Luciana Erregue: The Ballad of the Spectator-Curator

Youssef Rakha, The Louvre Abu Dhabi, 2020

They are everywhere now. Satellite museums and universities: Guggehnheim Bilbao, Louvre Abu Dhabi, Disneyland Paris, Disneyland Tokyo, NYU Abu Dhabi, Temple University, Tokyo, Saint Louis University, Madrid. They aspire to assert themselves as leaders in the relatively new global business of improving a country’s image and reputation or otherwise giving it the edge.

I live far away from such big cities, and universities. You could say I am not included amongst the experienced customers these satellites target. I have never visited such destinations. I inhabit a no man’s land in the Canadian prairies and, as an art historian, I work roaming the floors of my local gallery, which shall remain unnamed, for obvious ethical reasons. In my private life I am also your average museum visitor. A Doctor Jeckyll and Mr. Hyde persona split does exist in my digital life, though. I post these images alongside presumably witty captions on my Facebook and Instagram feed. As a dutiful digital citizen, I sporadically write on my blog SpectatorCurator (also my Instagram and Twitter handle). I have branded myself, and I have an edge over the Louvre Abu Djabi or the Guggenheim Bilbao – I exist everywhere and nowhere. We know by now we are virtual brands in open competition with the brands and artists of yore, redefining them, submitting them to our capricious gaze. If the Mona Lisa was an example of the quintessential open text, now the whole museum is the viewer’s canvas. It is both an exciting and an uncomfortable instance of negotiation between the self and former colonial models of appropriation. Because our selfies are an extension of our bodies.

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