Radical Museology/Radical Pedagogy: Curating Beyond Boundaries
In this born digital project, we use the practices, genres, and logics of exhibition as an organizing framework for communicating a subversive approach to writing pedagogy. We have selected, arranged, interpreted, and juxtaposed artifacts from museums and from the University of Rhode Island (URI) first-year writing curriculum that tell a disjointed and fragmented story about what social justice work is possible in both museums and schools. In keeping with our work to disrupt sedimented writing instruction practices, we cultivate here dis-orientation, dis-census, and dis-obedience as necessary dispositions for unlearning and unmaking hegemony in the classroom. We invite participants to experience these affective dimensions of radical pedagogy and listen to the “noise” as they step into a three-dimensional virtual reality classroom we developed with the open-source platform Artsteps. As a corollary to the VR exhibition, which is available at https://www.artsteps.com/view/5d795b7124396e1a5c2cfd0b, this exhibition catalogue further contextualizes and interprets the artifacts, theorizing the productive juxtaposition of radical museology and radical pedagogy.
In this born digital project, we use the practices, genres, and logics of exhibition as an organizing framework for communicating a subversive approach to writing pedagogy. We have selected, arranged, interpreted, and juxtaposed artifacts from museums and from the University of Rhode Island (URI) first-year writing curriculum that tell a disjointed and fragmented story about what social justice work is possible in both museums and schools. In keeping with our work to disrupt sedimented writing instruction practices, we cultivate here dis-orientation, dis-census, and dis-obedience as necessary dispositions for unlearning and unmaking hegemony in the classroom. We invite participants to experience these affective dimensions of radical pedagogy and listen to the “noise” as they step into a three-dimensional virtual reality classroom we developed with the open-source platform Artsteps. As a corollary to the VR exhibition, which is available at https://www.artsteps.com/view/5d795b7124396e1a5c2cfd0b, this exhibition catalogue further contextualizes and interprets the artifacts, theorizing the productive juxtaposition of radical museology and radical pedagogy.
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Displayed in the exhibition titled Readykeulous by Ridykeulous: This is What Liberation Feels Like at
the Contemporary Art Museum St. Louis in 2014, this piece revises the Guerrilla Girls sardonic text “The
Advantages of Being a Woman Artist” from a queer perspective. Using a pen to write over the original,
Ridykeulous moves beyond the bourgeois critiques of space and gender representation to highlight the
sensual, enfleshed pleasures of being a lesbian artist—one who won’t be coerced into fellatio for professional gain.
Exhibition co-curators Nicole Eisenman and A. L. Steiner approach their curatorial work in fabulously
flippant ways. They refuse to settle on a motto or an intention for the exhibition; instead, they cite affective
motivations—boredom and anger—as the impetus. They argue that anger is the most primal of human
emotions, and this exhibition makes space for raw anger in an American culture that fetishizes happiness.
In line with Bishop’s (2014) notions of radical museology, Eisenman and Steiner discuss the exhibition
work as an opportunity to create a moment that breaks the chronology of late capitalism (Baran, 2014).
As the world approaches impending doom, in the form of a patriarchal-capitalist apocalypse, This is What
Liberation Feels Like enters the “space-time continuum…[to] interrupt forward motion” and create a
liminal, temporal opportunity to imagine futures that are “open for your pleasure.”
Link:
https://soundcloud.com/user-469652853/a-space-for-anger
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