Jo Spence/Terry Dennett, Decaying Face, from The Final Project series © Jo Spence Memorial Archive, 1991-1992

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Jo Spence/Terry Dennett, Decaying Face, from The Final Project series © Jo Spence Memorial Archive, 1991-1992

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Residency October 23 - November 21, 2008

With the growing visibility of cancer and AIDS in the last quarter of a century, a number of artists have begun to document their experiences of sickness, and to construct a new idiom for the representation of illness in art: autopathography. Faced with the predominance of negative myths and value judgments towards the characters of diseased subjects in Art History, many of these artists have chosen to critically respond to the traditional stigma with which diseased bodies are typically depicted and received.

From initial experiments carried out by artists working with auto/pathography, it becomes clear that artworks can reinforce the negative stigma that is attached to visibly ill persons, but also potentially resist stigmatic attributions to sick beings by re-writing the terms of their representations. Very often, they in fact do both at once. The key feature of autopathographic works produced by professional artists since the 1980s is that they do not strictly amount to a form of personal expressive arts therapy; they are also usually characterized by militancy, aesthetic innovation, and a desire for interpersonal outreach. All of these elements contribute to making autopathography a significant new genre of representation, one which merits increased study.

Auto/pathographies is the first project of its kind to specifically examine the functions of firsthand representations of physical illness in a variety of disciplines, including the live arts. The curatorial residence at OBORO is geared towards developing the media arts components of Auto/Pathographies, an exhibition, catalogue and lecture series on the subject of illness and (self-)representation, which will be shown at Künstlerhaus Büchsenhausen (Innsbruck, Austria) in the summer of 2009.

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Tamar Tembeck

Détentrice d’un doctorat en histoire de l’art, Tamar Tembeck a un parcours professionnel en tant qu’artiste de la scène et commissaire indépendante. Avant de se joindre à OBORO en 2018 (après de nombreuses années d’implication au sein l’organisme), Tamar était chercheure au sein d’un pôle de recherche universitaire en études médiatiques. Elle a notamment codirigé les publications The Participatory Condition in the Digital Age (University of Minnesota Press) et Conflict[ed] Reporting (Photography & Culture). Avec une subvention du Conseil de recherches en sciences humaines du Canada (CRSH), elle a également dirigé un projet de recherche sur l’art public en milieu hospitalier. Tamar continue de s’engager dans des projets de recherche et de recherche-création à l’intersection de l’art et de la médecine avec des partenaires issus de diverses disciplines artistiques et scientifiques. À OBORO, elle a occupé les postes de Directrice générale et artistique (de 2018 à 2020) et de Directrice artistique (depuis 2020).