To Show or Not To Show - Mousse Magazine

12/09/2021 To Show or Not to Show — Mousse Magazine
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SHEILA HICKS
Sheila Hicks “Cosmic Vibrations” at The Galerie nächst St. Stephan

Rosemarie Schwarzwälder, Vienna
toshow_ornottoshow_5
Frans Francken, A Collector’s Cabinet, 1625
08.09.2021 READING TIME 3 ′ EXHIBITIONS

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https://www.moussemagazine.it/magazine/jens-hoffmann-maria-lind-2011/ 1/11
by Jens Hoffmann and Maria Lind
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ALEX TURGEON HENRIK OLAI KAARSTEIN ...
“Hopeless Romantics” at FUTURA, Prague
Frans Francken, A Collector’s Cabinet, 1625

SHEILA HICKS

Sheila Hicks “Cosmic Vibrations” at The Galerie nächst St. Stephan
Jens Hoffmann
Rosemarie and Maria
Schwarzwälder, Lind weave a lively discussion on two
Vienna
different perspectives on curating. One attempts to explore the
exhibition format along all its paths, including those seldom taken;
the other has an “expanded” conception whose main goal is to
make art become public. The problem remains that of quality,
which in the present productive
08.09.2021 READING TIME 3 ′
outburst seems to be seriously at
EXHIBITIONS
risk.

JENS HOFFMANN: Curating, to me, is fundamentally linked to exhibition making. I feel some

frustration with how the term “curating” has been adopted by all sorts of fields to describe any
process that involves making a selection of something. DJs curate the music lineup at a party, cooks
curate the menu at a restaurant, decorators curate the living rooms of clients, and so on. For me
curating is about formulating a certain theory or argument, based upon which one makes a selection
ofDAVID BLANDY
artworks or other LARRY ACHIAMPONG
objects with the aim of ... creating an exhibition in which those objects and
artworks are displayed to the public. You have been an advocate for an expanded notion of curating
T i S di L A hi
https://www.moussemagazine.it/magazine/jens-hoffmann-maria-lind-2011/ d D id Bl d 2/11
Twin Studies:
that goes Larry Achiampong
beyond exhibition and like
making, and I would David Blandy
to start our conversation by asking you why so
many
by curators
Robert Barrywho seek curatorial innovation think that progress can only be achieved by
abandoning the format of the exhibition.
MARIA LIND: Innovation needs some kind of urgency in order to avoid becoming formalized. In my
etacase,
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thinking Version
about Beta Version
and developing Betaaltered
new and/or Version Betaand
formats Version BetainVersion
approaches relation toBeta Versi
curating is connected with art itself, with its sensibility, attitude etc. My process starts with art rather
26.08.2021 READING TIME 6 ′ NEWS
than theories or arguments, which enter at a later stage. My tendency is also to challenge the status
quo, not for its own sake but because the current conditions are often problematic, or insufficient.
For example, when I was directing Kunstverein München we did a retrospective with Christine
Borland for the duration of a year, in which only one work was shown at a time, and this was
intimately connected to how her work operates. It is dense, it requires a lot of time to make and then
to engage with, and it also deals with the passage of time. Or our work on Rirkrit Tiravanija’s
retrospective that took the form of a weekend meeting and then a weeklong workshop with his
former students, as well as curators and critics, who have engaged with his work over time. The
format was closely related to the logic of the work. What specifically do you think needs exploration
in terms of exhibition making today? Particular exhibition formats? From my point of view,
“Hopeless Romantics”
exhibition making works best at
as aFUTURA, Prague
somewhat organic process, not solely based on calculated and pre-
programmed upheaval. To say that curating equals exhibition making is like saying that art is the
same as painting. Both painting and exhibition making have been dominating their respective fields.
Which is too reductive.

SHEILA HICKS
Sheila
ATTILIAHicks
FATTORI“Cosmic
FRANCHINIVibrations” at The Galerie
BIRGIT JÜRGENSSEN ... nächst St. Stephan
“Lonely Are All Bridges. Birgit Jürgenssen and Cinzia Ruggeri” at Galerie
Hubert Winter, Vienna
by Attilia Fattori Franchini
03.08.2021 READING TIME 7 ′ REVIEWS
DAVID BLANDY LARRY ACHIAMPONG ...

