UDC 37.014.623:005:316.733(045)
Tetiana Kryvosheia
Ukrainian National Tchaikovsky Academy of Music, Kyiv.
ORCID ID 0000-0001-7287-4274
Hanna Hadetska
Ukrainian National Tchaikovsky Academy of Music, Kyiv.
ORCID ID 0000-0002-4089-3654
DOI: https://doi.org/10.37627/2311-9489-28-2025-2.169-177
Keywords: curator, project, representative practices, alterity, cultural management, performativity, visualization, eventfulness.
Abstract.
The article proposes an understanding of the paradigm shift in the perception of art, which occurred as a result of the curatorial turn and was marked by the emergence of a new type of representativeness – an artistic project, which suggests the emergence of new structures, “new sociality”, the purpose of which is to create an active field of interaction between different participants. Through the concepts of P. Bourdieu, B. Groys, S. Hall, M. Foucault and N. Bourriaud, the processes that are prompted by the introduction of curatorial project activity in the artistic, in particular, musical, plane are understood: the expression of “otherness” as one of the key values of cultural diversity, in which alterity fixes the variable unlimitedness of modern practices of art representation; the leveling of the artist-organizer disposition, characteristic of modern culture, and instead the emergence of horizontal non-hierarchical types of relationships; the attraction to non-finite results in the representation of the artistic act, which involves the erosion of the conventional functionality of traditional professions in favor of the creation of unique teams in which professionals and amateurs interact on an equal footing, as a result of which the concept of the “prosumer” is actualized – a person who is both a consumer and a creator; the demand for the figure of the curator, who simultaneously produces an artistic product and aesthetic tastes; the emergence of new social connections, in which a “new sociality” is born in the field of representation of an artistic object.
Authors’ biography.
Tetiana Kryvosheia, DSc in Cultural Studies, professor, Ukrainian National Tchaikovsky Academy of Music,
Kyiv.
Hanna Hadetska, Ph.D. in Art History, associate professor, Ukrainian National Tchaikovsky Academy of Music, Kyiv.
References:
Ai Veivei u Kharkovi: “Nemaie takoho poniattia yak svoboda”: interv’iu Serhiia Zhadana dlia proiektu “Kruhova oborona na radio Khartiia” [Ai Weiwei in Kharkiv: “There is no such thing as freedom”: Serhiy Zhadan’s interview for the project “Circular Defense on Charter Radio”]. (2025). Retrieved from https://www.youtube.com/watch?v=B9EDSpnU2Rs (in Ukrainian)
Barrière, A. (2025, May 4). The director as curator: Remembering Pierre Audi (1957–2025). Retrieved from https://aleksibarriere.org/2025/05/04/the-director-as-curator-remembering-pierre-audi-1957-2025/
Bourdieu, P. (1984). Distinction. A social critique of the judgement of taste. Cambridge, Massachusetts: Harvard University Press, 614 p.
Bourdieu, P. (1980). The Production of Belief: Contribution to an Economy of Symbolic Goods. Media, Culture and Society. № 2(3). P. 261–293. DOI: https://doi.org/10.1177/016344378000200305
Bourriaud, N. (2002). Relational aesthetics. Dijon: Les Presses du réel, 125 p.
Facebook. Foto [Photo]. (2025, June 17). Retrieved from https://www.facebook.com/photo/?fbid=1482168762762691&set=a.754227712223470 (in Ukrainian)
Foucault, M. (2002). The Order of Things: An Archaeology of the Human Sciences. London; New York: Routledge Classic, 422 p.
Groys, B. (2008). On the Curatorship. In Art Power. Cambridge, Massachusetts: The MIT Press, pp. 42–51.
Hall, S. (1997). The spectacle of the “other”. In Representation: Cultural representations and signifying practices. London; Thousand Oaks, Calif.: Sage in association with the Open University, pp. 265–290. https://doi.org/10.1007/978-3-658-13213-2_94
Hudimov, P., & Rudenko, S. (2019). Kontseptualizatsiia kuratorskykh metodiv P. Hudimova (profesiino-akademichne interv’iu) [Conceptualization of Pavlo Hudimov’s curatorial methods (professional and academic interview)]. Visnyk Kyivskoho natsionalnoho universytetu kultury i mystetstv. Seriia: Muzeieznavstvo i pamiatkznavstvo. V. 2, № 1. P. 37–49. DOI: https://doi.org/10.31866/2617-7943.2.1.2019.172517 [in Ukrainian]
Rozmova khudozhnyka Aia Veiveia z zhurnalistom, pravozakhysnykom i veteranom Maksymom Butkevytchem: podiia v ramkakh publichnoi prohramy vystavky “Try doskonalo proportsiini sfery ta viiskovyi kamufliazh, pofarboovanyi u bile” [Artist Ai Weiwei’s conversation with journalist, human rights activist and veteran Maksym Butkevich: an event within the public program of the exhibition “Three Perfectly Proportioned Spheres and Military Camouflage Painted in White”]. (2025). Retrieved from https://www.instagram.com/p/DOgqF1xDFBD/ (in Ukrainian)
Siuta, B. (2010). Osnovy paramuzykoznavstva [Basics of paramusicology]. Kyiv: Vydavnychyi dim Dmytra Buraho, 176 p. (in Ukrainian)
Wild Theatre. (No date). Khudnu z ponedilka [I’m losing weight starting Monday] [Theater poster]. Retrieved from https://wild-t.com.ua/afisha/hudny/ (in Ukrainian)
The article was received by the editorial office on 20.10.2025.
The article was accepted for publication after review on 19.11.2025.
The article was published on 31.12.2025.
Section: .