The (Un)spoken Abuse: Curatorial Hospitality through the Lens of Criticality (original) (raw)

The curatorial turn in tourism and hospitality (open access)

International Journal of Contemporary Hospitality Management , 2024

Purpose-This conceptual paper, analyses the growth of curation in tourism and hospitality and the curator role in selecting and framing products and experiences. It considers the growth of expert, algorithmic, social and co-creative curation modes and their effects. Design/methodology/approach-Narrative and integrative reviews of literature on curation and tourism and hospitality are used to develop a typology of curation and identify different curation modes. Findings-Curational techniques are increasingly used to organise experience supply and distribution in mainstream fields, including media, retailing and fashion. In tourism and hospitality, curated tourism, curated hospitality brands and food offerings and place curation by destination marketing organisations are growing. Curation is undertaken by experts, algorithms and social groups and involves many of destination-related actors, producing a trend towards "hybrid curation" of places. Research limitations/implications-Research is needed on different forms of curation, their differential effects and the power roles of different curational modes. Practical implications-Curation is a widespread intermediary function in tourism and hospitality, supporting better consumer choice. New curators influence experience supply and the distribution of consumer attention, shaping markets and co-creative activities. Increased curatorial activity should stimulate aesthetic and stylistic innovation and provide the basis for storytelling and narrative in tourism and hospitality. Originality/value-This is the first study of curational strategies in tourism and hospitality, providing a definition and typology of curation, and linking micro and macro levels of analysis. It suggests the growth of choice-based logic alongside service-dominant logic in tourism and hospitality.

A curator’s work is never done alone: curating as a condition, a method & an embedded form of labor

Curation, as a form of labor, is subject to changes in working conditions and methods like any other profession. Both formal and informal economies of labor have contributed to the constant transformation of curatorial practice, informing the ways in which art is organized in the social field. Changes in curation as a discipline, that is, in forms of labor and professionalization, impact how art is produced and therefore conceptualized and organized. The curator is no longer a passive and detached agent from the artist or the art object, but an active one in the cultural field, and in the production and reception of art.

On Curating: A Series of Acts and Spaces

ONCURATING Issue #08, 2011

Manuscript of a lecture presented at the conference "Institution as medium. Curating as institutional critique? Part 1", Kassel 2011, organised bz Dorothee Richter and Rein Wolfs. The four projects (Videonale 9, Telling Histories, Die blaue Blume, Idealismusstudio) presented in this paper look very different on the first view. But what they all share is that they include a level of exploration adjusted both to my own function and possibilities as a curator – as well as to the contexts and institutions that surrounded them. To stimulate the growth of opportunity for both artists and curators, I think that curatorial work should always include examining, questioning, transcending and outmaneuvering some of the co-ordinates in which projects take place. And I very much believe, that the form of the spaces that we produce – and the acts that we generate through them ourselves – are the first things to question and to work with in order to challenge the economies of projects and institutions.

'Contemporary Curating in a Heritage Context’

‘Contemporary Curating in a Heritage Context’. In: Advancing Engagement. A Handbook for Academic Museums, 3 . Museums Etc, Edinburgh and Boston, pp. 211-241. ISBN 978-1-910144-41-1 [hardback]; 978-1-910144-40-4 [paperback], Brownrigg, Jenny (2014) My chapter ‘Contemporary Curating in a Heritage Context’ appears in publication ‘Advancing Engagement’ in ‘A Handbook for Academic Museums’. It details my approach to curating the public exhibitions programme in the Mackintosh Museum, Mackintosh Building, The Glasgow School of Art, from 2009-2014. The Mackintosh Museum, built in 1909, is at the heart of Charles Rennie Mackintosh’s masterwork, The Glasgow School of Art’s Mackintosh Building. With its high level of architectural detail, influenced by the Arts and Crafts movement, and Mackintosh’s fascination with Japanese architecture and culture, the museum is the antithesis of the white cube model. This chapter explores how contemporary curating can engage with a specific historical context, in terms of people, place and collection. It also examines how contemporary art practice, through the commissioning process, can become the bridge between the historical and the contemporary. How can an exhibition echo the unique attitude of the building to enable past, present and future to exist simultaneously? In what ways can curators work to contextualize heritage with contemporary practice, to provide innovative access points for diverse audiences including tourists seeking the historical and academic audiences seeking the contemporary? To establish the background, the chapter begins by broadly describing the conditions of curating exhibition programmes for UK Higher Education Art and Design Institutions. It then defines the context at The Glasgow School of Art (GSA) and goes on to outline my own curatorial methodologies relating to working within this particular environment.