Biennials, Curators, and the New World Order

The article by Mariateresa Lattarulo examines the evolving role of curators from their origins in the Roman Empire to contemporary biennials. Curators initially managed the estates of the mentally ill and prodigals, later extended to minors, women, and slaves. In the late 19th century, the role entered the art world as museum guardians. The 1960s saw the rise of the independent curator, epitomized by Harald Szeemann, who transformed curators into branded personalities. The text critiques the entanglement of art with capitalism, citing Boris Groys's view that biennials model a new world order, and Marco Scotini's concept of the "brand Manifesta" as neoliberal propaganda. Robert Smithson's 1972 protest against documenta 5 is referenced, where he argued curators neutralize art. The article questions whether curation heals or infects, drawing on Derrida's pharmakon. It highlights the tension between claimed freedom and actual market-driven constraints.