Text/techne: a curatorial approach to explore an auto biographical poetic collection as an aesthetic experience
Manopoulou, Loucia and Samara, Vicky (2023) Text/techne: a curatorial approach to explore an auto biographical poetic collection as an aesthetic experience. In: Narrating Lives, 26-27 August 2023, University of Malta / Online.
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This is a joint audio-visual presentation by a curator and a poet aiming to deepen the understanding of the ontology of interdisciplinary curation. Specifically, this paper discusses Ariadne (2023) interactive installation which brought together curator Loucia Manopoulou and poet Vicky Samara to communicate an autobiographical manifestation of traumatic experience through text and techne. The intention was for the viewers to consider how the material and immaterial properties of poetry and curatorship could create or affect and change perceptions of each discipline.
Attempts to understand media beyond their materiality in a literal sense have accelerated inquiries into the relations between different media where often another medium takes its form. The interactive installation drew on the notion of materiality as seen in Jeehee Hong essay ‘material/materiality’ (2003), where materiality plays a crucial role in locating the media as a paradigm, which is articulated by its relationship to form and content of a medium. And on materiality of medium as seen in Jean Baudrillard’s characterization of a medium as a system administered by the code that is interwoven with a technical apparatus (sound and image) as well as the corporeal one (gestures, narration) (Baudrillard, in Wardrip Fruin, 2003:284). Baudrillard states that ‘reciprocity comes into being through the destruction of mediums per se.’ (ibid). Comprised of the ‘immaterial’ code, yet still to be ‘destroyed,’ poetry here is fully charged with is materiality.
This presentation demonstrates how contemporary curation creates spaces for practices that combine and bridge formerly distinct borders, disciplines, medium, and storytelling.
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