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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



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 
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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​ · Nadia Myre

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
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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. ​

Call for Papers
​Approaching Home: New Perspectives on the Domestic Interior
RACAR special issue to be published October 2020

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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.

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