As an Exhibitions intern, I came into the job relatively fresh. Some fellow interns had previous training in Art History or worked in museums before, but I was a total green horn. Throughout the one month, this inexperience has both challenged me and gave me an edge in creating new concepts. On one hand, there were many tasks in exhibitions I had never even knew of, much less done, like exhibition wall descriptions and exhibition kits. Yet on the other hand, I was able to create a new form of curatorial text using quotes from readings because I was not acquainted with a format.
These behind-the-scene jobs culminated in a larger task of rounding up on the two prep-room projects, “After Ballads” and “Of Place and Paradox”. The odd thing about my stint in these two prep-rooms was the sheer contrast of experience with previous interns. The latter often interacted heavily with artists and events, as seen in their blog posts. Yet, I had met the artist of “After Ballads” (AB), Fyerool Darma, maybe once or twice. I recall meeting him and shaking his hand, yet knowing extensively about his visions for AB, his voice for transcripts and the performances he had put up for previous iterations of the exhibition. It was an uncanny moment. I was instantly reminded of a previous transcript I did, where Fyerool was conversing with the head of the museum, Ahmad Mashadi. Ahmad mentioned to Fyerool that he had become an “anthropological body in circulation”. How ironic it was that in my internship, he had developed further as this image of a body in circulation—me learning for weeks on end about him in his absence.