Traditionally a curator was defined as one who would ‘take care’ of a collection, in the same way that a priest would be the curator who would take care of his flock. The root of the word is the Latin ‘cura’, meaning ‘care’.The word ‘art curator’ has undergone various iterations in its lifetime. In its earliest form, exhibition makers worked tirelessly researching various artefact and object displays for museums and private collections.
In the contemporary moment the patterns of consumption have subverted the concept of curator into a provocative manager of big exhibitions, such as the Biennale giving these big guns a measure of greater autonomy. However, a less egotistical version within a broader specialization still sees the curator as an alchemist; passionate about art and its role as cultural markers in society.The art curator is a connoisseur of objects and images helping create an appropriate environment for the context of art. The curator manages, organizes, facilitates and is the bridge between the collection and the audience. In this sense the curator is able to intervene spatially where attitudes become form.
Edward Said wrote, “Exile is strangely compelling to think about but terrible to experience. It is the unhealable rift forced between a human being and a native place, between the self and its true home: its essential sadness can never be surmounted. …The achievements of exile are permanently undermined by the loss of something left behind”. (2000:173)
This exhibition explores representations of loss, life and death and how they can be placed in the same frame when thinking about migration and displacement. Through my creative practice, and particularly, curation, I addressed questions of trauma, remembering and forgetting. The curation of objects of memory fosters contemplation and engagement in an attempt to represent the intangible nature of absence. My endeavor draws attention to the catastrophic effects of exile and dislocation that continue relentlessly on a global scale.