T i S di L A hi
Twin Studies: Larry Achiampong and David Blandy
by Robert Barry
etaFrans Francken,Beta
Version Chamber of Art andBeta
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Version 1636 Beta Version Beta Version Beta Version Beta Versi

JH: I do not think your analogy makes any sense. Painting and curating are totally different activities,
with very different objectives and histories. If someone says that art equals painting then that is fine;
it is their opinion. I see lots of curatorial work that is about other things besides curating exhibitions,
but it just doesn’t interest me at all.
ML: By the way, it is a misconception that I have abandoned exhibition making. All along I have
worked consciously,HENRIK
ALEX TURGEON and with great
OLAI pleasure, with
KAARSTEIN ... exhibitions, in white cubes and other types of
spaces in parallel with other ways of making art happen and go public. I have in fact continuously
made exhibitions,
“Hopeless
PAMELA for exampleat
Romantics”
BREDA “Formalities”
FUTURA, at Iaspis,
Prague “Personal Protocols and Other Preferences”,
and “The Greenroom: Reconsidering the Documentary and Contemporary Art” at CCS Bard, and
“One Thing
Pamela After the Other”
Breda.”The at the RomanianatCultural
Quintessence” FMAVInstitute
– MATA, in Stockholm.
Modena And so have many
other curators who have simultaneously embraced other ways of allowing art to exist. It is about
what makes the most sense in relation to the kind of art, the time, and the place.
JH: I have seen several of the projects that you mention, and none of them felt to me like an
07.09.2021
exhibition. READING
I also find it hard to measure quality in these 1′
TIMEcases. EXHIBITIONS
Traditionally I could say someone is
an interesting curator because they know how to work with artists, how to install an exhibition, how
03.08.2021
to write a good catalogue essay. Today anyone READING
can putTIME 4′
together a lecture program based onEXHIBITIONS
an idea
that they read about in a journal and call themselves a curator. I think it’s just too easy. Exhibition
making is a craft, and I treasure that. Too many curators seem to think exhibition making is a thing
of the past and that today it has to be all about what I call the paracuratorial: lectures, screenings,
exhibitions without art, working with artists on projects without ever producing anything that could
be exhibited. I would not be worried about it if I saw it only here and there, but there is a big push
SHEILAit,HICKS
toward and I feel that we actually still do not really understand the potential of exhibitions. They
are an important social ritual, with vast possibilities. I do not think that the exhibition as a format for
Sheila
ATTILIA
the Hicks
display of art “Cosmic
FATTORI FRANCHINI
has Vibrations”
been fully andat The Galerie
BIRGIT JÜRGENSSEN
explored, ... has notnächst
it certainly St. Stephan
been exhausted.
“Lonely Arefor
ML: Obviously AllmeBridges. Birgit working
curating involves Jürgenssen anddifferent
with many Cinziaformats,
Ruggeri” at Galerie
depending on what is
at hand. The core is “how to make art go public,” circling around art and taking cues from what I
understand to be Franchini
by Attilia Fattori its specificities, as well as from the context and time, driven by equal amounts of
enthusiastic
Magazine > curiosity and analytical
Conversations > To Showskepticism.
or Not toAnd a sense that things can be different. Art has this
Show
READING TIME 3 ′
amazing capacity to explore, convey, and forge that. Art is an unsurpassed form of understanding and
08.09.2021
a01.12.2011
maker of new imaginaries. And if I want to allow that
READING TIME ′ across and exist in a shared
to9come
EXHIBITIONS
space,
SHARE
READING TIME 7 ′
then it is necessary to develop formats that can support and even enhance that, accounting for
03.08.2021 REVIEWS
complexities. To stay with one format would be like one form of packaging for everything. It seems a
little peculiar that you think that the presentations and orchestrations of art works in a white cube
exhibition space mentioned above do not “feel like exhibitions” – I thought that was precisely what
you are looking for. Can you elaborate on that?
ADVERTISING

T i S di
BRUCE NAUMAN L A hi
CARLOS BASUALDO
BRUCE NAUMAN CARLOS BASUALDO ...
by Robert Barry
“Bruce Nauman: Contrapposto Studies” at Punta della Dogana, Venice
by Giovanna Manzotti
27.07.2021 READING TIME 19 ′ CONVERSATIONS

