ru | En
PHILOSOPHICAL
LITERARY
JOURNAL
ISSN 0869-5377
Author: Shcherbakova Ekaterina

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition

Shcherbakova Ekaterina

Магистр культурологии, куратор галереи La Box в Высшей национальной школе искусств в Бурже (Франция). Адрес: 9 Rue Édouard-Branly, 18006 Bourges, France. E-mail: shcherbakova.k@gmail.com.

Publications

Harald Szeemann, a Pioneer Like Us / Logos. 2015. № 5 (107). P. 33-52
annotation:  The article examines the emergence of curatorial methodology through professional practices of Harald Szeemann. Szeemann is one of the founders of the profession of independent curators as institutionalized, individual, conceptualist, and as authors of their own exhibition projects. This biographical article provides an overview of such fundamental projects as When Attitudes Become Form (1969), Documenta V (1972), Grandfather— A Pioneer Like Us (1974), Celibatory Machines (1975), which made curatorial practice into an artistic gesture. The activite of the curator as the author of an exhibition has much in common with practices of theater production: a curatorial project develops a dramatic composition inside and outside a physical space, utilizing artistic creations as characters and plotlines of narration. The Agency for Intellectual Guest Labor, an organization that consists of just one empoloyee, namely Harald Szeemann, is one example of the institutionalization of oneself and the emergence of the independent curator’s profession in opposition to a museum conservator. Along with that, the metaphorical use of the organizational form of an agency emphasizes the issue of the intellectual and cultural meanings of production. In other words, the rise of the agency confirms its one and only collaborator as the producer of meanings. The “agency” and another fundamental conception of Szeemann, the Museum of Obsessions (a project that was never completed) are tools of the mythologization and institutionalization of their author’s and founder’s figure. The latter affirms Szeemann’s ability to convert anything that is not considered as art into art, and non-artists into artists, as for instance in the exhibition of objects and documents Grandfather—A Pioneer Like Us (Bern, 1974), dedicated to curator’s grandfather, a hairdresser. Power, artistic gesture, self-institutionalization, creative and intellectual practice as production are the general characteristics of an independent curator, brought to the fore in this article using the example of Harald Szeemann’s professional biography.
Keywords:  curating; independent curator; Harald Szeemann; contemporary art; exhibition
All authors

© 1991—2019 Логос. Философско-литературный журнал.
Все права защищены.
Дизайн Юлия Михина, jmikhina@gmail.com,
программирование Антон Чубченко