Drawing from the work of Nicolas Bourriaud (2006, 2007), Cecília Salles (2006, 2010) and Bruno Latour (2005, 2008), this paper seeks to promote a relational approach about artistic work. According to this approach, a work is not embodied in a single object or process, nor does it depend solely on the artist's creative gesture, but instead develops continuously within a network of actors that includes other people, objects and processes. In this paper, I attempt to highlight this mode of existence by outlining how Marcel Duchamp's sculpture Fountain (1917) establishes its own exposition agenda. By assuming the manifold negotiations (creative and institutional) behind this author's work of art, I seek to demonstrate how curatorial practices can play a predominant role in the topography of creative networks, since they establish the conditions of publicity that render works of art apprehensible.
networks; media; creative processes; artworks; curatorship