Crip Time: Disabled Spacemaking in the Work of Queercrip Artists

The session Crip Time considers the work of queercrip[1] artists, activists, and scholars and what their interventions teach us about how we are all impacted by ableism in art institutions. For example, how do queercrip practices create inclusivity in art spaces that are all too often inaccessible? In what ways do queercrip producers critique the inherent limitations of art institutions in the dissemination of their work?

In collaboration with queer and trans activists of color, Black queercrip artist Carolyn Lazard, created Accessibility in the Arts: A Promise and a Practice.[2] The PDF includes the following definition of disability, “an economic, cultural, and/or social exclusion based on a physical, psychological, sensory, or cognitive difference...Disability is structurally reinforced by ableism, a system rooted in the supremacy of non-disabled people and the disenfranchisement of disabled people through the denial of access.” We take this definition as a starting point from which to begin a collaborative conversation about disabled spacemaking in the work of queercrip interventionists.

We encourage submissions that discuss disability justice, notions of accessibility and creative queer and trans disabled interventions. Participants might want to explore the following: queercrip worldbuilding, adaptive technologies, taking naps, color-coded pill cases, hacked compression vests, disability gender abolition, Deaf music, blind photography, disabled spacemaking, plant-based healing remedies, crip-time-based video, “sick” moving images, anti-stair club lounges, ASL stand-up comedy, and more. This session will be both in-person and remote, and accessible.

[1] Artists identifying as queer and disabled.

[2] Accessibility in the Arts: A Promise and a Practice.