Daniel Baeza, Untitled Series, 2012


  1. Patrick Krawczykowski

    Conceptual Curation, Concept Oriented Curation, Concept of Curation, All this seems antithetical to the Compiled People "series". They are not concept oriented, they start from a minimal rule, not a conceptual one.

    Conceptual rules seem to stem from a basic need to pick the essence, create niceties (in the accurate or acute sense of the word) and plumb the depths of a subject. Minimal rule seems more fitting here, starting at certain algorithm to that is grounded, you are safe then when you know it will work if you change variables, the algorithm still holds. In this way the Compiled People 1, 2, 3… n, n+1 still works because you can always look at something in its own domain.

    Things on a wall need to be looked at.

  2. Robert Moses

    The curatorial intention of this show came slowly as I parted my way though the fashion show of art-personalities to the indexical flyer stacked two-tall on a chair or a table or a shelf of some sort. The basement was hot and confounding. A man in his early fifties stood poised, furrowing his brow through thick frames toward a piece of paper on the wall. "How much is this one?" he said to someone who looked like they knew something. The flyer seemed to perfectly describe the scene: Deliberately ambiguous. A person remarked "Yeah.. some nights Alec designates parties, some nights he just shows."
    "Well which night is tonight?" I asked. They looked around for a moment.
    "Umm, tonight is a show." I wandered on about my "dérive."

    I quote,

    "As the gallery releases the artist from the ideological constraints of curatorial authority, the work mimics and blends in with the utilitarian aesthetics of the white cube as a last ditch effort to (quite literally) adhere to some form of institutional sovereignty."

    This "last ditch effort" is where I hit a wall. I found it absolutely impossible to to consider the "work" unless in direct correspondance to the presence of such "self-aggrandizing" curation, who's presence is somehow denied. The work is faceless, without visible content, intention, or effort. The work could not be less engaging or more ambiguous. With this in mind, the spectacle surrounding these self-aggrandizing curatorial methods pop.

    "…free to wander and plumb the depths of information within each individual work without being urged to rationalize the piece’s meaning through an overbearing curatorial scheme."

    So, since there is a lack of depth, visible intentionality, and concept throughout the breadth of randomly selected work included in this show I have no choice but to attempt to rationalize the work's meaning through an understanding of curatorial intentionality which in this particular case is admittedly removed, ambiguous, and contentless.

    I walked back up the stairs toward the exit in confusion. The fashion show had moved outside onto the sidewalk. I received a number of hard looks up and down from people with territory sitting cold and defensive in conversations in which they were cool and detached from, shifting glances toward competing personas in cluster. "Seeing all these people out here gives me the goosebumps" someone said to someone else. "It totally reminds me of The Factory."

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