Fair Games—Curating New Music

Abstract

The authors of “Defragmentation: Curating Contemporary Music,” a special issue of the Darmstädter Beiträge zur Neuen Musik published in 2019, considered all aspects of any given artistic event as fair game for curation. They suggested that not only could the choice of pieces, soloists, conductors, and ensembles be (re)tooled (including even site-specific aspects), but the roles of the musicians and audience and even value regimes could be instrumentalized to accord with the artistic demands of the curator. In her introduction to the special issue, Dorothee Richter argued that curation should be a “practice that is deeply involved in the politics of display, politics of site, politics of transfer and translation, and regimes of visibility.” If we understand politics with Jacques Rancière as “giving form to the social,” then Richter suggests that every thinkable manner in which people relate can, and should, be weighed when programming a concert. Curators need to reflect and act upon the way relationships in our world are displayed, the interplay involved on site, the participation or lack thereof of an audience, the participants’ ability to understand, enjoy, and be entertained, and even the audience’s and presenter’s perceived positions in society and how they play out in concert. Writing as a performer-researcher, a cultural-sociologist, and a musicologist, and drawing on previous research in the visual arts, we discuss the impact of the curator within the European new music world. We question the curator’s central role and probe shifts in power relations between festival directors, receptive venues, and performing ensembles. In our view, the rise of the curator in the new music world leads us in at least two distinct directions. First, as in the visual arts world, the individual curator may assume the role of the new protagonist, displacing the performing artists from their throne. When this occurs, curating takes place in a game of mutual competition, distinction, and exploitation, in which illustration of an abstract idea or concept prevails over musical experience. Alternatively, curating may become a collective affair and responsibility along the lines of commoning principles, in which curating returns to its etymological roots as a form of caring for each other and for both the tradition and the future of music.