Working in an art gallery: Curator, Public Programmes

Category: Working in an art gallery — Published: 5 May

Hear from our Curator: Public Programmes, Seung Sing, about their day-to-day and advice for those interested in working in public or participatory programming in galleries. 

Part of our Working in an art gallery series of interviews with Whitechapel Gallery staff members — offering insight into the kind of roles available in gallery settings.

hold me while my mind falters, performance by Puer Deorum, 2025. Photo: Kaishui Yikai Liu.

How would you describe your job? 

As Curator: Public Programmes, my role lies within the Participation department at the gallery. The work I do focuses on the live and participatory, bringing the gallery and building to life through events including workshops, performances, festivals, talks, film screenings, sharing spaces, music, building-wide takeovers and more.

I love to experiment and try out different formats of programming and events, pushing the boundaries of the gallery and using the space in fun, playful, and imaginative ways. My curatorial approach centres on dismantling ideas around who does and should have access to art, amplifying and spotlighting artists conventionally marginalised within these worlds, and holding space for constellations of care, tenderness, and joy, so all kinds of folks can find a sense of belonging in the gallery.

In terms of my regular day, one thing I love about my role is that it can really vary depending on what we have on at a particular time. An example week could involve meeting artists and practitioners to map out what their events might look like, managing budgets and project administration, collaborating with other team members on the logistics for events we’re working on, researching exciting artists or facilitators for future events, and on-the-day event delivery.

What are some of the skills or interests which might be important to someone doing your job? 

To be a Curator: Public Programmes, a love of working with people is super important. So much of this role is public-facing, building intentional and meaningful relationships, understanding the kinds of experiences people might want from a gallery, and making folks feel welcome and at home in the space. An interest in exploring different artistic mediums and formats of live events is important as well, to make sure that you’re providing an exciting range of experiences for audiences.

You don’t need to have studied art formally or gotten a specific qualification for this job – as someone who entered the sector through a non-conventional route, so much of what I know has been learnt on the job or transferable from other roles I have had outside of the arts. The main skills are the ability to manage a busy workload with multiple projects happening at once, an understanding of how to organise and deliver engaging events, and a generous, heart-open, and collaborative approach to working with other people.

>> inhabiting contact: Relaxation and Structuring of the Self, relaxation session, Ta’wa, 2025.

What do you most enjoy about your role or working in the arts more generally? 

The thing I most enjoy about my role is the people I get to encounter and the deep relationships I can build through programming. Whether it’s working with artists doing transformative and experimental work, collaborating with grassroots groups to create experiences for and by their communities, or producing opportunities for folks to engage with the gallery, try something new, and connect with art and creativity.

I love the idea that through these live experiences that bring people together, I am contributing to changing perceptions about the arts and who has access to these spaces.

What’s the biggest challenge about your job?

The biggest challenge about my job is managing a busy workload and making sure you’re maintaining clear boundaries. You have to be really organised in balancing planning, curation, and project management, with on-the-day delivery and building intentional and caring relationships with people.

Because so many events also happen outside of regular working hours, it’s also key to keep on top of all the overtime you’re doing, making sure you’re getting that time back and incorporating time to rest and slow down. Sometimes this can be hard – especially when you’re working events that you also find interesting – but it’s super important to keep on top of.

Any advice you’d give to someone looking to work in a similar role to yours?

For public programming or arts and events-based roles, you don’t need to have specific qualifications in curation or arts-based subjects and it’s not necessary to have had lots of experience working in galleries before either.

Because so much of this kind of work is about feeling and experience, it’s more important to focus on creating fun, experimental, and warm experiences with art and creativity for a range of folks.

Starting a creative collective with your friends, running self-organised projects and events, getting involved with grassroots groups that invest in your local area or create spaces for community, and working in other roles outside of the arts that have a heavy public-facing element are all really useful in getting the right kinds of skills you need for this type of work.

Want to find out more? Read the rest of our Working in an art gallery series.