Summary

84

Exhibitions

Spring Summer 2015

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. Liberated from being simply a means of display, the exhibition has become an artwork in itself. 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. 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.

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Current Issue

Crip

Spring Summer 2026

While “handi” (short for the term “handicapé” in French) and “crip” (derived from “cripple,” meaning “disabled”) are diminutive forms of stigmatizing terms, the meaning we ascribe to them is by no means reductive. On the contrary, they carry a political weight that provides those who embrace them with a powerful tool for empowerment, offering disabled artists non-normative ways for articulating the strange temporalities of disabled experience and alternative ways for navigating an ableist art world. In this issue, we are interested precisely in this work of social, political, and cultural transformation, and we focus on the ways in which crip authors and artists address the different challenges they face.

Cover: Hac Vinent
Accident, exhibition view, Fundació Joan Miró, Barcelona, 2024.
Photo: Roberto Ruiz, courtesy of the artist & ADN Galeria, Barcelona

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