PAMELA BREDA
Pamela Breda.”The Quintessence” at FMAV – MATA, Modena
SHEILA HICKS
Sheila
Painting
ATTILIA Hicks
depicting
FATTORI an“Cosmic
early modernVibrations”
FRANCHINI gallery at The (Kunst
of artJÜRGENSSEN
BIRGIT and curiosities Galerie
... nächst St. Stephan
und Wunderkammer), from the collection of the
Reiss-Engelhorn Museum, Mannheim
“Lonely Are All DANIELA
CHUS MARTÍNEZ Bridges. Birgit...Jürgenssen and Cinzia Ruggeri” at Galerie
ZYMAN

“Territorial
by Attilia FattoriAgency:
FranchiniOceans in Transformation” and “The Soul Expanding
JH: I know a lot of curators who have very dogmatic ideas about their work and dismiss anything
Ocean #1: Taloi Havini” at TBA21–Academy’s Ocean Space, Venice
that is not part of their own worldview. I personally like to look at and consider as many different
3 ′ and seriousness to them. Of EXHIBITIONS
by Vashti Ali
08.09.2021
positions as possible as long as I feel there READING TIME
is a certain depth course
exhibition making is not limited to just one format. You know my work and how many exhibition
03.08.2021
formats I have embraced and perhaps evenREADINGconceived, and7 ′the wide range of artworks and other
TIME REVIEWS
aesthetic objects I consider, which constantly challenges normative codes about exhibition making. I
21.07.2021
do it while staying by and large within theREADING 22 ′
TIME Perhaps
gallery space. all of this also has toCONVERSATIONS
do with my
interest in objects as elements that carry and speak about history, and how we experience them when
we see them in a museum. I am interested in the idea of staging and the theatrical experience, which
grows out of my studies in theater.
ML: Is there a side to your practice that you feel is under-addressed?

JH: I am not sure if anyone actually addresses my practice. But I really am an exhibition maker, even
TBRUCEi SNAUMANdi LCARLOSABASUALDO hi
Twin Studies: Larry Achiampong and David
ifBRUCE
I writeNAUMAN
a lot, teachCARLOS work onBlandy
BASUALDO
all the time, publish a... journal,
collections, and all of that. The core is
making
by exhibitions
Robert Barry and creating that particular experience.
by Giovanna
ML: You haveManzotti
consistently explored various types of exhibitions. (I stick to using “format” for
different ways of making art go public, exhibitions being one of them, screening series another, and
“types” as a subcategory within each format like a group exhibition, a monographic exhibition etc;
READING TIME 6 ′
we can also think about exhibitions as a medium.) Which is also why I continue to be interested in
26.08.2021 NEWS
following what you do. I appreciate this kind of focus and specialization, in the wake of superficial
READING TIME 19 ′
approaches to curating. We have both remained art nerds, and on top of that you are an exhibition
27.07.2021 CONVERSATIONS
nerd. I am perhaps becoming a nerd of the histories and practices of curating. It is important to be
able to, when appropriate, go beyond the pure facilitation and “caressing” of art. Being subservient
can be good, even useful, but sometimes we also need to take up the challenge of art and answer
back. Which for me means taking art and artists super seriously.
JH: There is certainly more quantity than quality when it comes to current exhibition making, but to
take that as a trigger to say “exhibition making is dead” seems a bit shortsighted.
“Hopeless
PAMELA BREDA Romantics”
ML: Even if I don’t agree with at FUTURA,
them Prague
– I am not even sure who they are – I can understand when
people claim that exhibition making belongs to the past. Because a daunting majority of exhibitions
Pamela Breda.”The
to be made byQuintessence”
ALAN MICHAEL
today seems atcare
rote, with very little FMAV – MATA,
or precision. Modena as a tired
Just mechanically,
routine. Which is not the case with your exhibitions. Although there is a mechanical aspect to the
Alan Michael
12th Istanbul “Wonder
Biennial, Workers”
and its repetition of at
theHIGH ART,
same setup Pariswhich I have described
five times,
elsewhere as similar to the logic of bureaucratic implementation.
JH: I am not sure about your use of the terms “mechanical” or “bureaucratic” in this context. It seems
very reductive and willingly trying to discredit
03.08.2021 the format
READING TIME 4of ′ the exhibition. There is nothing
EXHIBITIONS
mechanical about developing a methodology for how one makes exhibitions and applying that to
different ideas, subjects, contexts. I do not READING
15.07.2021 want to go into1 ′the Istanbul Biennial here too EXHIBITIONS
TIME much, but
perhaps you did not look at the five sections carefully enough to see that each one was trying to
articulate something very distinct.
ML: ThatHICKS
SHEILA is my point, that if you want to articulate something very distinct it is almost always
necessary to make it specific – context-sensitive – each time. Which is why the repetition five times
does not Hicks
Sheila
ATTILIA work for“Cosmic
FATTORI me – each part
FRANCHINI wouldJÜRGENSSEN
Vibrations”
BIRGIT haveat
needed
Theits ...own treatment
Galerie nächstand
St.shape. The methodology
Stephan
was overriding the art. So it is not at all to do with discrediting the format of the exhibition.
ZYMAN
JH: Perhaps we should talk about what we think is good exhibition making.
“Territorial
by Vashti Ali

