Suellen de Sousa Barbosa

6.6 Curating, Art Education and Collective Turn (Paper) – virtual

Suellen de Sousa Barbosa – University of Sao Paolo, Brazil – virtual

Abstract:

Originally associated with museums and the concepts of collection and preservation, the curator’s role was redefined throughout the 20^th century in response to new exhibition practices. Today, art curation extends beyond the selection and articulation of themes, research, artworks, and artists to encompass the construction, deconstruction, and reinterpretation of narratives within exhibitions. Additionally, curators serve as mediators between artists, institutions, and audiences, organizing debates, workshops, and performances. The curatorial field has significantly expanded with the development of curatorial studies, which combines critical analysis with the professionalization of curatorial practice. At the same time, the concept of curation has been incorporated into various creative fields, from book and music editing to digital content management. However, the training of young curators in undergraduate programs still faces methodological challenges, particularly in Brazil, where many professionals are self-taught. This article examines curatorial training processes by analysing curricula, methodologies, and educational practices in undergraduate programs, with a focus on the transition from individual to collective approaches in curatorial practice. The research considers the educational turn in curatorship (O’Neill, 2010), which emphasizes the central role of educational processes, as well as the more recent collective turn, marked by the rise of collaborative curatorial projects with decolonial and process-based approaches. Drawing on authors such as Ana Mae Barbosa (2023) and Ludwik Fleck (2010), this study reflects on the construction of shared knowledge and the need for a more collaborative and critical training model for undergraduate students, integrating social, cultural, and political dimensions into curatorial education.