Dorian Batycka is an independent curator and art critic working between Europe, Canada and Dubai. He has contributed to the Art Newspaper, artnet, Hyperallergic and Frieze. His interests include technology, cultural politics and everything scandalous. Recently, he has been selected as a guest judge for the Allegro Prize competition. We sat down together to have a chat about the state of the world, young artists and what it means to be a curator.
Aleksandra Mainka-Pawlowska: When we all started to shake off the numbness caused by the pandemic, the outlook of the world seemed rosy – for a moment it seemed like we could all finally catch a breath. Since then, we’ve seen the outbreak of war in Europe, a global recession now looks highly likely and the ecological crisis has only deepened. So, with all that, how are you feeling Dorian? Is it all doom and gloom for the state of the world?
Dorian Batycka: I hope not! To paraphrase the great Maya Angelou, history is rife with bitter and twisted lies, beset with gloom, the most uncertain of tides, but still we rise.
AMP: Do you think the art world has a moral obligation to take a stand in the face of the issues affecting the world?
DB: Expecting the art world to take a united stand on anything is damn near impossible. Great in theory, but not so well in practice. Just like the world in general, politics is complicated and messy. Artists should stick to doing what they do best: honing their craft. Leave identity politics to debates between Jordan Peterson and Slavoj Zizek. Protest, but don’t make it the be-all and end-all of your art.
AMP: A lot of people see curators as art experts responsible for putting on successful exhibitions. Would you agree that their role today continues to expand and allows them to create new narratives and influence the way people see the world?
DB: Curators should be more like the ‘g’ in lasagna. Silent. Let the art speak for itself, the maestro-era of being an interlocutor for the latest e-flux theory is over. Assemble. Build. Write. Most curators, including m, can write a 2,000 word text, but have forgotten how to screw in a light-bulb.
AMP: We are seeing the art world embrace new technologies in all aspects. First the NFT craze and recently a biennial curated by an artificial intelligence program. Do you think one day the role of a curator could be entirely replaced by algorithms?
DB: One can only hope…
AMP: As a regular at art fairs, you’re up to date with the newest trends. Could you tell us some of your favourite emerging artists you’ve come across recently?
DB: Eva Beresin is someone I recently discovered through Kenny Schachter. Despite being in her 60s, she paints with the vitality of a wild child, it’s also nice to see an older woman get recognition while they’re still breathing. This summer, she has a major solo exhibition of her work at the La Nave Salinas Foundation in Ibiza I’m looking forward to.
AMP: You have recently been selected as a guest judge for the Allegro Prize competition. What kind of art are you going to look for when selecting the winner?
DB: I must confess that I really have no idea what to expect. The last time I was on a jury, things got messy. I also tend to hate art prizes, but that’s another issue entirely. Hopefully something seductive, hilarious and maybe even disturbing.
AMP: Young artists are often likely to have less documented experience – it must be harder to spot a rising star without an extensive list of exhibitions in their resume. How do you recognise a talent in the making?
DB: I tend to have the biggest love for things that I used to hate. A seed gets planted, a vibe shift occurs, and boom my entire world view and mentality changes. Don’t copy the greats, throw them in the trash. Talent should always be second to chaos.
AMP: The art world can be a dark and scary place for a lot of young artists and it’s easy to get discouraged. Is there any advice you could give those who are struggling to make the first step and get started in art?
DB: Do not seek validation from anyone. Curators. Art critics. Not even your own family. Least of all from art prizes. Find your voice, hone your craft, stay away from politics. And try to make money (a lot of it).
