Exhibition as Artwork

Sylvette Babin

The 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, 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’s 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 (no. 72, Spring/Summer 2011) and Re-enactment (no. 79, Fall 2013). 

As 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’s 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 Jérôme Glicenstein proposes, “a canon of exhibitions—that is, a body of shared references, which might serve as a reservoir of models for apprentice curators”—exists, it is nevertheless worthwhile to remember that canons are often selective, or even exclusive, as Griselda Pollock emphasizes in her book Differencing the Canon.(1) Glicenstein concludes, in his article here, “It is also a question of the manner in which this writing issues from an ‘institutional inscription’: the form of knowledge that legitimizes it and that it addresses.” This question remains on the table.
 
As a complement to this section, we are publishing a series of articles on the presence of Québec 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. Thierry Davila interviewed the artists and the curator, Marie Fraser, and takes a look back at some of the collective’s most noteworthy works. Katrie Chagnon examines Jean-Pierre Aubé’s performance and sound-art projects presented in Venice and in Rome by Galerie de l’UQAM, 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 Mûr and then in the Personal StructuresCrossing Borders exhibition mounted by the Global Art Affairs Foundation at Palazzo Bembo. Finally, Aseman Sabet presents her interview with curator Ariane De Blois and artist Stéphane Gilot, whose work will be shown at the Havana Biennial.
 
These four articles are nevertheless related to the theme Exhibitions, to the extent that the artists discussed are specifically interested in strategies for occupying the gallery space, architectural devices, and the spectator’s position. More radically, the work and its shaping are also considered through immateriality, when “a responsible approach by the curator [results]... in a project without a footprint” (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.
 
[Translated from the French by Käthe Roth]
 
NOTE
 
(1) “However, if artists—because they are women or non-Europeans—are both left out of the records and ignored as part of the cultural heritage, the canon becomes an increasingly impoverished and impoverishing filter for the totality of all cultural possibilities generation after generation.” Griselda Pollock, Differencing the Canon: Feminism and the Writing of Art’s Histories (London: Routledge, 1999), 4.
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