From May 15 to June 22, 2019, I had the opportunity to be an associate curator alongside Mélanie Boucher and Marie-Hélène Leblanc for the exhibition The Meat Dress at the National Museum: Exhibitions and Reconstruction at Galerie UQO, Gatineau. This exhibition revisited one of the most controversial works in Canada: Vanitas: Flesh Dress for an Albino Anorectic by Jana Sterbak. Here is a reflection on this significant project.
Photographies : Rémi Thériault, Hause of Common
An Artwork That Caused Scandal
Presented in 1991 at the National Gallery of Canada, Vanitas by Jana Sterbak sparked a national controversy. Made from raw meat, this work ignited intense debates about the use of organic materials in contemporary art, provoking passionate reactions from the public, politicians, and the media.
In 2019, together with my colleagues, we aimed to revisit this controversy through a documentary and critical lens. Our goal was to offer a historical and theoretical reinterpretation by analyzing the impact of this work on artistic and societal discourses.
My Role in This Project
As an associate curator, I participated in the curatorial research and the organization of the exhibition design. We built a journey that integrated archives, interviews, and period documents to show how Vanitas was perceived and covered by the media.
Through a selection of videos, photographs, and testimonials, we aimed to recreate the experience and the reactions surrounding the work at the time of its initial presentation. This curatorial work allowed me to deepen my research on the reception of contemporary art and the tensions it can generate.
An Ongoing Inquiry
Beyond its historical perspective, this exhibition also raised current questions about the materiality of art, the ethics of using perishable materials, and consumption. In a world where ecological concerns are ever-present, it was essential to recontextualize this work and question the relevance of such practices today.
A Key Moment in My Journey
This exhibition was a pivotal moment in my journey. It allowed me to collaborate with experienced curators and contribute to a critical reflection on the history of contemporary art. I particularly appreciated the exchanges with the public, artists, and researchers who enriched our approach and reinforced the importance of dialogue around contested works.
The Meat Dress at the National Museum perfectly illustrates my interest in exhibitions that question our relationship to the body, materiality, and the limits of art.