As an independent curator who has had the opportunity to organize exhibitions in public and private spaces, the question that always arises is if the work I am doing is meaningful for contemporary art and for contemporary society as well, and if it encourages dialogue. In times of change and recession, like the one we are living in now, the role of the curator assumes a particular importance. No longer relegated to the mere display of works of art valued by aesthetic criteria, the role of the curator instead assumes the position of mediator, a bridge, between the artist and the public.
Our mission as curators is to understand how art can improve people’s welfare, and likewise, when conceiving and developing an art exhibition or any other type of art project we should consider seriously how our work contributes to maintaining the position of art and the artist in society without compromising the work’s aesthetic and intellectual message.
In a time of crisis, in which old values seem valued again, the curator has to discover a way to ensure that art is not relegated to a secondary and marginalized role. But, on the contrary, our job is to use this time to shape the art into another form; our responsibility is to use the art as an aid source of development for society. In this context it can act as both communication and protest, as intellectual well-being and an opportunity for education, thereby facilitating the public’s relationship with the work.