#curationism

For some time now I have been reading (and experiencing) about a particular contemporary "trend" in art: the one where everything is over-curated; the one where too many theories (and contents) are stuffed in art exhibitions; or where a professional choose to curate elements and perspectives that, sincerely, don't need it (the "Curationism", as David Balzer labelled it). 

It's true, this tendency is in the public eye, but we came to this point as a result of particular conditions of the Art System and of the Contemporary Society. One of the most important circumstances is, certainly, the impact of the web. The internet and the social media changed forever the Art World, specifically, they changed the fruition of the artistic contents. Thanks to the web thousands of people are now able to see these contents (certainly more than the people who go to the museums or to the galleries). Nowadays, through a blog, an editor-in-chief of an art newspaper can act more "artist" than actual artists. Nowadays, through Instagram, a curator can act more "artist" than actual artists. Nowadays, through Facebook, an art critic can act more "artist" than actual artists. There is a digital strategy that works mainly through images; is it possible to rearranges them, creating a self-referential narration that, in some case, appears similar to the traditional artistic mechanisms (or at least, the audience that lives in the digital world perceive it like that).  It's useless to pretend it's not like that or wasting our time declaring that it was better before; the evolution pushes in that direction and the artists must abandon anachronistic roles and claims (while editor-in-chiefs, curators, critics, and theorists must learn to utilize, in a less opportunistic way, these media and these tools).