This article defines “curatorial ethics” as a notion that has to be configured and constantly revisited by an independent curator throughout her practice. By inquiring into the personal motives, biases and drives, she would establish her own ethical position, convert it into a professional ethic and apply it to judge her own professional performance and her colleagues. Such perspective opposes the traditional understanding a professional ethic as a set of unitary guidelines to be passed to specialists (i.e., via education or early career). The notion of curatorial responsibility is redefined accordingly, and with conceptual inspiration from Gilles Deleuze and Karen Barad’s concepts of “becoming” (Deleuze) and “intra-action” (Barad). A curator is addressed as accountable for configuring her practice in response to agendas and actions of other parties involved in the art project. That is, for facilitating the co-constitution of individual subject positions and practices via opening up herself to the terrors and potentials of unprecedented self-transformation.

中文翻译：

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策展伦理与实践的不确定性

本文将“策展伦理”定义为一个概念，必须由独立策展人在整个实践过程中对其进行配置和重新审视。通过探究个人动机，偏见和动力，她将确立自己的道德立场，将其转变为职业道德，并将其用于判断自己的职业表现和同事。这种观点与传统的职业道德观念相反，后者是作为一套统一的准则传递给专家的（即通过教育或早期职业）。策展责任的概念据此重新定义，并从吉尔斯·德勒兹（Gilles Deleuze）和卡伦·巴拉德（Karen Barad）的“成为”（Deleuze）和“行动中”（Barad）的概念中得到启发。策展人被称为负责根据艺术项目中其他各方的议程和行动来配置其行为。也就是说，通过开放自己的恐惧和空前的自我改造的潜力，来促进各个主体的立场和做法的共同建构。