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Current Issue
Vol. 43, no. 1 (2018) Editors’ Note UAAC Recognition Award Anuradha Gobin | Picturing Liminal Spaces and Bodies: Rituals of Punishment and the Limits of Control at the Gallows Field Emilie St.Hilaire | Who Should Care About Responsible Conduct of Research in Research-Creation? Matthew Teti | Occupying UCI: Chris Burden’s Five Day Locker Piece as Institutional Critique PRACTICES Brett Despotovich, Robert Hengeveld, Risa Horowitz, Brandy Leary, Lynne Quarmby, and Susan Stewart | An Other North: The Arctic Circle Summer Solstice Expedition 2017 INTERVIEW Nicholas Chare in conversation with Griselda Pollock | To Play Many Parts: Reading Between the Lines of Charlotte Salomon/CS’s Leben? oder Theater? |
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POLEMICS
“Make Some Noise”: Precarity, Dialogue, and Professional Development | Guest Editors: Andrea Terry and Jayne Wark
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Lynne Quarmby, 14th of July Glacier, 2017.
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Critical Curating
Vol 43, no. 2 (2018) Guest Editors: Marie Fraser and Alice Ming Wai Jim Forthcoming in October 2018 Curatorial practice has been fully transformed since the 1960s. In the last fifteen years, it has diversified and multiplied with a force never imaginable. This transformation has offered fertile ground for intensified critical debates on self-reflexive curating since the 1990s, a phenomenon that Paul O’Neil calls the curatorial turn. This is understood as the transition from practice to theory and from a notion of the exhibition as discourse on the work of art to a reflexive approach to curating, wherein the exhibition becomes an object of knowledge. Despite the vitality and relevance of this approach, challenges persist for two main reasons: first, the majority of writing on curatorial practice remain centred on the history of emblematic exhibitions and the figure of the curator, reiterating more often than not the art-historical canon; and second, curating cannot escape the artworld system (proliferation of biennales, festivals, international events) or imperatives of the art market. Yet, if curating constitutes itself as a discourse, it is because it implies a consciousness of its own conditions of possibility and of the artistic, theoretical, social, and institutional issues at play. What are these issues? And what are the debates that are taking place today in this discipline? This special issue of RACAR will probe the discourses and practices of curating—and critical curating in particular—in order to bring out its ethical, social, and political aspects. In response to the notions of the author-curator and artist-curator, which celebrate personality and notoriety without questioning them, we suggest the hypothesis of the curator as producer, that is, as agent of social change and of transformation of the modes of production. Vertical Divider
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Esmaa Mohamoud, Untitled (No Fields), 2018, ink-jet print. Courtesy of Georgia Scherman Projects and the artist. Here We Are Here: Black Canadian Contemporary Art, May 12 to September 16, 2018, Montreal Museum of Fine Arts.
Curators: Dr. Silvia Forni, Curator of African Arts and Culture, ROM; Dr. Julie Crooks, Assistant Curator, Art Gallery of Ontario; and Dominique Fontaine, Independent Curator. |
WE THANK:
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