ABSTRACT
This chapter charts my recent personal experiences of working as a curator with the Womens Work textual instructional score publication, edited by Alison Knowles and Annea Lockwood (first issue 1975, second issue 1978). Such works present a curatorial conundrum in their dual existence as rare archival print media, and live performance(s), further problematized by the insight that some of the richest encounters with such works may take place during the process of performance, the negotiation of the score amongst performers. The text is structured through my own repeated encounters with these materials, across their printed and lived forms that lead to my developing ‘the workshop’ as a curatorial format. Whilst such works already invoke a live social material, it is their impact on my own body as a curator that has been most striking: a shift from being one who ‘presents’, to one ‘being present’ that I term the embodied curator, intrinsically present in this more entangled, social, intimate role.
