Seminar VI - Youjin Choi
Curator's Collaborator – Exhibition Designer
Such collective events that occur within the field of art in various forms; programs, projects, exhibitions, and workshops, are recognized as spatial experiences. Called by numerous names, these events each have an entrance and exit. This seminar explored case studies on how artists, curators, designers, and audiences design spaces or spatial experiences. It came down to exploring how people other than the designer interact with and participate in the designed space and introducing or interrupting physical vision and movement. I would like to quote the words of architect and art critic Markus Miessen below with his consideration of spatial experience design as my document for this seminar.
“In other words, how a space can be generated by the way people talk to each other. Of course this requires a spatial design, which also has a physical form, but the aesthetic of the form is not important here. It’s about the performance, the operation. In that sense one can compare it to designing an engine.” (Excerpt from interview with Markus Miessen, “Staging Discourse,” Metropolis M, February 2016)
– Miji Lee (DCW 2022)
By examining case studies of collaboration between international artists and art museums and other exhibition case studies, we could categorize curatorial methods. It was interesting to learn about the production of an exhibition inspired by data stored in “a single hard disk” given to a museum by an artist and the merger of the joint efforts and desires of the exhibition's organizers in the preparation process. The seminar reinforced my initial image of an exhibition by illustrating how projects ranging from those 10 years ago to more recent ones were produced from the perspectives of spatial designers. Using archival records and images, the presenter described collaborative methods that gave glimpses into the hidden sides of the history of Korean art and its development. Even if the communication methods or media used in the past are no longer valid, they must have provided individuals with accumulated experiences that formed the basis of modern museum infrastructure. Just as footnotes and marginal notes guide readers and individuals, the roles of exhibition collaborators provide important reference materials that are permanently available to future creators along with exhibition records.
– Min Ah Lee (DCW 2022)
Curators have multiple roles ranging from artists and administrators to producers and designers. This seminar discussed exhibition design in thinking of design's role in an exhibition. Talks on design vis-à-vis exhibitions emerged in the 2010s and exhibition design has since emerged as a factor suggesting new methods of forming relationships between art and space and audiences and art. In other words, such design calculates and controls an empty space dominated by an artwork to make the audience experience the space. By splitting the volume of available space, the artist is responsible for the area around each work while the curator handles the empty space between the works on the large map called the exhibition. They open a certain gap in one exhibition and at the same time fill in the gap. An exhibition that draws a new landscape according to the content and form of the work has the potential to create any scene. A curator's task could be starting with the examination of spatiality within the unique format of an exhibition.
– Minjoo Lee (DCW 2022)