by C.J. Stahl
In Roland Barthes' From Work to Text, the author draws distinctions between what he refers to as work and text. While a work may result as the product of creative energies, it is bound to its physicality. The work exists in and of itself, we may consider genre novels in thinking of work. The text transcends the physicality of the surface of the page. The text is traversal in its existence, originating in dialogue prior to any particular work; it is not constrained by authorship. Furthermore, the text finds continuity in the active dialogue of others. While there are other particulars Barthes uses to distinguish between work and text, the traversality of text and its rejection of filiation, speak directly to the inherent nature of text. As an artist, Barthes' thoughts have moved me to consider the relationship of the artist's practice to that of curatorial practice.
What is the function of the curator within the context of Barthes essay? While the traditional role of providing a theoretical framework to a particular exhibition may still stand as an expectation, one may be inclined to accept the notion that curators are artists working within a theoretical media. Likewise, it is becoming common for artists to dabble in curating exhibitions. Is the artist-as-curator different from the curator-as-artist? Some might argue yes, insinuating the artist-as-curator is first a producer of the art/art object, but if we are to conform to Barthes’ notion of text, it is not the object that carries meaning but its context. Is it time to renegotiate the titles of artist and curator? Will the text persist without the curator, or is it time to do away with the title of artist?
You can find a full text version of From Work to Text at:
http://areas.fba.ul.pt/jpeneda/From%20Work%20to%20Text.pdf
In Roland Barthes' From Work to Text, the author draws distinctions between what he refers to as work and text. While a work may result as the product of creative energies, it is bound to its physicality. The work exists in and of itself, we may consider genre novels in thinking of work. The text transcends the physicality of the surface of the page. The text is traversal in its existence, originating in dialogue prior to any particular work; it is not constrained by authorship. Furthermore, the text finds continuity in the active dialogue of others. While there are other particulars Barthes uses to distinguish between work and text, the traversality of text and its rejection of filiation, speak directly to the inherent nature of text. As an artist, Barthes' thoughts have moved me to consider the relationship of the artist's practice to that of curatorial practice.
What is the function of the curator within the context of Barthes essay? While the traditional role of providing a theoretical framework to a particular exhibition may still stand as an expectation, one may be inclined to accept the notion that curators are artists working within a theoretical media. Likewise, it is becoming common for artists to dabble in curating exhibitions. Is the artist-as-curator different from the curator-as-artist? Some might argue yes, insinuating the artist-as-curator is first a producer of the art/art object, but if we are to conform to Barthes’ notion of text, it is not the object that carries meaning but its context. Is it time to renegotiate the titles of artist and curator? Will the text persist without the curator, or is it time to do away with the title of artist?
You can find a full text version of From Work to Text at:
http://areas.fba.ul.pt/jpeneda/From%20Work%20to%20Text.pdf
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