Concept

I am not a curator. I organize festivals and artistic events, but I consciously used to introduce myself as a performance artist.
Performance art mediates between a concept, the individuality of an artist and a context which they are set in. […] Emotions and instinct play a fundamental role in that discipline. I based my own creative output mainly on the former. It is not a solid foundation, yet an experimental artist takes a risk from the very definition.

Is it possible to create the programme of the performance art festival, basing it on intuition and personal preferences, and being guided merely by emotions? […]

This is a perfect opportunity for an emotional experiment.

There is another reason why I am consciously rejecting the concept. While being the organizer of events and festivals and also working on organisation of artists-in-residence programmes, I had a chance to observe a disturbing phenomenon. The system of distributing grants causes situations in which only authors of good applications — particularly curators — are promoted. The role of the latter has been increasing to the level of cult.[…] Both the concept and the whole curators’ activity are expanding on the areas, up to now reserved for artists themselves.
It causes the over-interpretation of the theme festivals that limit the freedom of creative comment. In extreme cases, the selected artists make works on assigned topic implementing the artistic vision of a curator. I witnessed the attempts of fawning on a curator, which sometimes led to auto-censorship.

My artistic instinct tells me to create an open platform for diverse artists. In order to create such a diversity, I referred only to emotions in selecting artists. On the list, there are artists who I admire, love, envy and who I am afraid of. The artists are going to present only that what is important at the particular stage of their output. […]

Performance exists only while being created and received. It is a property of the momentary community of artists and viewers, in which there is no place for art critic who may have an impact on what we feel. We experience it activating instinct, senses and emotions. The thorough analysis and complete understanding may come only after performance is accomplished, sometimes it takes more time even for the performer.
Giving up the intellectual hypocrisy and the theory made on the use for applications, I would like to put on a directness, an open form and the freedom of artistic expresion, and even a possible failure uncompromisingly appraised by the receivers.

– Tomasz Szrama’s concept of Interakcje 2016 — XVIII International Art Festival In Piotrków Trybunalski, Poland.

 

Hugo Nadeau’s concept of Trop de réalité 2017-2019 — The Lobe’s Curator Residency in Chicoutimi, Canada.

I am not a curator. I organize exhibitions and artistic events, but I consciously used to introduce myself as a performance and visual artist.
Art mediates between a concept, the individuality of an artist and a context which they are set in. Emotions and instinct play a fundamental role in that. I based my own creative output mainly on the former. It is not a solid foundation, yet an experimental artist takes a risk from the very definition.

Is it possible to create the programme of an art center, basing it on intuition and personal preferences, and being guided merely by emotions?

This is a perfect opportunity for an emotional experiment.

There is another reason why I am consciously rejecting the concept. While being the organizer of events and exhibitions and also working on organisation of artists-in-residence programmes, I had a chance to observe a disturbing phenomenon. The system of distributing grants causes situations in which only authors of good applications — particularly curators — are promoted. The role of the latter has been increasing to the level of cult. Both the concept and the whole curators’ activity are expanding on the areas, up to now reserved for artists themselves.
It causes the over-interpretation of the theme that limit the freedom of creative comment. In extreme cases, the selected artists make works on assigned topic implementing the artistic vision of a curator. I witnessed the attempts of fawning on a curator, which sometimes led to auto-censorship.

My artistic instinct tells me to create an open platform for diverse artists. In order to create such a diversity, I referred only to emotions in selecting artists. On the list, there are artists who I admire, love, envy and who I am afraid of. The artists are going to present only that what is important at the particular stage of their output.

Art exists only while being created and received. It is a property of the momentary community of artists and viewers, in which there is no place for art critic who may have an impact on what we feel. We experience it activating instinct, senses and emotions. The thorough analysis and complete understanding may come only after the work is accomplished, sometimes it takes more time even for the artist.
Giving up the intellectual hypocrisy and the theory made on the use for applications, I would like to put on a directness, an open form and the freedom of artistic expresion, and even a possible failure uncompromisingly appraised by the receivers.