Giuliana Vidarte

Giuliana Vidarte, Independent Curator, Charla Parásita, Lima, Peru

Giuliana Vidarte, Independent Curator, Charla Parásita, Lima, Peru

The CIMAM Annual Conference, held in Doha this November, was a great opportunity to think around topics related to the Mu­seums and the curatorial practice –such as What is public inter­est today?, or How an exhibition can engage and exchange with the public?– and also to address them in a more clear, deep and informed manner.

Some of these questions have accompanied me during all my professional development, as a cura­tor and as an art teacher, so I have had the oppor­tunity to discuss issues that will undoubtedly enrich my future practice.

The conferences of Hito Steyerl and Luiz Augusto Teixeira de Freitas, for example, were particularly inspiring and expanded the ways in which I under­stand the value of art as a commodity, the relation­ship between the collectors and the art market and the role of the museum, as an entity of validation and as a space to build discourses and share them with the public.

I’m looking forward to translate these questions to the classroom and that they become a fruitful source for future curatorial projects.

Within the program of the conference, the visit to Mathaf was also very enriching and made me recognize in the permanent collection a series of lines in common with the production of Latin American and Peruvian art, particularly from the nineteenth and twentieth centuries.

The contemporary art produced in the Middle East is almost completely unknown in my country, and when I found so many possibilities of dialogue I became aware of how important it is to start building bridges between seemingly unrelated and far contexts. It is a pending task now also con­sider ways of thinking new structures or contribute in building institutions that activate the exchange between these regions. Finally, it was very valuable seeing the exhibition Afterwards of Shirin Neshat and then witness the conversation between her and the curator, Abdellah Karroum. There, a space was activated to think about the representational ca­pacity of art through different media, also how to address conflicts through art, gender issues in the Middle East, and all after the great experience of work shared by Neshat.

For this, I am very grateful to the Getty Foundation for giving me the opportunity to participate in the conference and enrich my work with an inspiring experience, from various points of view, that will continue nourishing my work for projects and future initiatives.

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