I want to clarify that my intention is not to present this as another artist’s lament about an institution not understanding their work. However, there may be some truth to that perception.
This motivation drives my interest in curation, as I seek to create opportunities for other artists to reflect my lived reality.
It is possible that in francophone regions, the theoretical frameworks and cultural conversations are not yet digested.
Recently, I received yet another rejection from my province’s arts council regarding a project that explores neurodivergence and the concept of crip time.
It can be challenging not to take these setbacks personally, especially when the topic is something that deeply preoccupies and motivates me. Such dismissals can feel like a disregard for what I hold dear.
A dear colleague pointed out that ten years ago, the council did not understand why ‘queer’ was included in an artistic organization, considering it an anglophone theoretical construct. Today, cultural perspectives have shifted, and incorporating queer themes is accepted.
While these regular rejections are frustrating, I find some comfort in the thought that perhaps we are ahead of our time. That being at the edge of art often involves exploring new grounds that are not valued nor understood. This perspective helps me believe that, eventually, these important topics and concerns will pierce into mainstream culture.
For now, maybe that’s why it’s crickets on the other end.
