BY CARLOS KONG
It was a pleasure to welcome back David Elliott, an esteemed writer, curator, and alumni of The Courtauld, as the Research Forum Visiting Curator. A specialist in Soviet and Russian avant-garde art and modern and contemporary Asian Art, David Elliott has held numerous distinguished appointments throughout his career, most recently serving as the Artistic Director of the 4th Moscow International Bienniale of Young Artists, the Chairman of Triangle Arts Network/Gasworks in London, the Chairman of MOMENTUM in Berlin, and as a Visiting Professor of Curatorship at the Chinese University in Hong Kong. In his lecture, ‘Exhibitions as Arguments: Frameworks for Thinking through Contemporary Art’, Elliott expounded on the nature of his curatorial practice throughout four exhibitions between 1998 and the present. Citing Hans Hess’s Pictures as Arguments as an integral framework throughout his ventures of curatorial envisioning, David Elliott suggested that exhibitions themselves subsume a rhetorical function as arguments. Elliott maintained that the notion of the artist as a consciousness-raiser and the multiplying discourses of contemporaneity serve to co-articulate the necessity of reexamining aesthetic standards in contemporary art, which exhibitions visualize in their staging of arguments.
In Exhibitions as Arguments, Elliott led the audience along for an international journey throughout his curatorial projects in Stockholm, Tokyo, Sydney, and Kiev, demonstrating the propositional potential of contemporary exhibitions. Without explicitly positing a singular set of values for aesthetic-ethical curatorship, Elliott’s in-depth descriptions of the curatorial ideas and processes behind his four exhibitions made manifest many fundamental tenets of his aesthetic arguments. I found his reflections on his role as the Artistic Director of the 17th Bienniale of Sydney (2008-2010) to be the most compelling example of curating an exhibition to materialize an argument of contemporary aesthetics. The bienniale, which spanned across seven venues throughout Sydney, thematized the indigenous and colonial histories of Australia to ‘take the present very seriously,’ as David Elliott maintained. Drawing inspiration from the maxim ‘all art is folk art,’ the bienniale’s geographically diverse program included works of contemporary art alongside artworks of folk origin. The seven exhibitions questioned both this long-standing division between ‘contemporary’ and ‘folk,’ as well their moments of exchange, such as in colonialism and artistic primitivism. Alongside striking works of ‘indigenous’ art from Australia and an impressive international repertoire of works by artists such as Paul McCarthy, Cai Guo-Qiang, Hiroshi Sugimoto, Rodney Graham, Louise Bourgeois, Steve McQueen, Jake and Dinos Chapman, and Isaac Julien, Elliott chose to exhibit Jeremy Bentham’s Design for a Panopticon Prison, 1791. Elliott’s explicit reference to Bentham (and Foucault by extension) thus poignantly calls into question both the colonial and penal histories of Australia, as well as the dynamics of power that foreground the production and hegemonic discursivity of art and its history. By critically elucidating these relations of control, Elliott’s exhibit poetically challenged unconscious and conscious points of difference and otherness in contemporary art, arguing for an opening of aesthetics beyond hierarchies of media and master narratives of Eurocentric geopolitics.
Throughout Elliot’s presentation and our virtual visit to his recent international projects, the notion of the exhibition as a form of argumentation became recapitulated as a legion of exciting discursive and aesthetic possibility. Thematizing the exhibition’s function as a mode of transmission between artistic production and broader reception, David Elliot’s presentation conveyed the necessity of examining both the specific and the global in contemporary curation. By formulating exhibitions to function as aesthetic, sociopolitical, and cultural arguments, David Elliott advocated that critical curation draws upon the rich plurality of art and history to reify the potential of confronting and problematizing hegemonic, teleological narratives of value and culture.