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It is an honor to receive an invitation from Tawny Andersen and Dena Davida to republish the curatorial essay for our exhibition-event, CounterPoses: Reimagining Tableaux Vivants, that was presented by the gallery Oboro in Montreal in 1998. The opportunity to revisit the project and share it with a larger audience reignites the joy, generosity, and openness we experienced within the Montreal art community. During those years, we were engaged in interdisciplinary graduate studies that illuminated our interests in sensory aesthetics, affect theory, and experiential art, while our editorial positions at Parachute magazine located us at the nexus of the critical art apparatus, where we sought to expand upon art-historical discourse by nurturing writers working in cultural studies, media studies, and performance studies. Now full-time academics, we continue to be involved in these fields of inquiry as founding editors of the Journal of Curatorial Studies, as well as through independent curatorial projects.1
Contributor Notes
Jim Drobnick is a curator and Professor at OCAD University, Toronto. He has published on the visual arts, performance, the senses, and post-media practices in recent anthologies such as Olfactory Art and the Political in the Age of Resistance (2021), Designing with Smell (2017), Food and Museums (2017), L'Art Olfactif Contemporain (2015), The Multisensory Museum (2014), Senses and the City (2011), and Art, History and the Senses (2010). His books include the anthologies Aural Cultures (2004) and The Smell Culture Reader (2006). He is co-editor of the Journal of Curatorial Studies and co-founder of the curatorial collaborative DisplayCult.
Jennifer Fisher is a curator and Professor of Contemporary Art and Curatorial Studies at York University, Toronto. Her research focuses on exhibition practices, affect theory, and the aesthetics of the non-visual senses. Her writings have been featured in anthologies such as Sound Affects (2023), Linda Montano (2017), Caught in the Act, Vol. 2 (2016), are you experienced? (2015), The Artist as Curator (2015), The Ashgate Research Companion to Paranormal Culture (2013), and The Senses in Performance (2006). She is the editor of Technologies of Intuition (2006). She is co-editor of the Journal of Curatorial Studies and co-founder of the curatorial collaborative DisplayCult.