an exhibition of artworks presented by The Critical Design Lab, in collaboration with Tangled Art+Disability and the Doris McCarthy Gallery
About the Exhibition
The #CripRitual exhibition, originally scheduled for winter 2021, has been rescheduled for winter 2022. Artists and artworks for this exhibition were selected in 2020.
Rituals are transformative: they change us and the world around us, whether through incantation or ceremony, private practice or public protest. Academic theories of ritual hold that rituals are embedded in cultural worlds, and that all cultures have rituals of world-building. With the phase “crip ritual,” we put these theories in conversation with disability culture, as understood by disability justice movements and disability studies. This exhibition will gather together artworks that use ritual to foreground understandings of disabled, crip, d/Deaf, Mad, and Sick people’s experiences. #CripRitual highlights strategies for building crip power: the ceremonies, habits, celebrations, design practices, social scripts, and community agreements, grounded in disabled knowledge and experience, that undergird disability culture.
By invoking the word “ritual,” we are referring to crip cultural traditions that center disability as valuable. Alison Kafer writes, for instance, about the moment of being fitted for a new wheelchair as a rite of passage. She crips a formerly-medicalized event by reframing it as a ritual marking the temporalities of crip life. We can also imagine other crip rituals marking the life cycle: rituals for retiring old prosthetic devices, for receiving new hearing aid molds, for venting frustration when access is denied. #CripRitual thus adds nuance to existing academic theories of ritual. Classically, anthropologists define rituals as prescribed action that bring people together to recognize a change in social status through references to shared cultural symbols and an appeal to a higher power (the higher power in this sociological definition may be spiritual, performative, political, or administrative). Feminist activists use the word “ritual” in a different but related way, to recognize processes that harness intentional transformative potential: ecofeminist writer and activist Starhawk, for example, devises rituals for planting, harvesting, making compost, and caring for community during activist convergences.
In this exhibition, artworks depict or create rituals that refer to shared experiences of disability culture. In bringing together this exhibition we seek to make apparent the shared cultural meanings circulating in crip communities. The exhibition recognizes crip rituals as processes and events geared toward building power, strategies for surviving ableism that may be secular, spiritual, or in-between.
We imagine five general categories of crip rituals, that may assist in developing proposals for work:
- Rituals of managing the normate’s perception of difference
- Rituals of access
- Rituals of care / self-care
- Rituals of activism
- Rituals of joy and celebration
Examples of crip ritual may critique the imperative to be well and able-bodied, or, revel in the virtuosities that crip bodies hone to make a home in the world. Crip ritual refuses normative hierarchies of authority and expertise in favor of situated knowledge, of crip expertise. Crip ritual activates collective care networks, mobilizes disability arts aesthetics, and articulates iterative re-imaginings of crip futures. Crip ritual supports bodyminds. Crip ritual puts bodies on the line and enact protest.
Through this exhibition, the Critical Design Lab, in collaboration with Tangled Art Gallery and the Doris McCarthy Gallery, seeks to create a living archive of #CripRituals. This archive will bring together artworks that attend to the ceremonial practices, vernacular designs, and transformative strategies through which disability culture makes crip life livable. As part of the preparations for the exhibition, the artists were invited to a collaborative workshop to develop accessibility elements for their artwork. The exhibition and related events will adapt to the pandemic circumstance, including virtual and remote access options, led by disability community digital access protocols and innovations.
Disabled, crip, d/Deaf, Mad, and Sick people face a lot of barriers and stigma. One way that we deal with these barriers is through rituals. Rituals can be things that we do to create accessibility, mark important moments, or to be in community with others who have similar experiences. We chose some art to be part of a show called #CripRitual. The art is by disabled artists. The artwork is about rituals, things we do all the time, or with special purpose, to make life more accessible for ourselves and other people we care for.
The show will be at two art galleries in the city of Toronto: Tangled Art + Disability, Toronto & the Doris McCarthy Gallery, University of Toronto Scarborough, and on this website. We will try to make it as accessible as we can.
About Critical Design Lab
The Critical Design Lab is a collective of disabled, crip, and neuroqueer maker-theorists and allies. Our lab creates public-facing projects rooted in a critical design practice informed by disability culture and science and technology studies. Other Critical Design Lab projects include Remote Access, and the Contra* Podcast. The lead curators for this exhibition are Jarah Moesch, Aimi Hamraie, and Cassandra Hartblay, in collaboration with our colleagues at Tangled Art+Disability and the Doris McCarthy Gallery.
Questions? Email us at criticaldesignlab@aimihamraie
View the Call for Art (now closed), including an ASL description of the project.
The #CripRitual logo at the top of this page was created by participating artist Shannon Finnegan. The logo depicts the phrase #CripRitual in Shannon’s distinctive handwriting, in all capital letters, black text on white background.
Further support for this project is provided by the University of Toronto Scarborough, the Critical Digital Humanities Initiative at the University of Toronto, the Flourish: Arts & Social Well-being Research Cluster at the University of Toronto Scarborough, and the Canadian Heritage Canada Arts Presentation Fund.