Abstract
Curatorship could be defined as the pursuit for art sense, and possibly, a practice that is secondary to pedagogy, comprising at least de distribution of conceptual masses in certain spaces. The need, then, arises for specific critics that would take curatorial exhibition or chronicle processes in which “art” is established as the object of a certain perspective.
The installation in itself is now an integral part of the artistic event; one is not as concerned about the piece now but is more concerned about how to show it. Analysing curatorial chronicles from exhibitions such as Wassily Kandinsky (Guggenheim Museum, New York, 2010), Tim Burton (MoMA, New York, 2009-2010), Mr. America (MALBA, Buenos Aires, 2009), collection of Moche erotic sculptures (Museo Larco Herrera, Lima), among others, one can certify the tension between life and death (art is a form of life and at the same time, it addresses other forms of life) supported in different exhibitions and sustained in Museums and curatorial fictions.