Curatoriums are the new programming superpower

As the Biennale of Sydney unveils its new curatorium, we look at shifting exhibition models in a post-pandemic rethink, as international travel is limited and trust among peers elevated.

Curatoriums are not a new idea. Especially within the format of the international biennale, the idea of a sounding board, or brains trust, has long been a useful tool for tapping networks and opening up thinking.

But we are witnessing a further disruption of the curatorial model in the wake of the pandemic and shifting museological trends around agency and diverse voices. It is a next step in flattening the hierarchies steering these big international, big budget, shows.

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Gina Fairley is ArtsHub's National Visual Arts Editor. For a decade she worked as a freelance writer and curator across Southeast Asia and was previously the Regional Contributing Editor for Hong Kong based magazines Asian Art News and World Sculpture News. Prior to writing she worked as an arts manager in America and Australia for 14 years, including the regional gallery, biennale and commercial sectors. She is based in Mittagong, regional NSW. Twitter: @ginafairley Instagram: fairleygina

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