"When I began researching Documenta 13 in 2008, I started thinking that the word was changing in its definition, and therefore I stopped using it. I started saying I was "drafting" exhibitions and using the German Kunst­austellungsmacher: an art exhibition maker. I felt at the time that the position of the curator was gaining too much importance in the art world, and there was less focus on artists than there should be."
"The curator as we know it today was born in the 1960s as a sort of compagno di strada [fellow traveler] working alongside artists, trying to support their vision of what was very important in art: Conceptual art, post-Minimalism, Land art, Arte Povera, and so on. Then it slowly professionalized and curatorial schools were opened. And that's when the problems start, because you now have an emphasis on the form of curating, rather than understanding that it is in the service of art and changes continuously alongside art,"
Curating is reframed as 'drafting' exhibitions and as Kunstaustellungsmacher (art exhibition maker), reflecting a shift away from the traditional label. Research for Documenta 13 in 2008 prompted this terminological change. The curator role originated in the 1960s as a fellow traveler supporting Conceptual art, post-Minimalism, Land art, and Arte Povera. Subsequent professionalization and the emergence of curatorial schools produced emphasis on curatorial form rather than service to artists. Curatorial practice should create exhibitions and projects that co-emerge with artistic processes, maintaining focus on artists rather than elevating curatorial prominence.
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