CC#1, WALL TO WALL by Egill Sæbjörnsson, 2009

CC#1, WALL TO WALL by Egill Sæbjörnsson, 2009

CC#2, Dan Rees, Keep Your Art Soft and Sweet, You Might Have To Eat It, 2005

CC#2, overview with Maurizio Nannuci and Rosella Biscotti

CC#2, Bas Jan Ader, I'm To Sad To Tell You, 1971

CC#2, Nedko Solakov, Yellow Blob Story, 2008

CC#2, Mario Airo, Le Voci del Mondo, 2003

CC#2, James Lee Byars, Untitled (Secret Event), last half of the 80's

CC#3, exhibition view (from L to R): Erno Rubik, Tamara Dees, Erica Boom

CC#3, AE, Ramon Hulspas & Erik Vermeulen, The World Filled with Stuff, ongoing project since 2005

CC#4, overview

CC#4, overview

CC#4, Romeo Gongere, Pardon, 2007-2008

CC#4, Makode Linde, Untitled, 2009

CC#5, Nate Harrison, The (quick) Time Machine, 2003

CC#5, Katarina Zdjelar, The Perfect Sound, 2009

CC#5, GentClapping Group, 2009

2008 - 2010


Series of exhibitions

Initiated by: Maarten Vanden Eynde and Maaike Gouwenberg

Involved curators: Karolin Tampere (NO), Lorenzo Bruni (IT), Remco de Blaaij (NL) and Kamila Wielebska (PL), Adnan Yildiz (TR), Jens Maier-Rothe (DE)

Location: HISK, Ghent, Belgium

Supported by: De Vlaamse Gemeenschap, BE

Dowload: CURATOR CURATOR (pdf)



As a typical Enough Room for Space project CURATOR CURATOR emerged out of a marriage between an open space or question, and a personal specific interest or focus on a problematic contemporary issue. In this case artistic director Hans Martens of the Higher Institute for Fine Arts (HISK) in Ghent gave carte blanche for a project to take place in the exhibition space of the HISK.

Our proposal, CURATOR CURATOR, provided an opportunity for emerging curators to develop a project within and with the only post-graduate visual arts institute in Belgium, in order to investigate the current curatorial preoccupation. It seems that more than ever the role and relevance of a curator is being questioned and challenged. Is there still a difference between a curator and an artist? If so, what is it? Can one person do both? What are the borders and limits of curating, and what is the relation between curating and creating?

We gave international curators the chance to experiment and develop a project, which might have been difficult to realise within the context of a regular exhibition venue. The only guidelines at the start of each project were the basic principals of the HISK: to experiment and find possibilities to develop oneself.