (1969) and Documenta 5 (1972) have come to exemplify curation as authorship. The first assignment in our first module ( Key Moments in the History of Curating):Ĭhoose an exhibition from your country (either birth or residence) that you consider expresses the notion of curator-as-author in the spirit of Szeemann. While on leave from my program at the University of Toronto, I’m taking a course at the Node Center called the International Curator Program. Before the Planet Ends Us Our Alphabets Will Burn.Siri Falls Among the Things of the World.Red Black & Blues: A Monster Translation of a Text by Donald Trump. ![]()
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