The curatorial practice has expanded and moved forward in many directions since the beginning of art display. Its developments have varied according to the audience, cultural discourse and political agenda. In the past 30 years, movements of decentralising art history and the curatorial have sparked different ways of seeing, one of them being through the lens of the colonised. As well as reframing local art knowledge, to decolonise current art knowledge is also a part of the growing discipline.
By looking at exhibition history through institutions such as museums, this paper aims to pinpoint the period of which the curatorial became a practice where its influence went beyond a private collection of master artwork and into the development of the social fabric. Through examples of curatorial decisions of public museums and exhibitions at its conception, the paper critically examines how both native and non-native objects and artworks are arranged within the context of the museums. The discussion is divided into sections of categorisation and separation, to concentrate on the common fundamentals found in curating and coloniality in Europe during the period of 17th to the 19th century. By exposing similarities in their conduct, it allowed for another argument to be made regarding the history of curation and thus the framing of “Art” during the modernisation of Thailand.

Authors:
Adulaya Hoontrakul, Tokyo University of the Arts, Japan

About the Presenter(s)
Adulaya Kim Hoontrakul is currently a PhD student at GEIDAI Tokyo, she is also the Director of the Bangkok Art and Culture Centre and an arts advisor to SEAMEO-SPAFA. Her current research is on decolonisation dialogues and politics of craft.

Connect on Linkedin
https://www.linkedin.com/in/adulaya-kim-hoontrakul-1200ba263/

Additional website of interest
https://soas.academia.edu/AdulayaHoontrakul

See this presentation on the full schedule – Sunday Schedule

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