Steven Matijcio, Art Curator

Love my work

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"Curating's great. It really is a love for me. It allows me to entertain and to access and to engage with so many of my different interests.

"It's a great opportunity to have this platform where I can bring my ideas to an audience and say, "I think these things are interesting. I hope you do too." It's a great position to be in."

Where I work

I work for Plug In Institute of Contemporary Art, in Winnipeg's Exchange District.

Established in 1972, Plug In was one of the first galleries founded and managed by artists and the first prairie organization to focus exclusively on contemporary art.

We present a variety of art exhibitions, deliver interpretive programs, and host other arts-related events. I'm one of four full-time employees.

Public Interaction

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"We try to be as accessible as possible at Plug In so our offices are right next to the gallery. If people have questions about the exhibition or would like a quick explanation, we're always available in that regard.

"I'm constantly interacting. I think part of curating is being out in the community as much as possible and getting direct feedback from people."

Reading and writing

I develop exhibition ideas from reading, gallery visits and researching. I also do a lot of writing. Catalogue essays, brochures and press releases are the primary ways to communicate with audiences. Oral communication and presentation skills are important in my job.

I give presentations, introduce guest speakers and network with various people in the art world. I've found interpersonal skills and the ability to communicate quickly and concisely incredibly important.

Collaboration

Some artists come in with site-specific works where they know the space and know exactly how they're going to lay it out. In those cases, my role is just to assist them in the production and help them achieve their vision.

In other cases, there are artists coming in who want to collaborate in presenting their work. They want to bounce ideas back and forth and draw on my experience of the space.

I enjoy both methods of working and both present their own sets of challenges and benefits.

Breaking down myths

Contemporary art has often been labelled as elitist and inaccessible. Most people believe you need a degree to understand it in any sort of meaningful way.

As a contemporary art curator I try to break down people's fears about contemporary art by connecting it with current issues and their personal experiences.

We need people to see the work for themselves, otherwise art can die a silent death just confined to the gallery. You need to connect with people and that's both a challenge and opportunity.

Inherited Work Ethic

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"My grandparents came to Canada right after World War II. Both my parents were born in Canada but they came from a working-class European background.

"It was that kind of hard-work mentality that they instilled in my parents. They passed that onto me as well."

Family support

My parents have always been highly supportive of my career pursuits. I think they were a little bit worried at the beginning, fearing that there wasn't any money in the Arts and that I would have to struggle in a number of jobs to make ends meet.

Thankfully they recognized how passionate I was about art and encouraged me to see my interests through. They wanted me to be happy and hoped that earning a living would follow.

It might have been a bit naïve and maybe a bit idealistic on my part, but they have always been behind me.

Developing social skills

Throughout school and growing up I needed time by myself to work through ideas. I often sacrificed leisure time to perfect my projects.

Since I entered the professional environment, I've worked on developing my social skills and I have my friends to thank for that.

When I've been working in the office too long, they say, "You have to get out." I think that's important. A large part of this job is social.

Best of Winnipeg

There's a close-knit art community in Winnipeg, supporting artists, galleries, and museums. The people here are very welcoming and friendly.

Also, the architectural character of the city is unique. Just walking to work every day is something I enjoy a great deal.

The quality of light in Winnipeg is quite special too. People warned me about the winters and the mosquitoes, but the purity of light and the beauty of the sky have been pleasant surprises.

Passionate interest

I don't look at curating as a nine-to-five job. To be in this line of work you have to appreciate the visual arts and have a love for them.

I can be out four or five days a week attending events related to the visual arts at museums and galleries, but I don't see it as work. It's something I would be doing anyway, even if it wasn't part of my job requirement.

It's my hobby and my job and I love when the two can connect.

Planning is helpful

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"It can be stressful. It can be very quickly paced but I think planning is essential so you can keep the stress levels down. If I have things planned out in advance and things are running somewhat to schedule, then you can be flexible and adaptable to the disasters, to the shifts that are inevitably going to take place."

Diverse environments

Along with exhibitions at the gallery we do a number of public art projects. Being outside the gallery is always interesting because you engage a whole different audience.

We had art in bus shelters around Main Street, Broadway and the Exchange. It was enlightening to see peoples' reactions as they looked at art outside a traditional gallery setting.