TBRUCE
i SNAUMAN
di LCARLOSABASUALDO
hi
by Robert Barry
Mousse 76: Out Now
06.07.2021 READING TIME 1 ′ ESSAYS

Frontispiece to Ole Worm’s Museum Wormianum, 1655

PAMELA BREDA

Pamela Breda.”The
ALAN MICHAEL
ML: Rather Quintessence”I at
than “good exhibition-making,” FMAV
would – MATA,
talk about Modena
interesting and relevant exhibition
making practices in which there is a clear emphasis on the exhibition as a format. I would count your
Alan Michael “Wonder Workers” at HIGH ART, Paris
practice there, as well as the work of Julie Ault, Chus Martínez, SØren Grammel, and (in a more
classical sense) Lynne Cooke. There is a conscious and sensitive elaboration of the format of the
exhibition at play. Your work would for meREADING
07.09.2021 TIME 1 ′of how exhibition making can EXHIBITIONS
be an example be used
curatorially. In other words, you have challenged the status quo within your area, which is exhibition
making. This makes me think of artists who
03.08.2021 READING TIME 4 ′and partly transcended their medium
have explored and
EXHIBITIONS
yet remain committed to that very medium, such as Leya Mira Brander and classical printing, Viktor
Rosdahl and figurative painting, and Hito Steyerl
15.07.2021 READINGand
TIME ′ essay.
the 1video EXHIBITIONS
JH: I feel there is more and more of an anything-goes attitude in the art world. Art and curating have
become so popular that they have suffered a tremendous decline in quality. That is also partly
because
SHEILA there
HICKSare fewer and fewer standards by which to evaluate the quality of the work that is being
done. The moment curating got disconnected from exhibition making, at least partially, it was a free-
for-all. I would go FRANCHINI
as far as to sayBIRGIT
that the sorts of speculations that you are doing with curating are
Sheila
ATTILIA Hicks
FATTORI “Cosmic Vibrations” at The Galerie
JÜRGENSSEN ... nächst St. Stephan
partly to blame for that, and also part of the reason why I am hesitant to call myself a curator any
Rosemarie
more. Schwarzwälder, Vienna
“Lonely Are All Bridges. Birgit Jürgenssen and Cinzia Ruggeri” at Galerie
CHUS MARTÍNEZ DANIELA ZYMAN ...
Hubert
ML:
Winter, Vienna
I prefer to avoid the individual,
“Territorial
by Agency:
Attilia Fattori Oceansthe in curator, and talk in terms
Transformation” andof “The
“the curatorial” as a
Soul Expanding
methodology thatFranchini
can be employed in many different capacities such as those of traditional curators,
Ocean
educators,
#1: Taloi Havini”
editors, et cetera.
at TBA21–Academy’s Ocean Space, Venice
Book Reviews by Monica Bonvicini
by Vashti Ali
JH: Please explain what exactly you mean by “the curatorial.”
ML: I mean a practice that goes beyond curating, which I see as the technical modality of making art
21.07.2021
go public in various ways. “Curating” is “business READINGasTIMEusual”22 ′in terms of putting together
CONVERSATIONS
an
exhibition, organizing a commission, programming a screening series, et cetera. “The curatorial”
05.07.2021
goes further, implying a methodology thatREADING takes art TIME ′
as its 5starting point but then situates it in BOOKS
relation to specific contexts, times, and questions in order to challenge the status quo. And it does so
from various positions, such as that of a curator, an editor, an educator, a communications person,
and so on. This means that the curatorial can be employed, or performed, by people in a number of
DAVID BLANDY
different capacitiesLARRYwithinACHIAMPONG
the ecosystem of ... art. For me there is a qualitative difference between
curating and the curatorial. The latter, like Chantal Mouffe’s notion of the political in relation to
TBRUCEi SNAUMAN di LCARLOSABASUALDO hi “ d D id Bl d
https://www.moussemagazine.it/magazine/jens-hoffmann-maria-lind-2011/ ” 7/11
Twin Studies: Larry Achiampong and David
BRUCE NAUMAN
politics, carries a CARLOSfor
potential BASUALDO Blandy
change. The... “anyone
can claim to be a curator” situation is definitely a
problem.
by RobertFor me, one of the major challenges of curating today is the curating programs, specially
Barry
“Bruce Nauman:
the ones with Contrapposto
tuition. However, Studies”
I see it slightly at Punta
differently della
than you. Dogana,
Curating Venice
as a career path affects
both the activity
by Giovanna of exhibition making in the narrower sense, and curating at large. I have seen too
Manzotti
Mousse 76: Out Now
many first exhibitions after which students and other beginners feel that they have become curators.
etaThis
Version Beta Version Beta Version
is part of the “license” problem Beta Version
– that curating programsBeta
giveVersion Beta Version
degrees, certificates, Beta to
that claim Versi
show that people have actually become curators when they are merely beginning to acquire their own
methodologies. Curating is an applied activity that cannot exist without substantial hands-on
experience. This always becomes evident when writers and philosophers start to curate. They are
rarely successful.
06.07.2021

