Curators as catalysts: redefining art in Indonesia and beyond - Art & Culture

Major art exhibitions are almost unthinkable without curators whose vision essentially shapes the exhibition. Even smaller exhibitions attract more attention when they feature a prestigious curator whose name and reputation represent the quality of the art or artists on display.

The word “curator” comes from the Latin term “curare,” which in the 14th century referred to caregivers of children or mental patients. By the 17th century, this role had evolved as wealthy individuals amassed extensive art collections and needed someone to manage and care for their assets.

In Indonesia, the term “curator” was traditionally associated with commerce, but the art boom of the mid-1990s, along with the rise of commercial galleries, spurred the creation of alternative galleries that prioritize quality over commerce. The importance of a curator to distinguish these efforts became evident.

Today, with the proliferation of art exhibitions, fairs and international biennials, the role of the curator becomes even more attractive. Amid rapid changes in the art world, curators are expected to go beyond their traditional duties, challenging norms and introducing new paradigms.

The late Swiss curator Harald Szeemann, for example, revolutionized the fifth edition of the quinquennial contemporary art exhibition. document In 1972, by including not only paintings and sculptures, but also photography and events or performance art.

Similarly, Jean Hubert Martin, the French curator of the Center Georges Pompidou in Paris, caused a stir with the exhibition he opened in 1989. Les Magiciens de la TerreEmbodying a visionary principle of equality by featuring 50 percent Western and 50 percent non-Western participants.

Also read: Indonesian female artists: transcending harmony