Abstract
Focusing on the construction of Carolyn Christov-Bakargiev’s curatorial authorship in The Logbook published by dOCUMENTA (13) (2012), this article addresses the politics of publishing personal relationships in the context of current post-Fordist regimes where immaterial and affective labours such as communicating, networking and self-promotion have moved to the core of the capitalist production of value. I discuss how the third volume of dOCUMENTA (13)’s three-part catalogue turns into a curatorial autobiography that not only exhibits Christov-Bakargiev’s authorship by exposing her conviviality, familiarity and friendship with significant others, but also provides an updated version of the 1981 Harald Szeemann monograph Museum der Obsessionen. My aim is to scrutinize the intersection of historically shifting (bio)political implications of affective labour and the gendering of curatorial practice.
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