Curatorial Processes at the Service of Street Art

Abstract

Establishing a dialogue between curatorial practice and street art might seem impossible. Perhaps reckless synergy for those in the know. Bring together in joint spaces an artistic practice as vibrant and autonomous as street art and the craft of curating. A duo that, without a doubt, generates a whole range of possibilities, morphologies, and questions. If we consider that the figure of the curator is relatively new, attributing to him the care of incapable beings, the care of wild species or the care of the cabinets of curiosities from ancient times. It has also been related to the custody of heritage assets and the organization of exhibition spaces. The curator, also called curator, is a figure of power in the art world. Traditionally located in conceptualism and the contemporary, the presence of the curator has been seen as somewhat distant from the basic processes. More than a methodology, curatorship has been a system of generational legitimation and validation. A small circuit of scholars and enlightened people, in several cases far from an empathetic view of their communities and contexts; making the museum and galleries the beginning and end point of their searches. Over the course of time and the significant changes in artistic practices, this craft has shifted, and new aspects have appeared that allow us to identify starting points in curatorial processes that generate findings to make diversities visible in the cultural field.