| dc.description.abstract | Curatorial forms are in continuous change and transformation within developing artistic practices closely related to its era's political, economic, and social structure. Curatorial forms and artistic practices have constant communication, and it is not possible to draw a border between them. The forms of artistic productions and curatorial works have had a positive impact on some exhibitions. Some exhibitions have contented with the existing trends and turned them into an exhibition form. Apart from using existing trends, the critical point is how curators deal with art practices and how they express them in an exhibition form. The basic questions about art, such as what art is, what it is for, and what it does come to light by suggesting a non-western approach to the art world, which was western centered for a long time, by documenta fifteen. The discussion of reality and its
representation has always kept its place in art history and has also started to take its place in curatorial practices. The curatorial approach emerges as an attitude that includes concepts such as practice and collectivity rather than being considered as a profession. This study aims to examine the changing models of curatorial forms in the case of habitus and artistic practices as concepts by analyzing major exhibition models and their curatorial forms. The ways curators transform artistic practices as the aesthetic understanding of the age will be discussed through the way they understand the practices of the artists. This research examines the impact of the interaction of artistic practice and changing curatorial forms through exhibition-making by approaching curation as an attitude. As a result, the discussion will lead to the legacy left to the future in curatorial discourses and how to move practices, social systems, collective knowledge production, friendship networks, and sharing economy forward after documenta fifteen. | en_US |
