那天看了有線訪問parasite的gina談關於策展,gina很口響的說到當代藝術必要有爭議性,策展要對時代有所抵抗,不能隨波逐流的,但是鏡頭前她被擺佈的動作及肢體語言,尤其和片頭有段howard帶記者遊街市的一比較,就明白的告訴了我們什麼一回事.

忽然想到,最合適入麥顯揚的展覽的,

應該是李慧嫻!

放堆藝術館收藏的肥女人在堆男銅體之間鬥食字gag,既合情合理,又抵死爆笑,

... people who we might have come across functioning as critics in the past have tended to avoid exclusively critical positions and have become involved in curating in order to create a whole new matrix of meta-critical gestures (78) ...
So maybe the question is, "Where is the critical flow? Where are the roots of the context in relation to the discussion around art? Maybe the critical flow now resides within the curatorial text, that is, it resides within the text by the curator. It also resides in the notation, and the signage, and the editing - the whole matrix of curatorial signification. Maybe, it comes out in smaller asides - little gestures, little notes, little addenda, little footnotes. Maybe it comes out in texts where it's essential and necessary now to read between the lines to find moments of autonomous critique. And I think this is a phenomena that we are all familar with, that is, it is important to read between the lines of the multiple role that the curatorial text has to provide which is both informative and interface. It's also often aligned alongside the artist, so it has sightly softer quality than it would have in a critically autonomous environment. (80-81)
-Liam Gillick, "Claiming Contingent Space"

So where is the critical flow? I guess it meant away.

a review of what I am reading at the moment
which sums up curatorship with that dilemma again:
either educate or irritate

個藝圈需要策展人.
一手抓資源,一手抓藝術家.在這情勢下最得益的可能是策展人.
這兩句出自我兩個朋友,使我大惑不解.這種"myth"對我來說或祗能解釋作,
我仍然不算在策展人之列(最清楚當仍是藝術館open dialogue我連被invite也沒有這單嘢)
作策展得益(風光?)者,就是抓資源送到藝術家手給人誤解了(結果不祗比藝評更低收入,實際可能貼錢得更厲害)

the king and the queen, all part of history now.
(above: photo of lau kin wai's photo of King of Kowloon in his latest curated show.)
it seems I was not in Hong Kong the day Tsang passed away,
surprised to see around four or five local newspapers actually put this as their frontpage headline.
Maybe, Tsang is actually the only one, that rather than fitting into decolonization, talk of Hong Kong independence, albeit as his own kingdom.

The Bias of the World: Curating After Szeemann & Hopps
David Levi Strauss

Dear Dr. Szeemann: An anonymous benefactor has promised us an endowment of several hundredweights of dynamite. As soon as we can pick up the gift, we shall drive it to your place in Bern, and we sincerely hope you will be at home [in the Kunsthalle] when we try out the artistic qualities of the powder.

From Hans-Joachim Mueller, Harald Szeemann - Exhibition Maker (Hatje Cantz, 2006) , p.14.