eunice bélidor would like to take a critical look at institutional permaculture (Guillaume Désanges), and see whether it influences French exhibition curating outside the Palais de Tokyo, whether it applies outside a city like Paris, and how institutional permaculture might influence curating in Montreal and elsewhere in Canada. Does this inclusive and sustainable foundation actually have an impact on artistic communities excluded from the mainstream, but also on the environment? How are French artists thinking and creating through the seriousness of the climate crisis? What are the ways in which racialized artists are addressing issues of race and gender in their work? What's the status of these vis à vis conversations where they're rendered in North America? A recent trip to Berlin made her realize just how different the modes of creation and the types of exhibition and dissemination venues are from the options in Canada; she would like to discover these venues, but also the studios of artists with transdisciplinary practices.
Born in Montreal, eunice bélidor is a curator, author and researcher. Her curatorial practice focuses on epistolary writing as a vehicle for the affective archiving of curatorial research. She holds a master's degree in Art History and Visual Culture, as well as a graduate diploma in Curatorial Studies from York University (Toronto). Her writing is included in Brooklyn Rail, Hyperallergic, esse arts + opinion, Espace, and Vie des Arts. In 2018 she was the recipient of the Hnatsyshyn Foundation Emerging Curator Award.
+ ou -1,5°, group exhibition, Orangerie du Jardin des Plantes MO.CO.Montpellier Contemporain, Montpellier, FR
Don’t Step On The Flower Beds, group exhibition, PAC OFF, Atelier Vé, Marseille, FR
A Seal is a Portal, Glassbox, Paris, FR
À suivre, à surveiller, group exhibition, Pharmacie et Chapelle de la Miséricorde, MO.CO.Esba, Montpellier, FR
WUU2, group exhibition, Play_Station, Pōneke, Aotearoa, NZ
Art Talk with Art Friends, Bartley + Co Gallery, Pōneke, Aotearoa, NZ