18 / TURBA CURATORIAL PRACTICE AS A CLAIM TO PUBLIC-NESS Gurur Ertem I moved to Berlin three days before the March 2020 lockdown. I relo- cated here to conduct a research project I had titled “The Exilic Con- dition and the Arts” to study some recent artists who had emigrated from Turkey due to the adverse political developments in their home country. While preparing the research, I could not have foreseen that “staying at home” would itself become an exilic condition of sorts. Being blessed to have a home in the first place to be able to withdraw to, I began to think about what kind of solace the arts can ofer in dark times and whether they can still help us build a common realm “to feel at home in the world.” These thoughts have inevitably brought me to questions about what it might mean for cultural creations to remain, endure, and persist today—that is, to be seen, heard, and talked about in ways that matter—and if and how they might establish and nourish a world-in-common. There has been an upsurge of interest in the potentials and predica- ments of curating live arts over the last decade. As some heavy-weight art institutions began to present, re-enact, preserve, recreate, stage, and even “collect” performances, much debate ensued regarding the phenomenon’s implications about the experience economy, the “fes- tivalization” of culture, and the creative industries. Some artists have embraced afnities with museum culture for its prestige-conferring functions, while others have taken a critical stance amid endless ter- ritorial discussions and legacy claims. However, none of these devel- opments have facilitated a substantial change to, or rethinking of, the logic of the production and dissemination of either the live/perform- ing arts or the visual arts. I also observe a resistance in accepting the fact that curatorial practice is ultimately a practice of judgment and responsibility, as it is ultimately a claim to public-ness. I have noted elsewhere the implications of the crisis in the art world regarding its self-ghettoization and its response (or the lack thereof) to the overwhelming assault on factual truth by authoritarian gov- ernments and conspiratorial narratives (Ertem 2019). The practices of fabricating untruth have been competing with creativity and the performative aesthetics of the arts field. I had asked how we could