Into the Light, a recently mounted collectively curated museum exhibition, exposed and countered histories and legacies of 20th‐century “race betterment” pedagogies taught in Ontario's postsecondary institutions that targeted some groups of people, including Anishinaabe, Black, and other racialized populations, and disabled and poor people, with dehumanizing ideas and practices. This article advances understandings of the transformative potential of centralizing marginalized stories in accessible and creative ways to disrupt, counter, and draw critical attention to the brutal impacts of oppressive knowledge. The “counter‐exhibition” prioritized stories of groups unevenly targeted by such oppression to contest and defy singular narratives circulating in institutional knowledge systems of what it means to be human. The authors draw on feminist, decolonial and disability scholarship to analyze the exhibition's curation for the ways it collectively and creatively: (1) brought the past to the present through materializing history and memory in ways that challenged archival silences; and (2) engaged community collaboration using accessible, multisensory, multimedia storytelling to “speak the hard truths of colonialism” (Lonetree) while constructing a new methodology for curating disability and access (Cachia). The authors show how the exhibition used several elements, including counter‐stories, to end legacies of colonial eugenic violence and to proliferate accounts that build solidarity across differences implicated in and impacted by uneven power (Gaztambide‐Fernández).
Frakcija No. 55, 2010: At Least One-Third of the Subject We as artists usually receive invitations from abroad (or locally) to present our work there (or here) by way of individuals who represent organizations or artistic and cultural institutions or who do not represent anyone but themselves. They come to us, they contact us, they meet with us, and they leave . . . what are they looking for? I have no idea. Maybe for something new, something different, alternative, a new language, new blood . . . Or rather, to create some ideas, to pose some questions related to certain problems such as the artist's relationship to power, or similar. I have no idea. Maybe they are on the lookout for new commodities for their respective markets, or for an Orient they have heard so much about, an Orient they have missed greatly, or . . . I really have no idea. My belief is that they all have their own motivations and purposes. Each one of them has his or her own reasons, desires, and objectives. Really, I have no idea. Frakcija No. 55, 2010: Never Explain Marta Keil: We are invited to revisit your text, “At Least One-Third of the Subject,” which was published thirteen years ago and has become kind of a classic since. I have to confess: I come back to it regularly with my students to discuss the figure that you drew of the artist's bittersweet innocence. Is this figure still recognizable to you today? Configurations in Motion: Performance Curation and Communities of Colour (1–2 June 2017): Preview to an Introduction I met with Thomas F. DeFrantz and Seika Boye in early 2023 to talk about Configurations in Motion: Performance Curation and Communities of Color—the gatherings, booklets, and the curatorial work—to ask how and if the work remains necessary. To think this through, we looked back at the 2017 conversation and the question posed about how we might cultivate a livable future. This brief essay is part of what resulted. Configurations in Motion: Performance Curation and Communities of Colour (1–2 June 2017): By Way of Introduction As curators of the third iteration of Configurations in Motion: Performance Curation and Communities of Colour in Montréal at Concordia University, in Québec, Canada, from 1 to 2 June 2017, we decided to begin with a few questions to set a frame for the essays that follow in this booklet of conference presentations. Here are our reflections.
Seika Boye reflects on Configurations in Motion: Performance Curation and Communities of Colour, held at Concordia University in July 2017. She questions the place of the report following initiatives in equity work and interviews curator Jane Gabriels about the origins of Configurations at Duke University in 2015.
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