Exploring Multi-Sensory Exhibition Strategies in Canadian Contemporary Art Institutions

Sensorial Inclusion: Multi-sensory exhibition strategies at institutions of contemporary art in Canada ellen belshaw they/them MISt, McGill University Inclusive Museum Conference, April 2022

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Outline Introduction Definitions Research questions Research parameters Major findings Implications & future research potential

Ocularcentrism Reliance on vision above other senses Term coined by Martin Jay in 1988 with his paper The Rise of Hermeneutics and the Crisis of Ocularcentrism Non-ocularcentric art Art forms that do not ascribe to the sensorial hierarchy of sight above others Examples may include: sound art, performance art, installation art, interactive art, etc

Research Questions To what extent are institutions motivated to exhibit non-ocularcentric or multi-sensory art? Where does the motivation come from? What can be done to improve the exhibitions strategies of non-ocularcentric art at contemporary art institutions in Canada? What barriers or constraints are professionals facing? What related issues are professionals working towards that could be helped by more non-ocularcentric art in exhibitions?

Research Parameters Scope Contemporary art Public institutions in Canada Exhibiting institutions Participants 18 anonymous questionnaire responses 7 semi-structured interviews (45-60mins each, anonymized) Ongoing informed consent

Major Findings 1 While some terms are already available and in use, there is a lack of consensus on the language used to discuss non-ocularcentric experiences in exhibitions Three distinct categories of non-ocularcentric experiences emerged through the research Non-ocularcentric art Non-ocularcentric experiences Alternative programming While the three categories have some distinct motivations and barriers, there were a number of motivations and barriers shared across all categories 2 3

Categories of non- ocularcentric Art Experiences a. Non-ocularcentric art Fully integrated in exhibitions Included ephemerally in exhibitions b. Non-ocularcentric exhibitions Built-in exhibition components Added-on exhibition components c. Alternative programming

a. Non-ocularcentric Art Generally refers to art that is intrinsically not prioritizing sight, or that employs other senses to be experienced as intended by the artist Time-based art, ephemeral art, or art heavily focused on other senses Fully integrated in exhibitions Presented in similar spaces as art intended to be experienced ocularly Included ephemerally in exhibitions Same types of art but added-on to exhibitions, often as promotional or educational events, or at exhibition openings Examples mentioned: Rirkrit Tiravanija, Janet Cardiff, Salima Punjami

b. Non-ocularcentric Exhibitions The art may be ocularcentric, but a point has been made to make the exhibition experience non-ocularcentric Available to all exhibition visitors Built-in exhibition components Integrated into exhibitions Ie. Tactile/interactive rooms mimicking an artist s style Added-on exhibition components Can be added or changed without major changes to the exhibition Ie. Audio guides, sensory/tactile boards, in-person guided tours Examples mentioned: Paul Klee exhibition at the National Gallery of Canada (#PlayinKlee)

c. Alternative Programming Only available to specific visitors, at specific times or contexts Ie. Controlled touch tours available only for blind or partially sighted visitors one day/month, educational programming for student groups, etc Example mentioned: Stimulating the Senses tour formerly offered at the National Gallery of Canada

Motivations and Barriers

Implications of Ocularcentrism Recognizing ocularcentrism could lead to improved representation Possibilities for improved equitable representation of a more diverse range of artists for non-ocularcentric art in exhibitions Possibilities for improved structures for alternative programming to benefit a range of visitor needs

Implications of Creating Categories More vocabulary options can lead to improved communication Having precise terms aids communication Non-ocularcentric art is often conflated with providing access Improved communication could positively affect funding requests

Future Research Include educational staff in future studies Returning categories to participants for discussions about more precise issues More research on the relationship between artist demographics and non-ocularcentric art

In summary Importance of thinking critically about ocularcentrism in cultural heritage institutions General understanding of the different categories of non-ocularcentric experiences and some of the terminology The broader implications of who is affected by ocularcentric exhibition strategies

Thank you! References Candlin, Fiona. Rehabilitating unauthorised touch or why museum visitors touch the exhibits. The Senses and Society, 12, 3 (2017), 251-266. https://doi.org/10.1080/17458927.2017.1367485 Clintberg, Mark. Where Publics May Touch: Stimulating Sensory Access at the National Gallery of Canada. The Senses and Society, 9:3 (2014): 310-322, https://doi.org/10.2752/174589314X14023847039755 Dymond, Anne. Diversity Counts: Gender, Race and Representation in Canadian Art Galleries. Kingston/Montreal: McGill-Queen s University Press, 2019. Jay, Martin. The Rise of Hermeneutics and the Crisis of Ocularcentrism. Poetics Today 9, 2 (1988): 307-326. https://doi.org/10.2307/1772691 Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought. First edition. Berkeley, California: University of California Press, 1993. Howes, David. Introduction to Sensory Museology. The Senses and Society 9, 3 (2014): 259-267. https://doi.org/10.2752/174589314X14023847039917 Contact: ellen.belshaw@mail.mcgill.ca www.ellenbelshaw.com Twitter @ellen_belshaw | Instagram @lllllllllll.n |www.linkedin.com/in/ellen-belshaw/