Kaegan Sparks; Revolution in Electricity; Regularities of Eye Movement
KG: Your work as a curator seems to happen in and around interdisciplinary nexii. Maybe I see it that way because of my sense that in the contemporary moment we’re seeing increasingly blurred genre boundaries. I wanted to talk to you mainly to get a sense of whether or not you think of your work as inter-generic curating. You’ve curated talks, films, live drawing performances, sometimes all in the same event; you curated for a couple of years for the Segue Poetry Series; within your art curation there have been books, art with language and writing as a major feature …
KS: Over the past few years I’ve produced exhibitions and events under a wide spectrum of parameters — from simple one-artist exhibitions (or two-poet readings) to collaborative models that I formulate and solicit participation for, to freelance curating where the work is preselected and I’m expected to synthesize, manage, and optimize the presentation. Each particular matrix of strictures and priorities has been productive and hugely rewarding for me, in terms of flexing my muscles as a facilitator of discourse in different contexts. So beyond focusing on formal variety among the cultural material I work with, I’m more interested in talking about the inter-structural status of my organizing itself — especially per curated events in a museum context, which for me have a bearing somewhere between poetry reading and exhibition.
An interview with curator Kaegan Sparks
KG: Your work as a curator seems to happen in and around interdisciplinary nexii. Maybe I see it that way because of my sense that in the contemporary moment we’re seeing increasingly blurred genre boundaries. I wanted to talk to you mainly to get a sense of whether or not you think of your work as inter-generic curating. You’ve curated talks, films, live drawing performances, sometimes all in the same event; you curated for a couple of years for the Segue Poetry Series; within your art curation there have been books, art with language and writing as a major feature …
KS: Over the past few years I’ve produced exhibitions and events under a wide spectrum of parameters — from simple one-artist exhibitions (or two-poet readings) to collaborative models that I formulate and solicit participation for, to freelance curating where the work is preselected and I’m expected to synthesize, manage, and optimize the presentation. Each particular matrix of strictures and priorities has been productive and hugely rewarding for me, in terms of flexing my muscles as a facilitator of discourse in different contexts. So beyond focusing on formal variety among the cultural material I work with, I’m more interested in talking about the inter-structural status of my organizing itself — especially per curated events in a museum context, which for me have a bearing somewhere between poetry reading and exhibition.