Louky Keijsers

Reflections on a curatorial practice: why do I curate?

“Without art, would we have an idea what the past was like? The past would have been lost and destroyed, all of it. Art is the record of mankind, what man felt about this world.” i
- Betty Parson in an interview in 1984.

Like Betty Parson, I believe in the importance of art. “Art is the practical component of philosophy."ii Both practices don’t seem to be a primary need in order to survive on this planet. But, artists – consciously or not – react on the goings-on in the world. Art gives us information about the past and the present, and postulates about the future.

About ten years ago I began my studies in art history at the University of Amsterdam and briefly attended an art academy in the Netherlands. My career as an artist didn’t last long as I realized that ‘others’ were more talented in creating art. At the same time I recognized the artists’ inability to promote their work. I knew what I had to do: encourage the artists and build their careers. Together with my love for art and its’ relevancy, it is essential to organize screenings, exhibitions, panel discussions and so on. I like to challenge, induce and lure the public with art.

Although, I adore art I think that there is a lot of ‘crap’ around. Art seems not to be objective, but I am convinced that you can distinguish quality and that there is a ‘natural’ consensus to distinct this. When I view work, I like to see it ‘blank’, without any knowledge of the artist and his/her work, to eliminate any prejudices. I look for that first ‘connection’, which tempt my curiosity. Different facets can ‘pull the trigger’, but there is not one manual. Of course, I have my preferences.
During our first meeting for Salad Days, I remember telling to the other curators that I would not select a video piece for this exhibition. Organizing a lot of film/video screenings and exhibitions, it seems that it is my ‘field’. To me, art isn’t limited to a certain medium. It mingles as it crosses disciplines, borders and boundaries. I selected a work by Emily Katrencik: Architecture: Consuming That Which Consumes (2000 – present), in which she examines space and architecture by balancing between social boundaries and structures. The work is an installation piece made out of lollipops (sugar, corn syrup and concrete), a video and a wall text. (okay - again video…)

From the onset on Emily’s work was very appealing to me. It reminds me of the work done in the seventies, where artists still had faith in changing the world. This trust is lost. But, Emily created in her project a utopia. She believes that it might be possible to break the social codes in which we are currently trapped by eating walls (architecture). Emily’s work shows us a chain of power structures, and she inspires us that we might be able to break it. (Although she realizes that her projects might have a chance to fail). She creates a discussion with her audience. My role as curator is to motivate and continue this dialogue.

i. De Coppet, Laura and Jones, Alan “The Art Dealers: The Powers behind the Scene Tell How the Art World Really Works”, 2002 – revised and expanded edition, p. 28 Betty Parson has in an interview about running an art gallery.

ii. During my years as an art historian student, students of different disciplines cynical asked me the importance of art and my studies, and I loved to reply with my words: “art is the practical component of philosophy”.