shift? I will explore these issues while continuing to ask: What kinds of contemporary curatorial thought are in play in each instance?
THE EXPERIENCE MUSEUM
In recent times the status of the museum as a site of permanent collection is gradually shifting to one of the museum as theater for large-scale traveling exhibitions organized by international curators and large-scale installations organized by individual artists. Every exhibition or installation of this kind is made with the intention of designing a new order of historical memories, of proposing new criteria for collecting by reconstructing history. These traveling exhibitions and installations are temporal museums that openly display their temporality.6
Boris Groys’s remarks in his book Art Power highlight the modern transformation of the art museum from that of repository of a collection to site of exhibition, its transmogrification from a place that held history in stasis, presenting it as a stilled panorama, to one in which everything—including the collection rooms—has the status of an event in the process of happening. As he goes on to say, contemporary art may be distinguished from that which prevailed during the modern era precisely in its core commitment to radical temporality: it makes every element in the situation utterly and only temporary.
In the modernist tradition, the art context was regarded as relatively stable—it was the idealized context of the universal museum. Innovation consists in putting a new form, a new thing, into this stable context. In our time context is seen as changing and unstable. So the strategy of contemporary art consists in creating a specific context that can make a certain form or thing look other, new, and interesting—even if this form has already been collected. Traditional art worked on the level of form. Contemporary art works on the level of context, framework, background, or of a new theoretical interpretation.7
This is an acute description of key aspects of the situation—not least because in late modern and contemporary circumstances, and in line with a history I will sketch in the next essay, when it comes to the radical renovation of exhibition forms, curators have mostly followed artists.
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