Following the development of the independent or freelance curator following 1969’s watershed ‘When Attitudes Become Form: Live in Your Head’
and Harald Szeemann's subsequent defiance of then-established career trajectories, the role of the curator in the development of modern art has become ever more important. This is evidenced by — particularly in the United States and the United Kingdom — the growth of curatorial studies and workshops.
The notion of a curatorial platform, extending and reinforcing these studies and attitudes, is relatively new — the group Kuratorisk Aktion
(Curatorial Action) was established in 2005, and while Rhizome
was founded in 1996, it does not define itself explicitly as a curatorial platform. Its activity — ‘the creation, presentation, discussion and preservation of contemporary art’ is nonetheless recognizably curatorial.
There is general agreement about the aims of such platforms — in the Peregrine Arts
manifesto, this organization clearly states that their curatorial platform does not replace ‘traditional ensemble-based or exhibiting institutions, such as orchestras, museums, and theater companies [but] provides a foundation and structure for organizing and amplifying current artistic resources in the pursuit of true innovation and artistic impact.’