Critical Texts and Curatorial Performances
Uncurating is not an impetus against curating, nor is it a deliberate non curating, the pretense of an anything goes, but an effort of decurating and recurating via a sonic sensibility: curating not works, spaces and objects, but making accessible an experience of the invisible, the audible and the as yet inaudible; not to conjure up judgment but to invite an inhabiting of the work as world - to hear in its invisibility the aesthetic and political plurality of its possibility.
These ideas are pursued through critical writings and through ‘curatorial performances’ which stage sonic and visual work as temporal events and occurrences rather than as objects:
Works and CDs, texts and scores, instructions and objects are laid out across the floor. Voegelin activates these things through performance, scripted or in improvisation. Walking around she pick them up to read, recite, sing and shout words and works, to play and interpret their textual and artistic materiality and content. She work them as discursive things that stand not in opposition to or in hierarchy with theoretical discursivity, but perform the simultaneity and equivalence of practice and its theorisation. At the same time the gestures of her body: walking, singing, reading, reaching for work, touching and activating objects, become part of the curatorial event. As a performing curator Voegelin does not disappear into the authority of the white gallery walls but make visible the physicality of the act of staging things. In addition the site of the exhibition is dissolved into an event, architecture made liquid, rendered formless into the temporality of its possibilities.
Image: Curatorial performance 'Inaudible Disaster Warning' at Aural Lighthouse, part of the 'PSi 2015: FLUID STATES – Performances of UnKnowing' International Performance Network Event, Santorini Greece.