This summer an artist is driving a semi transport truck trailer across Canada and stopping in Winnipeg to exchange goods and stories with anyone that passes by. So that should be fun.

Physical work

Most of the time, I sit at my computer researching, answering emails and writing.

The fun part about being a curator is when you're installing in the gallery. We have two to three week installation periods, which can be quite physically demanding.

We have installation staff here, but I help with the setup of exhibitions. It can be quite labour intensive but it's also one of the most rewarding parts of the job.

Working in real time

Our installation technician has the technology and skills to change and update our web site. As soon as I need to put up a press release or announce a new event, I can give the information to him and have the web site updated immediately.

We also update the site with every new exhibition so a selection of installation shots can be viewed soon after the exhibition goes up.

Knowing how to use technology is of great benefit when you're working with artists and creating unique exhibition experiences.

Work from home

The Plug In office is a very lively, energetic and somewhat noisy space. When I need quiet time to read, research or write, I'll work from home and keep in touch with the office by phone or email.

It's really helpful to have that flexibility when I need it. I've resisted having a cell phone, but most curators use them to stay connected.

Art’s impact

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"My first entry into art was through the studio, so I had a painting and drawing practice. When I went into university, I had to make a decision between a studio path or art historical direction.

"I saw really interesting ways that art was positioned and the conversations and dialogues that were happening. Curating gave me that access point so I gradually shifted into a curatorial direction."

Dealing with stress

The logistics between the idea of the show and getting it into the gallery are the most difficult part of the job - the technical details of getting work from point A to point B.

These details are the main source of my stress. They're things I really don't enjoy doing but I need to get done in order to get my ideas realized.

When I'm feeling that kind of stress, I walk around the gallery. It connects me with why I'm doing this job and gets me away from the technical minutiae of it.

Varied pace

Depending on the length of the exhibit and the costs involved, we have five to six shows a year. The pace varies. Sometimes it is very busy and other times it's relatively quiet.

The best time is during an installation. I enjoy collaborating with the artists and installing the artwork. That's when I feel most connected and engaged; that's the really fun time.

I'm looking forward to this summer when my shows begin. Seeing them come together and seeing other people's reactions will be exciting.

Getting inspiration

When I see a work and it stays with me long after I've left the gallery, I think there are layers of depth I've connected with, and those became the seeds for larger exhibitions.

Sometimes an artist will impress me with a number of works or their larger pieces to such a great degree that I'll begin to explore options for a more dedicated, solo show.

In other cases a particular piece has interested me and it's tapped into a topic that I think is contemporary or relevant.

It's challenging to refine those ideas and decide what needs to be done to best fit their presentation.

Worldwide travel

Plug In has a yearly travel budget for me. In 2005 I travelled to Venice, Berlin and London over a period of about three weeks. It was an amazing experience.

I attended the Venice Biennale, an international art exhibition that takes every two years where curators and virtually everyone else in the art world comes together.

National and international networking trips are critical to curatorial practice. It was essential for me to be there and introduce myself to important people in the arts.

Berlin and London were invaluable research trips in that way and I hope to build on the connections I made there.

Volunteering

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"Volunteering is important. Whether it's at fundraisers or just getting into the gallery, it's helpful in achieving this kind of position.

"There's a gallery in Toronto called the Power Plant which does this large fund-raising gala called the Power Ball. I volunteered for that about two or three years. They're great to meet people and to see artists interacting with audiences. They were really formative experiences in helping me to get where I am today."

Choosing a school

I didn't know what university I wanted to go to and which program I wanted to take. There are many Art History programs but I felt uncomfortable dealing solely with Art History.

That's why I chose the University of Toronto Arts Administration program. It had a more well-rounded approach to the arts. I could take Art History but surround it with business courses and more real-world experiences.

Making connections

Networking is essential to this profession. While studying in Toronto and New York, I met curators who have helped me get to where I am now. I can never thank them enough. 

These personal connections are invaluable. They can get me into territory I might not otherwise be able to access and provide me with solid references well into the future.

I'm always trying to build and nuture connections nationally and internationally. These partnerships can expand the life and scope of exhibitions, making it possible for audiences to see and enjoy the work beyond what any single gallery could do.

Worked with a mentor

I worked with a curator in Ottawa who took me under her wing and taught me a lot. She saw what I wanted to do as an intern and gave me a great number of tasks and interesting jobs to work on that expanded my skill range.

