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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
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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

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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
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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 Helen 
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 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.

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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​

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Reviews | Recensions

Jason Baerg | UNCEDED : Voices of the Land, Canada’s entry to the 2018 Venice Biennale in Architecture
Amy Bruce | Caroline A. Jones, The Global Work of Art: World’s Fairs, Biennials, and the Aesthetic of Experience
Ray Ellenwood | Jocelyn Jean, Gilles Lapointe, Ginette Michaud, eds., Edmund Alleyn, Indigo sur tous les tons; Edmund Alleyn, De jour, de nuit : Écrits sur l’art, Jennifer Alleyn and Gilles Lapointe, eds.; Mark Lanctôt, ed., Edmund Alleyn : Dans mon atelier, je suis plusieurs; Gilles Lapointe, Edmund Alleyn, Biographie 
Catherine Harding | Fabrizio Ricciardelli and Andrea Zorzi, eds., Emotions, Passions, and Power in Renaissance Italy; Jennifer Spinks and Charles Zika, eds., Death, Disaster and Emotions in the Shadow of the Apocalypse, 1400–1700 
Stéphanie Hornstein | Colleen Skidmore, Searching for Mary Schäffer: Women, Wilderness, Photography
Joana Joachim | From Africa to the Americas : Picasso Face-to-Face, Past and Present and Here We Are Here : Black Canadian Contemporary Art, Montreal Museum of Fine Arts 
Yani Kong | Rina Arya and Nicholas Chare, eds., Abject Visions : Powers of Horror in Art and Visual Culture 
Marissa Largo | Maura Reilly, Curatorial Activism : Towards an Ethics of Curating 
Lee Rodney | Martha Langford, ed., Narratives Unfolding: National Art Histories in an Unfinished World
Diogo Rodrigues de Barros | Transmettre une philosophie de la tolérance: la collection Hoffmann et l’enseignement de Raymond Klibansky, Institut d’études médiévales, Carrefour des arts et des sciences, Université de Montréal 
Itay Sapir | Joost Keizer, The Realism of Piero della Francesca
Charissa von Harringa | Paul O’Neil, Mick Wilson, Lucy Steeds, eds., How Institutions Think: Between Contemporary Art and Curatorial Discourse

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. ​

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WE THANK:

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