Page 121 - Language is an Intangible Bridge

What curatorship means as an embodied practice and interdisciplinary way: as a conceptual entry, the container of what we do = curating as hosting in this moment.
I like to think of curating more in terms of organizing, maybe because I don’t have much of a relationship to “curating” as a profession, being from dance. I feel most authentic when I hold an inside position: if I can vulgarize for a moment the curator as the gaze and the artists as those being gazed at.
This is perhaps because I identify first and foremost as a dancer, my history is linked to the joys and problematics of this position in contemporary Western European performance: I feel a deep curiosity about the dichotomy of the “on stage” such that an outside is created, i.e. the choreographer, the director, the audience. An embodied relation to curation is to me to
blur the ontology of the inside/outside positions and to remain embodied everywhere, or at least to acknowledge the structures of the Western european theater gaze as a kind of disembodiment of the audience, etc. which is neither good nor bad, but we just need to come to terms with this, know what we are asking of each other when in this structure and what are the multiple structures of separation that allow us to witness one another in different ways.