In recent decades, the curator has become the central agent of the exposure device, the excellent post-Fordist manager of the symbolic economy of biennials and art fairs. As an interface between the institution, the artist, the public and critics, the curator emerges as a cognitive reorganizing the work that transforms into a product capable of circulate in the museum cultural industry.
If the expression traduttore, traditore! points infidelity as an inherent condition to the practice of translation, by formulating curador, curandero! (curator, healer!) we invoke this figure as a place of condensation of different power relations in the art system. In the case of the translator, his figure moves between two or more given symbolic systems and seeks order of truth in the speech. The curator, meanwhile, moves in producing tools to make sense of materiality, to the speeches. If the translator/traitor can be unfaithful to the truth, the curador/curandero may take real as an artistic practice. To analyze the complexity of the relationship between knowledge and power in the curatorial practice develops, we think the contemporary curator as a polycephalous entity concentrating on his person alleged demiurgic powers of the artist and the legitimizing power of art critic.
Several agents of Barcelona artistic context reflect on the critical transformation of the role of the curator and propose other forms of intervention from their own experiences.