READING TIME 1 ′ ESSAYS

PAMELA BREDA

ALAN MICHAEL
Alan Michael
GAËLLE CHOISNE “Wonder Workers” at HIGH ART, Paris
LUDOVIC DELALANDE
Regenerated Elsewhere and Otherwise: Gaëlle Choisne

07.09.2021
by Ludovic Delalande
READING TIME 1 ′ EXHIBITIONS
05.07.2021 READING TIME 6 ′ MOUSSE 76
SHEILA HICKS
Sheila
ATTILIAHicks
FATTORI“Cosmic
ZYMAN

“Territorial
Book Reviews by Monica Bonvicini
by Vashti
Kunstkammer
08.09.2021
Ali
of Ferrante Imperato at the Palazzo Gravina,
READING Naples
TIME 3 ′ EXHIBITIONS
JH: Curatorial
21.07.2021 education is indeed a difficult topic. We
READING TIME ′ the very start of trying toCONVERSATIONS
are22at establish the
field, and it will probably take many more decades until we find ways of teaching curating that are
truly satisfying to us and to the students. To
05.07.2021 READING TIME 5 ′ a mystery why someone would decide
me it remains to
BOOKS
do a two-year course in curating rather than study literature, philosophy, or art history.
ML: You can contain neither things nor people. They will inevitably take their own routes and
perform various mutations.
DAVID BLANDY It is like writing:
LARRY ACHIAMPONG ... once a rare activity in the hands of a few, and now used
in ever-developing ways. Which does not mean that the art of writing novels is obsolete, or that new
TBRUCE
d if SNAUMAN
i di
f LCARLOS
f iA hi
i BASUALDO b i
https://www.moussemagazine.it/magazine/jens-hoffmann-maria-lind-2011/ dd D
I id Bl dI ll lf i I 8/11
Twin
and
BRUCE Studies:
fantastic formsLarry
NAUMAN of Achiampong
writing
CARLOS ... and David
cannot be invented.
BASUALDO In someBlandy
sense I can call myself a writer. I want to
callRobert
by for specificity
Barry and precision. I do not want to let things slip away. People get away too easily with
sloppy work.
Mousse
ROSIE
JH: I could76:
not Out
COOPER NowBARBER
SOPHIE
agree more with your last statement.
Charisma
Everywhere: Sophie Barber
by Rosie Cooper
Originally published on Mousse 31 (December 2011–January 2012)

