Abstract
Before Latvia regained its independence, considerations of accessibility and disability were largely absent from the Latvian cultural landscape. Even after the collapse of the Soviet Union, when Latvian artists and art institutions undertook a change of strategies from socialism to capitalism, from the East to the West, accessibility remained largely unaddressed within the realm of culture. In 2010, Latvia ratified the United Nations Convention on the Rights of Persons with Disabilities, committing to recognizing the importance of accessibility across the physical, social, and cultural domains. However, it wasn’t until 2020 that accessibility in the arts and culture sectors received significant attention. Studies showed that cultural and art institutions in Latvia lacked essential knowledge and understanding of the accessibility requirements that are necessary for including people with disabilities in cultural and art events. Moreover, these institutions faced various obstacles, including budget constraints, time limitations, and a shortage of expertise, which hindered their efforts to make their events accessible. This paper focuses on the challenges of implementing Western accessibility guidelines for creating accessible exhibitions. The central idea of the paper is to re-examine the role of curators in creating accessible exhibitions and to explore the extent of their power. By examining the journey towards accessibility in Latvian art institutions, this paper contributes to the broader discourse on social and cultural inclusion. It highlights the importance of understanding, empathy, and collaboration in the quest for a more accessible and inclusive cultural landscape.
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
2024 Special Focus—Intersectionality: Museums, Inclusion, and SDGs
KEYWORDS
Accessibility, Curatorial Practice, Disability Studies, Museum, Post-soviet
