By Jill Bennett, Saskia Beudel
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Extra resources for Curating Sydney: Imagining the City’s Future
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But at this level it does not integrate art into its organising processes or systems logic. indd 59 10/09/2014 4:26 pm merely to occupy the place of the spectacle; what if its role was to expose and engage with function? In other words, what happens if we invert the conventional orientation of curatorship – the assumption that art itself needs to be curated – and allow the arts to curate? Curating Sydney is based on such a proposition. Playing on the original meaning of the term (to care for) we imagine an expanded brief for the curatorial role – to curate a city; and we consider how artists (the erstwhile curated), writers, designers, curators, and creative thinkers of all kinds perform in this role.
This institutionalisation is itself a symptom of the city of spectacle, in which art is on display – in the purpose-built museum, in the designated public festival or programmed spectacle – but is not itself functional or integrated within the wider operations of a city. The city of spectacle in this sense is generally regarded as a product of the postmodern preoccupation with surface and simulation, contrasting with the modernist commitment to functional design (or, more specifically, with what architect and theorist Stan Allen calls ‘field conditions’).
The city of spectacle in this sense is generally regarded as a product of the postmodern preoccupation with surface and simulation, contrasting with the modernist commitment to functional design (or, more specifically, with what architect and theorist Stan Allen calls ‘field conditions’). The city of spectacle appears to offer endless opportunities for art to appear, to be on view, to be curated into its programs. But at this level it does not integrate art into its organising processes or systems logic.