-008 Nakai Falcón
If there is one thing that you can change in a previous project of yours, what would it be?
Image Courtesy of Edward Bauer
Honestly there isn't anything I would change regarding my past projects on a technical or material level, only because I think the character of those shows comes from how we made them in the moment. However, if there was something I could go back and change, it would've been putting more effort towards advocating for one of my artists during the closing process of one of my exhibitions.
Back when we were mapping out the show, I kept in close communication with the artists and gallery to make sure the whole team had our materials ready to go before install. The show went up and I made sure we were all in the loop regarding visits, inquiries, and feedback on the work during its run. However, once the show came down, my artist was experiencing difficulties in reaching the gallerist. Where normally I would be the intermediary between my artists and the gallery, the growing inability for both of us to contact and receive clarity from the gallerist had made the "wrapping up" of the exhibition feel unceremonious and more importantly, left my artist feeling disconnected from the experience. It was a situation where they told me it was out of my hands and they were proud of how the show came out, but as a curator, I felt I let them down.
A crucial driving force behind my practice is making sure that the creatives I work with feel an emphasis on collaboration and accessible support from my end. Not being isolated from the preparatory process and not feeling taken advantage of by the art system. It may sound like common sense but this falls under communication, which I think requires constant refinement and is non-negotiable for those in the curatorial field. The curator's role is not only meant to bridge the artist's vision and the public in a discursive moment, but also create hospitable conditions for the artist to experience reflection and celebration. Particularly as an emergent, it can be complicated to navigate the pitfalls of sharing work with spaces when you can be viewed as a more exploitable resource compared to the creatives that have been in the field slinging their work for several decades. Before taking the steps to bring your project into a potential space, thoroughly make sure the space is vetted for reliability. Then once the project is living, keep on the pulse to make sure that there are firm lines of communication and accountability throughout the entire run.
Examples of Nakai Falcón’s practice and curated exhibition:
Installation view, Ophelia Arc, we’re just so glad you’re home, 2024, 81 Leonard Gallery, New York NY. Image courtesy of Roman Dean.
Installation view, I Feel Everything at a Moment’s Notice, 2023, Ed. Varie, New York NY. Image courtesy of Ed. Varie.
Installation view, Swallowed by the Light, 2023, iidrr, New York NY. Image courtesy of iidrr.
Installation view, Love How Your Windows Glisten, 2025, Below Grand, New York NY. Image courtesy of Below Grand.
Installation view, Carla Perez_s Devourer of Sunsets, 2023, Charmoli Ciarmoli, New York NY. Image courtesy of Edward Bauer.
Nakai Falcón visiting “At-Will Adaptation: The Residency” at Eli Klein Gallery.
About Nakai Falcón:
Nakai Falcón (b. 1997) is a curator based in New York. His practice primarily focuses on collaborations with creatives in POC and queer communities exploring memory, otherness and relations tied across the human condition. Nakai received his BA in Cultural Anthropology from SUNY Purchase and an MA in Design History & Curatorial Studies from Parsons School of Design. He is a former member of Below Grand and currently works with the Whitney Museum of American Art.
www.nakaifalcon.com