Fiche du document
2018
- doi: 10.7202/1054379ar
Ce document est lié à :
RACAR : Revue d'art canadienne ; vol. 43 no. 2 (2018)
Tous droits réservés © UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada), 2018
Sujets proches
Appraisal of books Evaluation of literature Literary criticism Books--Appraisal Criticism--Technique Literature--Evaluation Collection and preservation Collecting Collectibles--Collectors and collecting Causality Effect and cause Cause and effect Final cause Causa y efecto Ouverture Possibilité (logique) Possible Impossible Possibilité (philosophie) Impossibilité Causation Cause finale Cause Principe de causalité Loi de causalité Effet et cause Cause et effetCiter ce document
Elitza Dulguerova, « Ouverture pour cause d’inventaire. Figures et significations de l’exhaustivité en exposition », RACAR: Revue d'art canadienne / RACAR: Canadian Art Review, ID : 10.7202/1054379ar
Métriques
Partage / Export
Résumé
This article examines how exhaustiveness serves as a guiding principal for certain exhibitions, and particularly as a means of critiquing selection as the dominant method of promoting specific artworks, artists, and movements. It begins by outlining the possible genealogies of this attitude in the history of exhibition forms, as well as artists’ experiments with these forms. It then focuses on the work of curators Michael Fehr, Véronique Souben, and Rebecca Duclos and David K. Ross, who, in different contexts, have used notions of inventory and storage to exhaustively present collections. These practices represent strategies of resistance and critique whose contemporary relevance needs to be evaluated alongside their strengths and weaknesses.