A Conversation With Art Historian, Curator Plus Writer, Stephanie Von Spreter

The Wise Fool


Now going back at you talked about working at some by any os and such so. The fascinates me is what is it. That differentiates a so. You did it as a curator correct. Now i didn't. I was the curator thoughts in the case of documenta levin hundred curatorial assistant but i worked really closely with a curator's which obviously influenced my curatorial work later on. But when i worked for documenta and the biennial i was not a curator. Or in the case of documented eleven as a curatorial assistant whereas at the berlin biennial. I had different roles kind of like moved up the ladder from the third to the fourth to the fifth biennial so i ended up project manager in the fifth one but in all cases my positions where an kit in what was called the autistic office so it was working closely with the curator on the one side with the artists on the other sides. And so one would be also a care in that sense in the curatorial sense in carrying lots about the artists actually Being a mediator. Being a friend as well being in a sense trustworthy person you could share your thoughts with but also somebody who would be higher to make things possible. Basically so tat's several sites to disposition

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