Une erreur d'identification

The wave of protests brought about by the Black Lives Matter movement, coming after the lockdown imposed by the spread of the coronavirus, invites a comparison between this political and epidemical moment and the context that prevailed in the late 1980s, when AIDS was causing so much death in Western countries. The art and activism of the period have been thoroughly revisited over the past few years by art institutions. In the following text, I have freely adapted the disidentification methodology of the American artist Bradley Kronz to navigate recent works, exhibitions, and institutional trends. The aim is to create historical short-circuits in order to point up certain traits of the contemporary history of exhibitions and institutions in their approach to identity.