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ATTILIAHicks
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di LCARLOSABASUALDO
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e-mail Workers” at HIGH ART, Paris
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TBRUCE
i SNAUMAN
di LCARLOSABASUALDO
hi

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12/09/2021 To Show or Not to Show — Mousse Magazine

Sheila Hicks “Cosmic Vibrations” at The Galerie nächst St. Stephan

Frans Francken, A Collector’s Cabinet, 1625

08.09.2021 READING TIME 3 ′ EXHIBITIONS

We use cookies. To find out more, read our Cookie Policy.

by Jens Hoffmann and Maria Lind

ALEX TURGEON HENRIK OLAI KAARSTEIN ...

“Hopeless Romantics” at FUTURA, Prague

07.09.2021 READING TIME 1 ′ EXHIBITIONS

Frans Francken, A Collector’s Cabinet, 1625

JENS HOFFMANN: Curating, to me, is fundamentally linked to exhibition making. I feel some

08.09.2021 READING TIME 3 ′ EXHIBITIONS

03.08.2021 READING TIME 7 ′ REVIEWS

DAVID BLANDY LARRY ACHIAMPONG ...

DAVID BLANDY LARRY ACHIAMPONG ...

26.08.2021 READING TIME 6 ′ NEWS

27.07.2021 READING TIME 19 ′ CONVERSATIONS

ALEX TURGEON HENRIK OLAI KAARSTEIN ...

“Hopeless Romantics” at FUTURA, Prague

Pamela Breda.”The Quintessence” at FMAV – MATA, Modena

07.09.2021 READING TIME 1 ′ EXHIBITIONS

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ML: Is there a side to your practice that you feel is under-addressed?

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21.07.2021 READING TIME 22 ′ CONVERSATIONS

DAVID BLANDY LARRY ACHIAMPONG ...

26.08.2021 READING TIME 6 ′ NEWS

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06.07.2021 READING TIME 1 ′ ESSAYS

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“Hopeless Romantics” at FUTURA, Prague

ALEX TURGEON HENRIK OLAI KAARSTEIN ...

“Hopeless Romantics” at FUTURA, Prague

Pamela Breda.”The Quintessence” at FMAV – MATA, Modena

Regenerated Elsewhere and Otherwise: Gaëlle Choisne

03.08.2021 READING TIME 4 ′ EXHIBITIONS

15.07.2021 READING TIME 1 ′ EXHIBITIONS

05.07.2021 READING TIME 6 ′ MOUSSE 76

Hubert Winter, Vienna

03.08.2021 READING TIME 7 ′ REVIEWS

ALEX TURGEON HENRIK OLAI KAARSTEIN ...

“Hopeless Romantics” at FUTURA, Prague

Pamela Breda.”The Quintessence” at FMAV – MATA, Modena

Regenerated Elsewhere and Otherwise: Gaëlle Choisne

03.08.2021 READING TIME 4 ′ EXHIBITIONS

15.07.2021 READING TIME 1 ′ EXHIBITIONS

05.07.2021 READING TIME 6 ′ MOUSSE 76

Hubert Winter, Vienna

05.07.2021 READING TIME 5 ′ BOOKS

DAVID BLANDY LARRY ACHIAMPONG ...

The Strangeness of Beauty

06.07.2021 READING TIME 1 ′ ESSAYS

05.07.2021 READING TIME 6 ′ MOUSSE 76

ALEX TURGEON HENRIK OLAI KAARSTEIN ...

“Hopeless Romantics” at FUTURA, Prague

Pamela Breda.”The Quintessence” at FMAV – MATA, Modena

When Looking Is Tantamount to Touching: Leda Bourgogne

15.07.2021 READING TIME 1 ′ EXHIBITIONS

05.07.2021 READING TIME 6 ′ MOUSSE 76

Hubert Winter, Vienna

Perpetual Interference: Rosa Barba

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05.07.2021 READING TIME 5 ′ BOOKS