by Per Hüttner
Background and Introduction
In 2003 I was commissioned by Chisenhale Gallery in London to create a project that developed the experimental exhibition practice that I had been engaged in during the preceding years. The outcome was I am a Curator (IAAC), a complex project that offered a different interface for the audience both to interact with artwork and exhibition. The project was a collective effort in every sense of the word and involved a large number of creators. At least 150 individuals contributed in different ways to the project. During the six weeks that it was open to the public, IAAC offered 30 individuals and groups the opportunity to investigate the work of 57 artists and if they so wished to, create a presentation or exhibition at the end of the day. Together we ensured that the project could sustain and develop its core problematics in a dynamic way.
IAAC had a distinct structure, yet lacked a clearly formulated hypothesis. This meant that countless interesting and inspiring issues surfaced while we were working in the gallery. Many issues have only become clear during the following decade of reflection. This text explores central issues that the project provoked at the time and describes how IAAC has played an important role in challenging (and changing) our outlook on artwork and exhibitions.
This text is based on notes and discussions in conjunction with an event that commemorated the ten-years anniversary of IAAC that took place at David Roberts Art Foundation in London on October 29, 2013.
Background and Introduction
In 2003 I was commissioned by Chisenhale Gallery in London to create a project that developed the experimental exhibition practice that I had been engaged in during the preceding years. The outcome was I am a Curator (IAAC), a complex project that offered a different interface for the audience both to interact with artwork and exhibition. The project was a collective effort in every sense of the word and involved a large number of creators. At least 150 individuals contributed in different ways to the project. During the six weeks that it was open to the public, IAAC offered 30 individuals and groups the opportunity to investigate the work of 57 artists and if they so wished to, create a presentation or exhibition at the end of the day. Together we ensured that the project could sustain and develop its core problematics in a dynamic way.
IAAC had a distinct structure, yet lacked a clearly formulated hypothesis. This meant that countless interesting and inspiring issues surfaced while we were working in the gallery. Many issues have only become clear during the following decade of reflection. This text explores central issues that the project provoked at the time and describes how IAAC has played an important role in challenging (and changing) our outlook on artwork and exhibitions.
This text is based on notes and discussions in conjunction with an event that commemorated the ten-years anniversary of IAAC that took place at David Roberts Art Foundation in London on October 29, 2013.
