1. The Device
Curatorial Scripts is a conceptual device that lets writing operate on the same plane as art. It composes through gestures, atmospheres, and fragments of thought, producing events that occur in language as well as in space. Each script is an exhibition in the form of a sentence – an act that allows artworks to think themselves through text.2. The Ontological Plane
Curatorial Scripts unfolds as a writing practice that treats the text as a spatial organism. It establishes an ontological continuity between the work, the word, and the act of perception. In this field, curating ceases to organize and begins to write – tracing relations that exist before any form of display.
3. The Post-Duchampian Gesture
Curatorial Scripts extends the post-Duchampian gesture of the readymade into the realm of language. Each script functions as a readymade thought – an object of attention rather than explanation. It opens the possibility for art to appear through writing itself, sovereignly and without mediation.
4. The High-Art Continuum
Curatorial Scripts works within the continuum of high art – not as elevation, but as a sustained condition of making. It writes where art thinks, generating its own field of autonomy. Each script operates like a score: a compositional act that joins text, perception, and form in a single movement.
5. The Curatorial as Writing
Curatorial Scripts treats the curatorial as a mode of writing. It replaces coordination with composition, management with poetics. Each script performs a curatorial gesture that unfolds from within the text itself, allowing thought to become exhibition – and exhibition to become thought.Created by Pawel Jankiewicz and Michael Hazell, Curatorial Scripts works between writing and painting – extending the curatorial into a stage of high-art composition and para-institutional thought.
Scripts emerge from site and circumstance – a room, a ruin, a conversation – and move between formats: text, image, sound, object. Through their affect and engagement, they accumulate a mood that quietly resists two related tendencies of the present: the didactic impulse and the reflexive predicament. Rather than explain or comment, they compose atmospheres of thought. And here, the in-distinct becomes their method – a gospel of experience that holds ambiguity without collapse.
Curatorial Scripts operate as a field of inscription – at once liturgy and display – where lexicons, exhibition architectures, and printed matter arise from contact with places and people. Its gestures range from atmospheric interventions in institutional contexts to minimal acts embedded in the city’s texture.
Each script gives thought a material form. These are not books in the market sense, but worlds – books in the sense of Jabès – objects in which writing becomes the work itself. They exist to let thought be a passageway, slipthrough to the Zone, to appear through matter, through page, through insistence.
From the poetics shaped in Distinct Inside, Curatorial Scripts advance written, visual, and spatial articulations that let the art behind the curtain. Beyond the merely cultural landscape.