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Representing Disability in Museums : Imaginary and Identities
Sumário
The Politics of «Creative Access» : Guidelines for a Critical Dis/ability Curatorial Practice
Amanda Cachia
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AbstractIn this chapter, I offer guidelines or instructions accompanied by examples for a critical dis/ability curatorial practice, which involves an application of «creative access». «Creative access» extends from the generally understood meaning of «access», which is the ability to approach and use something. Access typically encompasses qualities of ease, according to Elizabeth Ellcessor, which might involve, for example, «user-friendliness of a system, or financial affordability»1. In the context of a critical curatorial practice, where curators are understood to provide «access» to an audience in terms of an exhibition’s content through objects, ideas and text, adding the word «creative» to curatorial «access» has a political agenda. First, the idea of «creative access» is manifold: on the one hand, the goal of «creative access» is to advance a more complex curatorial model for contemporary art exhibitions that can be made accessible to an array of complex embodiments, where, for example, American Sign Language, captioning, and written and audio translations of sound and image are embedded into the material, structural and conceptual aspects of an exhibition. On the other hand, «creative access» also means an active curatorial engagement with artists who use «access» as a conceptual framework in their practice, so that a curator’s notion of access and an artists’ interpretation of access are conflated and juxtaposed in an exhibition, providing a dynamic dialogic exchange between the physical and the conceptual, or the praxis and the theory.
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Data da última atualização: 2021-02-24
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