Thierry Maindrault’s Monthly Thoughts
A photographer friend whom I appreciate as one of the great photojournalists of his generation, and who was exhibiting at the “Rencontres d’Arles” this year, asked me about the subjects covered in my columns. “Thierry, why do not you talk about all these exhibition curators, who are arriving in great numbers, who are literally invading us and now relegating us to the back room…” He is not wrong on many points. Quantitatively, it is true that the proliferation of curators look like a mushroom growth in a rainy and warm autumn day.
In the 2000s, there were a few dozen of us international curators to take charge of a few more or less prestigious photographic exhibitions. It should be noted that at the time a lot of photographers, throughout the world, ensured by themselves a simple hanging of their works in often acceptable conditions. Geographically limited exhibitions and those of photo clubs were content with a presentation grouped by invited photographers or by club members. As curator of a few exhibitions along this period, I had the opportunity to draw attention to the importance of the selection of images to be exhibited and to the scenographic presentation of said images. Which was hardly in the customs of the photographic community at that time.
Since then, photography, in all its forms, has become essential and has settled into the cultural hit parade. This, as photographic skills and photographers, dissolved between chemical baths and photodiodes. We have all noticed the rise of “sponsors”, from 2010, who have imposed themselves on the landscape. Now, we have had an invasion of exhibition curators in photography, for the last three or four years. It is as if this profession generated itself spontaneously from Covid-19.
What is an exhibition curator in photography (and elsewhere)? This is a person who has a good background of numerous and varied artistic knowledge (something other than the People directory of photography). Then, exhibition curators master the specific technicalities for the construction and production of photographic works. Finally, these interfaces between the images offered, and the desired audiences must practice at their true value the psychology (sensitivity included) of potential visitors and the economic management of their event (commitments for objectives, not necessarily in terms of money).
Why collaborate with a curator during the production of an exhibition for a specific creator or for a collective event? This question may seem grotesque to someone for very diverse reasons. It is no use, I can do it all by myself, say many photographers, including very well known ones. It is an addition of time and financial burden that is useless for many organizers (of exhibitions often cobbled together into a town hall or inside a public party room). Furthermore, it is totally useless since we have everything we need, in terms of resources on site, affirm museum curators and other directors of cultural establishments (generally public).
However, real curators who do their job as it should be (I can confirm that this work is exhausting), are particularly useful in the interest of all the protagonists. Firstly, for the public who will do us the honour of coming to visit the original images on site. For the photographer, who will see his artworks magnified, valued and adapted to the event. For the organizers, who will find a single responsible contact who has a very good command of all the numerous and infinite constraints linked to an exhibition venue.
In fact, each curator proceeds, in communion with the authors, to the selection of the artworks. He keeps in mind a true objectivity on the quality and content of each image, without ever losing sight of the implication of the image. This latter must be part of a coherent set of photographs, even if they are heterogeneous. This actor takes into account the expected audiences, because nothing is more painful than hearing at the exit: “… I really did not understand anything at all …” or “… they take me for a nursery kid …”. This worker, depending on the buildings (or of exteriors), selected by the organizer, chooses a scenographer in symbiosis with the photographs to hang on the walls. If he cannot bring a scenographer on his challenge (money or time or lack of passion) for this great adventure, he will have to take scenography alone, with his personal skills.
And, and, in addition to all that, he must absolutely remain fixed on a single, essential, and unique goal: the enhancement of the chosen photographs (that is the real job) so that visitors are imbued with the quintessence of the originals that they will have in front their eyes.
Undoubtedly, our exhibition curators are useful in the realization of exhibitions that present serious and quality creations.
So where does this inflation of exhibition curators come from? How can we explain that on the posters, under the name of the sponsor in large characters, appear, in bold, the names of one or two curators (often the female/male parity is respected). On the line below, in half bold, the name of an assistant curator (to hell with inflation!). This beautiful set of typography is ahead the title of the event and the name of the author, whose artworks are exhibited. Author, who becomes the last wheel of the carriage. For Arles 2024, even for the events of the pseudo “Off” the posters were like that. This is how the partner of the author finds himself propelled to the rank of exhibition curator. The same goes for the children of photographers. Managers and directors of Museums themselves are baptized (at the first opportunity) with this title. Let’s not forget the gallery directors, who arrogate themselves this title by full right (without the duties, of course!).
Should we refuse this new cycle, soon to be hellish? The benefactor who chooses, via his artistic director, his curator of his exhibitions who proposes an author. All that will be left for the photographers designated by “the finger of God”, already undressed on a daily basis, will be to kneel down to oblige. “Thank you, my lords, you are too good”
Come on, ladies and gentlemen, you are welcome in the exhausting space (have you ever measured it?) of the curators to honour photography. But, please, help the targeted promotion of images for a promotion of photographers near agony. Above all, offer yourself the humility of only depositing your signature very discreetly, in a small corner of the event, if the author suggests it to you. You will feel better, if you understand that an exhibition is intended for the artworks and not for your personal promotion and that of your acolytes.
Thierry Maindrault. September 13, 2024
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