|
Current Issue
Vol. 43, no. 2 (2018) What is Critical Curating? | Qu’est-ce que le commissariat engagé? Guest editors | Rédactrices invitées: Marie Fraser, Alice Ming Wai Jim Editors’ Note Marie Fraser, Alice Ming Wai Jim | Introduction Elitza Dulguerova | Ouverture pour cause d’inventaire. Figures et significations de l’exhaustivité en exposition Amy Bruce | International Contemporaneity and the Third Havana Bienal (1989) Joana Joachim| “Embodiment and Subjectivity”: Intersectional Black Feminist Curatorial Practices in Canada |
|
Julie Bawin | L’artiste contemporain dans les musées d’ethnographie ou la « promesse » d’un commissariat engagé
Véronique Hudon | Le détournement du commissariat : l’exposition chorégraphique chez Boris Charmatz et Xavier Le Roy Treva Michelle Legassie | Keepers of the Bio Art Laboratory: Mangling Methods and Curating Critically Helen Gregory, Kirsty Robertson | No Small Matter: Micromuseums as Critical Institutions Boris Charmatz and the Musée de la danse, Flip Book, September 25-29, 2012, in performance during The Tanks : Art in Action, Londres, Tate Modern. Photo: Tate.
|
|
Live in Palestine, July 11–August 11, 2018, curated by Anna Khimasia, Rehab Nazzal, and Stefan St-Laurent, organized by AXENÉO7 (Gatineau) in partnership with DAÏMÔN (Gatineau), A Space Gallery (Toronto), and Dar al-Kalima University (Bethlehem). Photo: Justin Wonnacott.
|
What is Critical Curating? | Qu’est-ce que le commissariat engagé?
Marie Fraser, Alice Ming Wai Jim | Introduction Curator's Statements Haema Sivanesan · Pip Day · Ryan Rice · DisplayCult (Jennifer Fisher & Jim Drobnick) · Pamela Edmonds · Scott Marsden · Nicole Burisch · Eunice Bélidor · Barbara Clausen · Vanessa Kwan · Vicky Chainey Gagnon · Michelle Gewurtz · Dominique Fontaine · Stefan St-Laurent · Véronique Leblanc · Jordan Arseneault · kimura byol-nathalie lemoine · Chris Lee & Maiko Tanaka · Taklif : تکلیف · Sandeep Bhagwati |
Call for Papers
Approaching Home: New Perspectives on the Domestic Interior
RACAR special issue to be published October 2020
Guest Editors:
Olivier Vallerand, Arizona State University, olivier.vallerand@asu.edu
Erin J. Campbell, University of Victoria, erinjc@uvic.ca
Download PDF
Deadline for proposals: February 1, 2019
Deadline for final contributions: August 15, 2019
The home, while sometimes conceived as stable and secure, has a history of change and evolution as long as humankind itself. As domestic spaces became increasingly distinguished from places of work, a new understanding of the privacy of the home took shape, opposed to the publicness of the city and linked to assumptions about gender, class, age, race, and sexuality.
As a worldwide and everyday experience, the home and the domestic have been a topic of choice for artists of every era, as well as the object of many designers’ and architects’ often radical attempts to rethink how we live as individuals and communities. Artists’ representations of the domestic have followed changing cultural understandings of the domestic, but have also sought to challenge these understandings, for example, through feminist practices that underline that the home is also a space of labor and that the domestic is in direct relationship with the political. In recent years, social media and the increasing importance of networked technologies in our lives are increasingly blurring limits between what is thought of as private or public. This call builds on recent works such as the edited collection Breaking and Entering: The Contemporary House Cut, Spliced, and Haunted (edited by Bridget Elliott, 2015) that have highlighted the potential of gathering designers, artists, and historians to expand the ways we look at and understand the domestic interior.
To this end, the editors of this special issue of RACAR invite artists, designers, art historians, architectural historians, and design historians to interrogate and unsettle assumptions about the home across time and around the world. We welcome historical or theoretical pieces, accounts of artistic, design, or curatorial practices, as well as portfolios that cover topics such as: house museums and period rooms; artists' houses; domestic objects and agency; furnishings and social performance; the layering of meaning within and across interior spaces; relationships of the interior to the exterior or between private and public; matter, materials, and materiality in the home; memory/senses/the body/time, and the home; mobile homes; the production of domestic space; queering the interior; art and rituals in the home; the home and the life stages; phenomenology of the interior; specific rooms in the home: the study, bedroom, living room, etc.; collecting and the home.
We are soliciting three types of proposals, in either French or English: articles (maximum 7,500 words, including notes), accounts of practices (maximum 3,500 words, including notes), and portfolios (maximum 10 images and 1,000 words, including notes). The articles and accounts of practices will be submitted to peer review.
Please submit your proposals of a maximum of 250 words and a short CV by February 1, 2019, to: Olivier Vallerand (olivier.vallerand@asu.edu) and Erin J. Campbell (erinjc@uvic.ca). If proposing an account of practice or portfolio, please include 2-5 images.
Olivier Vallerand, Arizona State University, olivier.vallerand@asu.edu
Erin J. Campbell, University of Victoria, erinjc@uvic.ca
Download PDF
Deadline for proposals: February 1, 2019
Deadline for final contributions: August 15, 2019
The home, while sometimes conceived as stable and secure, has a history of change and evolution as long as humankind itself. As domestic spaces became increasingly distinguished from places of work, a new understanding of the privacy of the home took shape, opposed to the publicness of the city and linked to assumptions about gender, class, age, race, and sexuality.
As a worldwide and everyday experience, the home and the domestic have been a topic of choice for artists of every era, as well as the object of many designers’ and architects’ often radical attempts to rethink how we live as individuals and communities. Artists’ representations of the domestic have followed changing cultural understandings of the domestic, but have also sought to challenge these understandings, for example, through feminist practices that underline that the home is also a space of labor and that the domestic is in direct relationship with the political. In recent years, social media and the increasing importance of networked technologies in our lives are increasingly blurring limits between what is thought of as private or public. This call builds on recent works such as the edited collection Breaking and Entering: The Contemporary House Cut, Spliced, and Haunted (edited by Bridget Elliott, 2015) that have highlighted the potential of gathering designers, artists, and historians to expand the ways we look at and understand the domestic interior.
To this end, the editors of this special issue of RACAR invite artists, designers, art historians, architectural historians, and design historians to interrogate and unsettle assumptions about the home across time and around the world. We welcome historical or theoretical pieces, accounts of artistic, design, or curatorial practices, as well as portfolios that cover topics such as: house museums and period rooms; artists' houses; domestic objects and agency; furnishings and social performance; the layering of meaning within and across interior spaces; relationships of the interior to the exterior or between private and public; matter, materials, and materiality in the home; memory/senses/the body/time, and the home; mobile homes; the production of domestic space; queering the interior; art and rituals in the home; the home and the life stages; phenomenology of the interior; specific rooms in the home: the study, bedroom, living room, etc.; collecting and the home.
We are soliciting three types of proposals, in either French or English: articles (maximum 7,500 words, including notes), accounts of practices (maximum 3,500 words, including notes), and portfolios (maximum 10 images and 1,000 words, including notes). The articles and accounts of practices will be submitted to peer review.
Please submit your proposals of a maximum of 250 words and a short CV by February 1, 2019, to: Olivier Vallerand (olivier.vallerand@asu.edu) and Erin J. Campbell (erinjc@uvic.ca). If proposing an account of practice or portfolio, please include 2-5 images.
WE THANK:
|
|
|
|
|
|
|
|
|