woocommerce-shipping-per-product domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /var/www/staging.esse.ca/htdocs/wp-includes/functions.php on line 6131complianz-gdpr domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /var/www/staging.esse.ca/htdocs/wp-includes/functions.php on line 6131The exhibition has been the subject of much analysis and many transformations in recent decades. Numerous artists have rethought the relationship between the artwork and the exhibition, notably by treating the latter as a medium or device. The result is a multiplication of ways to manage or appropriate the museum space, not only through exploration of new formats or modalities but also by the reactivation of more classic museographic apparatuses (dioramas and period rooms<\/em>, among others) or the restaging of historical exhibitions in faithful or revisited reconstructions. Liberated from being simply a means of display, the exhibition has become an artwork in itself. As a consequence, today it is practically impossible to separate the exhibition from the curator\u2019s work (or the artist as curator). The thematic section in this issue is thus a natural extension of the special sections in two previous issues of esse: Curators<\/em> (no. 72, Spring\/Summer 2011) and Re-enactment<\/em> (no. 79, Fall 2013).
<\/pre>\n\n\n\nAs an introduction, Marie Fraser, professor of art history and museology at UQAM, who proposed this theme, presents an inventory of seven possible exhibition models. While not exhaustive, her overview gives an idea of the many directions taken by exhibition curators and the impact of critical reflection on the staging of artworks. Aside from the particular cases presented in Fraser\u2019s survey, illustrations of some of these models can be seen in the exhibition analyses published in this issue. But in doing this, are we in the process of contributing to the creation of a canon of exhibition models? If, as J\u00e9r\u00f4me Glicenstein proposes, \u201ca canon of exhibitions \u2014 that is, a body of shared references, [peut] which might serve as a reservoir of models for apprentice curators\u201d \u2014 exists, it is nevertheless worthwhile to remember that canons are often selective, or even exclusive, as Griselda Pollock emphasizes in her book Differencing<\/em> the Canon<\/em>1<\/sup><\/a><\/span>. 1 <\/a> - \u00ab Cependant si des artistes \u2013 parce que ce sont des femmes ou des non-Europ\u00e9ens \u2013 sont tout \u00e0 la fois exclus de l\u2019histoire et \u00e9cart\u00e9s de l\u2019h\u00e9ritage culturel, alors le canon devient, au fils des g\u00e9n\u00e9rations, un filtre de plus en plus appauvri et appauvrissant si l\u2019on se r\u00e9f\u00e8re \u00e0 l\u2019ensemble des possibles culturels. \u00bb Griselda Pollock, \u00ab Des canons et des guerres culturelles \u00bb, Cahiers du Genre (f\u00e9vrier 2007), n\u00b0 43, p. 5-69.<\/span>. Glicenstein concludes, in his article here, \u201cIt is also a question of the manner in which this writing issues from an \u2018institutional inscription\u2019:[la formulation d\u2019un canon]that legitimizes it and that it addresses.\u201d This question remains on the table.<\/p>\n\n\n\n
As a complement to this section, we are publishing a series of articles on the presence of Qu\u00e9bec artists at the Venice Biennale and the Havana Biennial. Special attention is paid to the BGL collective, which is occupying the Canadian Pavilion in Venice this year with the installation Canadassimo<\/em>. Thierry Davila interviewed the artists and the curator, Marie Fraser, and takes a look back at some of the collective\u2019s most noteworthy works. Katrie Chagnon examines Jean-Pierre Aub\u00e9\u2019s performance and sound-art projects presented in Venice and in Rome by Galerie de l\u2019UQAM, and, again in the context of the Venice Biennale, Pierre Rannou writes about the works by Simon Bilodeau and Guillaume Lachapelle presented first at Galerie Art M\u00fbr and then in the Personal Structures \u2013 Crossing Borders<\/em> exhibition mounted by the Global Art Affairs Foundation at Palazzo Bembo. Finally, Aseman Sabet presents her interview with curator Ariane De Blois and artist St\u00e9phane Gilot, whose work will be shown at the Havana Biennial.<\/p>\n\n\n\n
These four articles are nevertheless related to the theme Exhibitions<\/em>, to the extent that the artists discussed are specifically interested in strategies for occupying the gallery space, architectural devices, and the spectator\u2019s position. More radically, the work and its shaping are also considered through immateriality, when \u201ca responsible approach by the curator [results] . . . in a project without a footprint\u201d (Chagnon). This issue as a whole thus highlights artists and curators who are working in common to expand the boundaries of the exhibition and offer spectators a very different experience.<\/p>\n