Delving Into Theory and Practice: School for Curators (02-07.2024)
School for Curators at the Christo and Jeanne-Claude Center in Gabrovo will be remembered as an intensive journey into theory, grounded in key texts on the history of curating, but also as a practical exploration of the profession, tackling real-world cases and difficulties to spark deep discussions. From February to July 2024, the program challenged its 24 participants to question, learn, and create – each element balanced equally between history, theory, and practice – to produce relevant, meaningful, and well-reasoned content for their audiences.
Structured into thematic modules, the lessons acted as anchors, shaping the participants’ understanding of the curatorial profession. The program began with an introduction to contemporary philosophy by the late Rossen Roussev, and a history of exhibitions led by Stanimir Stoyanov – grounding principles in the philosophical and historical roots of curating. From there, Margarita Dorovska contextualized curatorial work within the broader landscape of contemporary art, citing pivotal examples like Documenta 5 and the Venice Biennale. The journey continued through critical theories of language, phenomenology, institutional critique, and poststructuralism, each layer revealing new dimensions of thought to underpin curatorial decisions.
The lectures did not just remain theoretical. They connected directly to practice. Discussions on “curating the past” led by Vessela Nozharova and Svetlana Kuyumdzhieva addressed the challenges of working with archives and institutions. Sessions on “art in public space” and “curator as artist” pushed the boundaries of conventional curatorial roles. Participants grappled with ideas on relational aesthetics, the ethics of curating, and the role of commercial galleries in shaping the art market. The curriculum was both challenging and exciting, pushing participants to dive deep into the complexities of the field with curiosity and determination.
As the program unfolded, three groups were formed to work on specific exhibition projects: Textile, Skate Culture, and Sin.
The Textile group drew inspiration from the historical legacy of the Textile Technicum, which for decades trained specialists for Gabrovo’s textile industry, turning it into a key economic engine for the region. Interweaving archival materials with a contemporary curatorial perspective, the exhibition proposes to combine historical documents, oral histories, and works by international and Bulgarian artists to pose critical questions about the ecological and ethical impact of the textile industry on a global scale.
In contrast, the Skate group focused on mobility, subversion, and the reclamation of urban spaces. This team traced skateboarding’s origins in Bulgaria from the 1980s to the present day, using it as a lens to examine broader cultural and social dynamics. The exhibition concept combined archival materials, interviews with skaters, and collaborations with local artists and designers to map the evolution of skateboarding as both an art form and a lifestyle. Skating became a metaphor for resistance, fluidity, and the negotiation of public space, tying together urban planning, design, and the everlasting charm of countercultural movements.
The Sin group, connecting with the Museum of Humor and Satire, reimagined its historic “Sin” collection from 1973, featuring 46 fresco reproductions from Bulgarian religious sites like Rila and Bachkovo monasteries. Using the original exhibition’s themes – moral guidance, the Church’s fight against witchcraft, and patriotic resistance during the Ottoman period – they reframed these narratives through contemporary art and critical theory. Their project questioned sin’s evolving role: is it rebellion, necessity, or a reflection of human imperfection? By juxtaposing the satirical essence of the frescoes with modern perspectives, the group explored whether today’s transgressions are acts of resistance or performances shaped by societal norms.
Each project took shape thanks to the collaborative efforts of the participants and their dedicated mentors. Svetlana Kuyumdzhieva, Vessela Nozharova, Margarita Dorovska, Stanimir Stoyanov, and Rossen Roussev generously shared their expertise, ensuring that the future curators could refine their concepts and overcome practical challenges with thoughtfulness, creativity, and respect for the art scene. By the time of the final presentations in July, the projects had evolved into comprehensive studies with plans for future realization.
In essence, the School for Curators at the Christo and Jeanne-Claude Center achieved what few programs dare to do. It asked its participants not just to curate objects but ideas, relationships, and conversations. As the projects move from concept to realization, the echoes of those weekly lectures and collaborative moments will undoubtedly resonate. This School was not a beginning nor an end – it was a catalyst for what comes next.