Exhibiting for Multiple Senses: Art and Curating for Sensory Diverse Bodies (2023 – 2026)
How do disability art activism and crip theory inform contemporary art curating, and the other way around?
As part of the programme, Eva Fotiadi was joined by the artist/curator duo and authors in the book, Hettie James and Stephanie Farmer, and by the artist Dr. Aaron McPeake for the public launch of Fotiadi’s newly published book Exhibiting for Multiple Senses. Art and Curating for Sensory Diverse Bodies (Valiz, 2025).
The book launch included the live creation of an audio description of an artwork that was not visible to the audience, a talk by Eva Fotiadi, and a panel discussion. The conversation focused on themes from the newly published book.
Together, the speakers reflected on artistic and curatorial approaches that engage with sensory diversity and disability. Among the topics discussed were the use of audio description not only as a tool for accessibility, but also as an art form in its own right.
The book includes written and visual contributions by David Bobier, Luca M. Damiani, Stephanie Farmer & Hettie James, Eva Fotiadi, David Gissen & Georgina Kleege, Adi Hollander, Lilian Korner, Elke Krasny, Renata Pekowska, Lotte Lara Schröder and Caro Verbeek.
The book launch took place at the ICA and was part of Valiz’s contribution to the GLUE programme. The publication Exhibiting for Multiple Senses was available during the event and throughout the book fair.
More information about the programme is available via:
How do disability art activism and crip theory inform contemporary art curating, and the other way around?
‘Could experimental sensory translation of art works improve their accessibility for sensory diverse exhibition audiences?’
Eva Fotiadi is a researcher within the Situated Art, Design and Technology research group and a theory tutor at the St Joost School of Art and Design, where she is also a member of the Diversity Dialogues platform
The research group Situated Art, Design and Technology (SADT) focuses on the societal embedding and embodiment of knowledge production that art and design research enables. The conducted research contributes to a deeper understanding of technological developments and their impact on people, society, and the environment, and to the development of situated approaches in the creative sector and beyond. In doing so, it advances a wider acknowledgement of artistic and design research as a mode of knowledge production, one that is grounded in creativity and critical imagination as a way of generating insight into, and intervening in, societal transitions driven by technology.
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