Curatorship is important for art exhibitions to have that extra edge. In the third and final article in a small series on curating, RODERICK CAMILLERI answers some questions about his experiences as a curator.

Part 1: Interview with Marika AzzopardiPart 2: Interview with Christian Attard

STOM: Do you feel that the private sector should be incentivised to contribute more towards the organisation of exhibitions? In what ways could the sector help?

RC: I think that in Malta, the contribution from the private sector leaves much to be desired. Businesses and foundations could strengthen approaches to increase arts philanthropy and support. It is known that art and culture play a significant role in the diversification and growth of social well-being and economies. The gains and benefits of contributors such as reputation, engagement and visibility could be promoted by policymakers to encourage private entities to subsidise artistic endeavours.

Furthermore, policymakers can summon non-government players to contribute in order to fill the huge lacuna between government and private funding. Boosting this sector would ensure art/culture’s longevity and productive development.

This can be done by improving our capacity building using a wide range of measures, including establishing specialised agencies to encourage collaborations between artists and business companies, as well as raising public awareness of cultural and artistic investment. Another possible way to stimulate this area is through tax relief.

'Agħti Kbir Alla' at Spazju Kreattiv, curated by Roderick Camilleri.

This strategy proved to be an effective way to stimulate individuals and corporations to finance art/culture events and support in various countries. This can be complemented by particular strategies such as VAT exemptions or reductions on cultural/artistic services or activities/goods.

As mentioned before, this sector is necessary to support our cultural/artistic practices’ longevity and stimulate the creation of various artistic activities and productions. Exhibitions, workshops, artistic collaborations and other myriad undertakings could generate a stronger network within the realm of contemporary artistic production/activity, improving art’s sustainability.

STOM: Themes like sex, religion, controversial political figures, abortion, euthanasia and other grey areas have been deemed to be too sensitive in the past. Do you envisage an event like the Royal Academy’s 1997 Sensation exhibition that transgressed mores especially in the choice of venue to be possible in Malta? For example, video art related to the history of ecclesiastic paedophilia in a venue such as a church or cathedral? An anarchist-leaning exhibition in the hall beneath the parliament building? A hard-line dogmatic communist-themed exhibition at the Chamber of Commerce?

RC: Yes, I believe that artistic production should be given all the space to represent, articulate and/or criticise different current issues without the fear of censorship. I think exhibitions that challenge the status quo, which fuel reflection and critical thinking, are of utmost importance to foster open discourse and a healthy liberal system.

'AMuSE Final Exhibition', MSA, Palazzo de La Salle, Valletta, curated by Roderick Camilleri.

I would love to visit such an intriguing dialectical context within particular established venues hosting and discussing present inherent challenges and social glitches. This might create some controversy but it would be a strong, healthy and creative friction that would certainly renew critical thought.

I also believe that creating events and exhibitions should also consider a spectrum of factors that our contemporary context and social discourse require. The creation of artistic content should not generate events simply to shock or create friction for the sake of controversy.

In a growing, developing society, one ought to keep in mind various factors such as the audiences addressed, the context and the political correctness of the content. Some might consider or deem such a matter as a specific type of censorship, but I think it would not be fair to present it as a kind of a suppressing manoeuvre.

The creation of artistic content should not generate events simply to shock or create friction for the sake of controversy

If we were to take 1997 Sensation as an example, one would argue that what happened over 25 years ago would have definitely had a different reception or outcome in today’s contemporary society, even in a liberal and progressive country or city such as London.

The reason is that nowadays, we consider and perceive certain expressions and articulation of content very differently and might associate certain forms of content as unfitting, especially if such content might affect vulnerable minorities.

Detail of 'Human Matter Exhibition', Roderick Camilleri as co-curator, at Malta Society of Arts.

In a world where our perception of society and its underlying mechanics is ever-changing, a better awareness related to fundamental civil and human rights is changing our conception of how to distribute information and messages. Even words, nomenclatures and concepts are shifting due to the transformation in our world views and perspectives.

For instance, in today’s context, specific works such as those by Marcus Harvey at the Royal Academy’s 1997 Sensation exhibition, which presented the portrait of the child serial killer Myra Hindley, might be seen as less attractive or effective, or even considered utterly pugnacious and controversial than it was conceived way back in the late 1990s. The portrait was created with children’s fingerprints, and it fuelled numerous protests, even by the victims themselves.

I would imagine that in today’s context, such institutions would be more considerate of the victims who might have suffered from certain inflictions and would be more attentive to how such sensitive material is presented without imposing censorship.

Roderick Camilleri directing the 'AMuSE Final Exhibition' event in Malta.

I believe that the success of an artistic event is not simply quantified in terms of visitors’ turnout or the shocking treatment that such works create. Moreover, I am not one who believes in the current naïve ideological romantic idea that creativity is always good or productive.

STOM: Do curators have an ethical or social responsibility? Can they be overtly political in their curation, particularly in an island like ours where one reads too much into things?

RC: Yes, definitely. Curators have a number of ethical and social responsibilities. It is not possible to elicit a universal ethical code of conduct, given that particular curators in specific disciplines may be called on to execute responsibilities that other curators in other fields of practice would find unethical or incongruous. However, one might say that curators are expected to be accurate in their research and analysis, especially in the case of particular institutions and museums.

In particular, contexts linked to specific projects, curators have to refer to codes of ethics that deal specifically with particular practices. They should also ensure that content creation aligns with a liberal value system that respects and protects vulnerable groups/minorities.

In cases of museums/institutional collections, curators should review and check the objects in their collection and assess the collection’s attributions, adhere to the acquisition and disposal policies of their institution and ensure liability and undertake due diligence processes to ensure that the content presented to the public is authentic. They must check and verify attributions and provenances of collections and provide access to sound information.

As regards to political views, I believe a healthy society that fosters freedom of speech and expression should give enough space not just to curators but to all types of creatives to disclose and express their political views.

This is very important, especially to projects related to social and ethical aspects linked to particular practices and events. I think it should not only be made possible but also deemed necessary to maintain a critical and vigorous vision of our society, and contribute to social justice.

Such an approach considers different facets, especially contemporary matters, nurturing a mature context to develop or improve a reflexive, constructive and critical approach. One cannot image having a healthy context for creating contemporary art if such a milieu is restricted or suppressed. 

'Organic Mùses - Accademia Europea delle Essenze', Savigliano, Italy. Curated by Roderick Camilleri

Unfortunately, I believe that some curators are not comfortable enough to express content that is overtly political. This might be due to different contributing factors. This can also be reflected in artistic critique and analysis where no one is really putting forward critical reviews or analysis or artistic production.

However, on a positive note, it is only fair to state that in our present local artistic landscape, there are a number of emerging artistic projects which put forward subtle critical and political views rooted in current themes. In fact, in recent years, I curated a number of exhibitions that present such an approach.