Maylin Pérez is an art curator and advisor. We first connected when she curated pieces from my collection for an exhibition at Jorge Ledezma’s virtual gallery.
That was the first time I encountered a professional curator in the world of NFTs. Honestly, it hadn’t occurred to me that this space was “ready” for professional curators. Shows how much I know!
On her website, Maylin describes herself as…
“Curator, advisor and independent art historian based in the Netherlands. Organizes projects and exhibitions for collectors, art institutions and corporations that support the development of culture through art and design.”
If you have read any of my previous posts, you know that I give a lot of thought to curation, and it’s something I want to learn more about.
So I feel incredibly fortunate that Maylin agreed to this interview.
For the sake of simplicity, I’ve abbreviated her name to MP and ZeroDecaf to ZD.
Enjoy.
ZD: Maylin, thank you so much for agreeing to do this. I know I’m not the only NFT collector who wants to learn about curation. We’re hungry to know more! I wonder if you could start with a simple definition. What does it mean to curate art?
MP: Hello ZD, I really appreciate your invitation to talk about art curation. I may give you a bit of a long answer because the term “curator” has been changing rapidly in the last 20 years. I will try to summarize.
I believe that a curator should not only have a vast knowledge about the history of art but also articulate, through different exhibition formats, the information and interpretation of the oeuvres.
The profession ranges from the selection of works, project development, collection management and its promotion inside/outside of an institutional system, to the expansion of connections derived from a global community of artists, collectors, critics, consultants, cultural managers, activists, among others.
ZD: A few months ago, when you curated pieces from my collection for Jorge Ledezma’s virtual gallery, you said my collection had “coherence”. What does that mean, and why is it important?
MP: The coherence responds in general to a logic of selection of works that responds mainly to the taste and interest of the collector or curator. That focus is organized by different aesthetic elements, intellectual motivations, and the market.
I believe that coherence is important because it contextualizes the collection, defines it, and gives it an organized value. It may sound methodical, but it really is not if it is done with passion and precise knowledge.
ZD: Am I right in thinking that curation goes beyond the individual pieces of art, and that by choosing and grouping them in a particular way, you aim to add an additional layer of meaning or story? If so, please tell us more.
MP: Here we can involve coherence again, but there are several factors that determine it.
For example, your own collection is mainly generative art NFTs, so you already have a theme and a way of collecting there. It is a search and learning process that allows you to create a common thread around the story you mention.
I know of other collectors who collect 20th century Latin American photography made by indigenous-descendent women. Basically, the collection is filtered by different criteria and intentions.
So yes, curation goes beyond the individual pieces of art. It’s about how the collection is organized and presented as a whole.
ZD: For you, as a curator, what’s the difference between curating a virtual collection and a collection in a real-life space? Are there particular challenges when working in the digital realm?
MP: This is a good question! With art you have the luxury of being able to admire it from a computer, while with other things in life you can’t. If you want an ice cream, you have to go to the ice cream shop to buy it. If you want to see art, you don’t have to go to a museum to see it (and this is one of the biggest challenges of the cultural institutions right now). There is also the option of looking at it digitally, even if it is a 15th century painting.
The difference between curating an exhibition in a virtual space and in a real one is in the sensory relationship between the public and the work. Both spaces have their benefits and their limitations, and this is specifically linked to the design of exhibitions per se: lights, dimensions, colors, sound, graph of attraction of values (we can talk about this later :), and so on.
When I curate an exhibition in the metaverse, there are different challenges; one of them is the assembly of the works, taking into account the height of the virtual gallery and the light, which is selected according to the options available.
In the real world, I really like the interaction with the public, seeing the reaction of the audience to the works.
ZD: Do you see a big future for digital art curation? Do you think more and more online collectors and gallery owners will be hiring the services of professional curators? And is this something you’d like to do more of?
MP: I believe in the future of digital art collections, in their expansion and in their impact on society.
A few days ago, I was chatting with an artist about the word “middleman” displaced (supposedly) in the NFTs artwork market. I believe that the future is a hybrid, that gallery owners, curators, collectors, and artists must continue promoting the different ways of collaborating without having to displace anyone.
Everyone has an important role in the art system, and we must shed prejudices and move towards progress. I would love to continue curating exhibitions or advising digital art collections as well, carrying out high impact projects. I embrace the idea of building bridges between the virtual and physical world, using art as a tool for change and prosperity.
ZD: That’s a really great point. I think too many people are trying to create a false division between digital and real life. I think we can live and prosper in both!
With more and more art lovers buying NFT art, which are the most important decisions they should make in order to create a collection with coherence?
MP: I think coherence definitely plays a leading role in our interview! Many curators and art consultants suggest that collectors acquire art out of passion and not just for money.
I think that passion and money are important but not enough either. Decisions when creating an art collection should also be based on the interests and knowledge of the person who starts it.
In the process of collecting, it is important to connect with the work. And watch for when the passion clicks and, if it is an investment, to know the market well to avoid losses.
I don’t like to impose a single collector’s model because the beauty of the exchange is precisely in its diversity and focus. I like my clients to feel safe and above all to enjoy life through art.
ZD: Maylin, thank you so much for your time and your insights. I’ve linked to your website above. But are there other ways people can connect with you?
MP: Yes, people are welcome to email me at info at maylinperez.com.
It’s been a pleasure talking with you, and congratulations on your coherent art collection!