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- Volume 8, Issue 1, 2019
Journal of Curatorial Studies - Volume 8, Issue 1, 2019
Volume 8, Issue 1, 2019
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Whose Skin? Curating Tattooed Tableaux Vivants in Contemporary Art
More LessThis article discusses tattoo works by contemporary artists Wim Delvoye and Santiago Sierra to raise questions about curating tattooed tableaux vivants. Showing tattoos on living persons in an exhibition context instigates an intriguing curatorial network. The relationship extends from the curator and the artist to the person carrying the artwork. Yet one cannot assume that the three parties act in agreement. Their connection may be social, art-focused or even market-driven. In a newly formed triangle of artistic and curatorial interests, the division of labour and distribution of profits have to be renegotiated.
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Quintessential Childhood: Showing Care in the Exhibition of the Dionnes
More LessThis article explores issues of curation pertaining to the exhibition of the Dionne Quintuplets. Born in 1934 in a small town in Ontario, the Quints were taken from their family to become wards of the province and viewed by over 3 million people in a specially constructed ‘hospital’ that served as the tourist attraction Quintland. For nine years the Quints were presented as exemplars of modern childhood. Two framing discourses will be explored: on the one hand, the presentation of ‘care’ and, on the other, the inscription of the Quints within an emergent aesthetic of ‘cuteness’. This analysis seeks to address the question of what it means to show care, as well as how the presentation of the Dionnes as ‘cute’ children attempted to distinguish their display from contemporaneous freak shows. While the curation of the girls’ within a medicalized discourse sought to present ideologically ‘correct’ bodies and images of idealized childhood, the freak show impulse to make their bodies profitable for consumption was nevertheless sustained by the state’s involvement in their display.
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Totalitarian Aesthetics of Mass Bodily Display During the 1930s
By Karl ToepferIt is a widespread belief that totalitarian societies signify their ‘total unity’ through spectacles involving the display of large, sectored masses of bodies and the levelling off of differences between individual bodies by exalting the uniformity and mechanized synchronization of dynamic, interconnected groups. This belief owes much to fragmentary images of Nazi rallies in the 1930s. But a closer examination of mass spectacles in totalitarian societies of the 1930s reveals considerable differences in their approaches to the mass display of bodies, and these differences result from the unique goals motivating the totalitarian organization of a society. This article compares strategies of mass display of bodies to create a ‘total unity’ of society in relation to the Ku Klux Klan, Japanese imperialism, Italian Fascism, Communism and Nazi Germany.
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Exhibition Reviews
CO-WINNER OF THE 2019 JOURNAL OF CURATORIAL STUDIES EMERGING WRITER AWARD
ART FOR A NEW UNDERSTANDING: NATIVE VOICES, 1950s TO NOW Curated by Mindy N. Besaw, Candice Hopkins and Manuela Well-Off-Man, Crystal Bridges Museum of American Art, Bentonville, 6 October 2018 – 7 January 2019
CO-WINNER OF THE 2019 JOURNAL OF CURATORIAL STUDIES EMERGING WRITER AWARD
MAQDALA 1868 Curated by Alexandra Jones, Victoria and Albert Museum, London, 5 April 2018 – 30 June 2019
RUNNER-UP FOR THE 2019 JOURNAL OF CURATORIAL STUDIES EMERGING WRITER AWARD
LAWRENCE ABU HAMDAN, EARWITNESS THEATRE Curated by Ellen Greig, Chisenhale Gallery, London, 21 September – 9 December 2018
JASMINA CIBIC: EVERYTHING THAT YOU DESIRE AND NOTHING THAT YOU FEAR Curated by Cheryl Sim, DHC/ART Foundation for Contemporary Art, Montreal, 25 October 2018 – 3 March 2019
FRANÇOISE SULLIVAN Curated by Marc Lanctôt, Musée d’art contemporain de Montréal, Montreal, 20 October 2018 – 20 January 2019
SADAÂNE AFIF: THIS IS ORNAMENTAL Curated by Anne Faucheret, Kunsthalle Wien, Vienna, 9 September 2018 – 18 November 2018
DAVID HARTT: in the forest Oakville Galleries in Gairloch Gardens, Oakville, 23 September 2018 – 6 January 2019
DAYNA MCLEOD, INTIMATE KARAOKE, LIVE AT UTERINE CONCERT HALL Curated by FADO Performance Art Centre, co-presented with SummerWorks Performance Festival, The Theatre Centre, Toronto, 15 August 2018
HEAVENLY BODIES: FASHION AND THE CATHOLIC IMAGINATION Curated by Andrew Bolton, Metropolitan Museum of Art, New York, 10 May – 8 October 2018
CARSTEN HÖLLER AND STEFANO MANCUSO, THE FLORENCE EXPERIMENT Curated by Arturo Galansino, Palazzo Strozzi, Florence, 19 April – 26 August 2018
COME UP TO MY ROOM 2018 Curated by Christophe Jivraj, Jana Macalik and Lukus Toane, Gladstone Hotel, Toronto, 18 – 21 January 2018
Antarctic biennale Curated by Alexander Pronomarev and Nadim Samman, Antarctica, various locations, 17 – 27 March 2017
LIL MIQUELA @lilmiquela, 2016 – ongoing, www.instagram.com/lilmiquela
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