She was also a big help when I was applying for jobs. She helped me understand what questions might be asked and the skills I needed to emphasize develop. 

Drawing upon her knowledge and experience was a tremendous asset when I was entering the job field.

Career plan

I knew I wanted to be a curator so I looked for jobs that helped me build my experience and further my career. I've worked as a curatorial assistant, video and film archivist/analyst and research and policy assistant.

I started out working at smaller galleries and ended up working at Toronto's largest gallery. This gave me a wide range of experiences and allowed me to see different organizational models.

I was expecting, and hoping, to be an assistant curator after graduation but the opportunity at Plug In came along and accelerated all my plans.

Stay in Manitoba

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"Plug In showed a lot of loyalty bringing me here as a young person. I just feel a tremendous sense of loyalty to them and I want to see the gallery develop as much as possible. As a curator you're developing ideas two to three years in advance so I'm already looking into 2008 for some of my ideas.

"I couldn't imagine leaving them any time before that, so I'm here for the long-term. It's going to be an exciting time over the next five or six years."

Perhaps a PhD

I've been thinking about working towards my PhD. But it's less important in contemporary art. I think the experience of getting out to the gallery and doing things is more important than studying another five to seven years, at least for now. I might look at it in the future.

For right now, I think it's more important for me to be in the gallery and to gain more experience doing exhibitions.

Upcoming travel

I have a lot of really interesting travel coming up, which is one of the great benefits of being a curator with a travel budget. I'll be travelling through the western provinces and visiting the major cities in each province.

I'll be in New York this summer. If budget permits, in the fall I'd like to go to Sao Paolo in Brazil to attend another one of those large biennial shows.

Future for industry

The sky's really the limit in Winnipeg. There is such a great artistic community here that really hasn't had the opportunity to show as much as they should have, because there are a small number of galleries here. It's growing but artists need the opportunity to have their work on display and have audiences react to it.

As the number of galleries grows and the size and skills of the existing galleries grow, I think Winnipeg's community will be served that much better.

Professional slant

Curating has become more professionalized in the past ten years. Now there are programs dedicated to making you into an art curator. In the past, curators came from different fields: architects, musicians, visual artists which add to the texture and character of the industry.

For professional curators I think it's important to have a wide variety of interests with the Art History. You'll add character and variety to your shows and be a more interesting curator.

Job market info

The links below take you to federal and regional government information on employment, education, salary ranges and long range prospects for this career.

The official name for Steven's occupation is "Curator" and its NOC* code is 5112.

Manitoba Job Futures

Who Hires? - Manitoba Labour Market Information

*Each occupation has an official name and unique number called the ‘National Occupational Classification' code or 'NOC'.

Education

High School

Useful High School Subjects*

- Art (added)
- Computer-related courses
- English
- French
- History
- Sciences

*Source: JobFutures.ca

For those out of school, Adult Learning Centres can help you get or upgrade your high school diploma, including adding subjects that are required for work or further education. All Manitobans are normally entitled to 4 free courses.

After high school 

University of Manitoba

School of Art

Red River College

Full Time Programs
Then click on "Business Administration"

Winnipeg Technical College

Production Art

Brandon University

Fine Arts

Skills

Useful Experience/Skills*

- Researching
- Organizing
- Knowledge of history
- Customer service

*Source: JobFutures.ca

There is not yet an Essential Skills* profile for this occupation.

*Essential Skills provide the foundation for learning all other skills and enable people to evolve with their jobs and adapt to workplace change.

Professional resources

Art Dealers Association of Canada
A national, not for profit organization representing private commercial galleries

Canadian Museums Association
A national organization dedicated to preserving our cultural heritage through museums, art galleries, etc.

Canadian Association of Professional Conservators
A national organization for professional conservators working with art and cultural property

International Association for Critical Realism
An international organization networking resource for people concerned with social theory.

Related careers

Technical Occupations Related to Museums and Art Galleries (Curatorial Assistants) (NOC 5212)

Theatre, Fashion, Exhibit and Other Creative Designers (Museum Designers) (NOC 5243)

Professional Occupations in Public Relations and Communications (Museum Educators) (NOC 5124)

Artisans and Craftspersons (NOC 5244)