VOX’s programming is being developed according to research thrusts that take the form of a program (including exhibitions, conferences, screenings, seminars, Web archiving, mediation activities, etc.) mapped out by working groups, over a two- to three-year horizon. This presentation model follows from VOX’s desire to work in partnership with artists, exhibition curators and other researchers, and to form presentation networks.
Research Axis 1
Conceptual Paradigms

Since 2005, VOX’s programming has strived to challenge the conceptual paradigms at work in the practices of image making from the 1960s to today. VOX has organized many anthological exhibitions that have contributed to a deeper understanding of various artists from different backgrounds and generations. Thematic exhibitions have also established a transhistorical dialogue between the practices of Quebec artists and artists on the national and international scene. Future projects will be developed following these concerns.

Research Axis 2
Exhibitions as Critical Institution

While exhibitions produced by curators are frequently the subject of study, such is rarely the case for those organized by artists, despite the fundamental role they play in terms of experimentation with innovative forms, openness to other disciplines, and creative relationships established with audiences. Today, how can we reposition the artist at the centre of this conversation and, in turn, help advance knowledge of the subject?

Research Axis 3
Critical thoughts

In charting the future development of our programming, we will extend that work, as well as account for various currents of critical thinking in an effort to understand our world today. Since 2012, through a program of exhibitions and conferences, we have been working to implement a new axis of research that investigates the systemic effects of globalization, post-colonialism, economics and politics by analysing them from the perspective of their impacts on society and the art world.

Research Axis 4

Since 2005, we have been producing retrospective exhibitions that have helped to write new chapters in Quebec and Canadian art history. This work has enabled us to revisit the conceptual practices of N.E. Thing Co., Bill Vazan, Raymond Gervais and Irene F. Whittome. We will continue to mount similar projects that explore the little-known aspects of artists’ work.