This research project proposes a new way to work in and with the gap between artistic and curatorial space: a process I call Resorption. In medicine, resorption refers to the process by which the amount of calcium present in blood is regulated, through its release from – and subsequent re-absorption by – bones. Here, artistic and curatorial production take the place of blood and bones, Resorption offering a means to establish where aspects of each practice become present in the other, where each is dependent on the other, and how practitioners can anticipate, draw from, or fluctuate between spaces of production or mediation. Resorption is an ongoing process, operating in-time and appearing in the sensible realm in the form of glitches, where one plane of experience intrudes unexpectedly on another.

Resorption is explored in two distinct parts: a portfolio of public projects and an extended text. The text reimagines Daniel Buren’s studio/museum dichotomy in the age of The Curatorial, looking for a means to activate the gap between artistic production and curatorial discourse and asking whether The Curatorial is only ever external to an artwork or whether it can be internalised, appearing as a kind of curatorial immanence. This idea is approached across five ‘scenarios:’ feedback loops, transparency, the artist/curator relationship, trajectories, and the artwork/exhibition relationship. The portfolio approaches Resorption through two projects. Firstly, a set of drawings, a sound work and a book of auto-theoretical texts produced for the contemporary art organisation, Collective, in the context of their relocation to a historic observatory site in Edinburgh; and secondly, a curated exhibition of international artists at Chapter Thirteen, Glasgow and CCA Derry-Londonderry that proposes a re-reading of the work of the so-called art forger, Mark Landis.