Exhibition “A World Not Ours” at Art Space Pythagorion, Samos, Greece


Curated by Katerina Gregos
August 5 – October 15
Grand opening: August 4


FULLTIME: July 27 – September 30

TERM I:     July 27 - August 30

TERM II:    August 30 -  September 30


Curatorial Fellowship

The curatorial fellowship is an initiative bringing together young professionals. Participants take full advantage of the guesthouse of the Schwarz Foundation on Samos, acquiring professional experience in the inspiring context of a geographical, historical and cultural area of high importance. International fellows meet, interact and upgrade references to a wider community, reshaping their transcultural network.

First of all, they actively participate in the curating and production of the show, under the curator’s guidance. The production of further parallel events, such as opening, lectures, workshops and screenings also fall in their line of work. Some [CX1]  events will be already organized by the foundation; however, there is always room for brainstorming and suggestions that can contribute efficiently.

Fellow curators should actively interact with the curator and the artists and come up with exhibition-related alternative projects. The research and establishment of parallel activities that would contribute to the meaning of the exhibition is encouraged (i.e. screenings, tours, lectures, educational programs etc.). There should also be a creative exchange between the fellow curators and the artists while both groups co-exist on the island. Fellow curators should also be given a careful explanation of the exhibition idea, the curatorial practices followed and artists’ intentions in order to construct an exhibition tour exemplar, subject to approval by the curator. Techniques that would encourage audience-engagement and interactive practices are strongly recommended. Undoubtedly, the press office’s support will be indispensable. A lot of effort should be put in developing a confident engagement with the local community, conduct in situ research and critically engage with the art space and its context. Hence, motivation, resources and support should be boldly offered.

A sincere and potent communication between the fellow curators and their supervisor is expected. In this sense, an early contact that could also include a clear draft of the project’s main goals and an outline of the exhibition is highly advised. It can work as a confident introduction that will trigger a professional approach and draw any possible inertia away.

Their duties, furthermore, include the everyday operation and function of the venue. They will also be responsible for updating the art space’s social media

profile as well as producing formal printed material related to their experience and activities. Extensive guest support duties including answering enquiries promptly on the phone and in person are taken for granted.

In previous years, fellow curators would also organize and run a series of educational programs, involving local young audiences and focusing on pointing out the basic concepts that run through each respective show. Young participants would be introduced to these basic ideas through experiential activities. Children were encouraged to actively participate in group activities/workshops and taking initiatives. Eventually, fellows would produce workshop reports documenting the progress. In an attempt of evaluating this, it would be really efficient to create a smaller exhibition guide especially designed for children. A simple tour exemplar tailored to the needs of children can be truly efficient too. This year’s exhibition touches upon a very delicate issue, so the way of introducing it to the children should be treated with special attention. I am confident that there will be a rigid schedule that in collaboration with the press office, the local community can get familiar with. It would also be really interesting to create an activity serving as an observational case study. For instance, an exhibition film that produces a distinctive sentiment could be projected to different groups of participants. Each group should have a variable altered (i.e sound, mise-en-scène or even lighting) when watching. A hypothesis should be formed and data should be collected according to the different public’s reaction. An inductive reasoning can be formed as a conclusion over an exhibition-related topic and then be formally presented. Nevertheless, similar practices raise numerous ethical questions and require incredible organization. The whole project could be captured by any means and a really insightful piece of film could be created.

Talking about film, another event that met great correspondence by the local audience, last year, was a series of open-air film screenings. There is an extremely interesting transnational and diasporic filmography. By all means, an open-air film screening always feels celebratory; in fact it always is!

Conclusively, what could feel even more celebratory is a documentation of the fellows’ experience in the island of Samos. It could be cumulatively portrayed through a new curatorial project: an exhibition publication, entirely designed and produced by the fellows themselves. In the past, the fellowship program has run parallel to the exhibitions organized merely in supporting and networking terms. This year, there is a confident conviction that the show itself, along with an inspiring schedule will act in an inductive way for the team. It will succor the team to strive and seek and I am sure it will be to render, as promised, a cultural service of great merit not only from the amount of professional work it will require, but also because it will act complementary to this year’s sharp and scathing issue.