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Inspired by the work of artists Walid Raad and Ho Rui An, this article reflects on the role performative practices could potentially play in what is termed these days in the field of exhibition making as ‘the curatorial’. Whereas ‘curating’ refers to the professional practice of making exhibitions according to a set of practical skills, the ‘curatorial’ refers, as curator Maria Lind argued, to connections between artworks and other material, the space, the specific time of presentation. This (self-) reflexive turn towards the conditions of exhibiting aim to question institutional logic and curatorial agency. Against this background, curators often refer to the etymological roots of curating – the Latin word ‘curare’ of ‘taking care’ – to underscore a self-critical stance towards the role they play in the process of arranging spaces of display. However, one can often discern a gap between, on the one hand, the curatorial pledge towards the politics of display and, on the other hand, and the result of such an enterprise we see as visitors of an exhibition. As an invitation to reflect more carefully on how the exhibits could be enacted, dramatized or performed this text surveys the work of Waild Raad and Ho Rui An who enacted their own exhibition through performance. By thinking Raad’s and Ho’s performance through the lens of the essay form, this text aspires to provoke a critical reflection on how the ritualization of viewing as it was installed in the nineteenth century continues to dominate our experience of visiting an exhibition.

Injecting the Essayistic into the Curatorial In search of a new ethics of care to the audience in exhibition-making practices