Call for papers


Submissions must be sent in Word format (Times New Roman, 12 pts, 1.5 line spacing) to info [@] espaceartactuel [.] com. Unless otherwise indicated, they should be original and previously unpublished work. Please include a brief biography of the writer (70-80 words for reviews, 80-100 words for other sections), as well as their mailing and email addresses.

The editorial committee reviews all submissions and reserves the right to accept or refuse any articles. Texts that present a potential conflict of interest between the author and subject will not be considered.

Submissions are evaluated on the following criteria: relevance to the mandate of ESPACE art actuel magazine, clarity of expression, quality of analysis and originality.

The editorial committee, overseen by the Editor-in-chief André-Louis Paré, consists of Mélanie Boucher, Peter Dubé, Bénédicte Ramade, Aseman Sabet, Bernard Schütze and Mathieu Teasdale.

The magazine will pay $65 per 250-word page (excluding footnotes), up to a maximum of $260 for exhibition reviews and $520 for texts in other sections.


a) An exhibition review will have 900 to 1000 words, and will address a solo or group exhibition in Quebec, Canada or abroad.
b) Apart from exceptional cases, the exhibition reviewed should not have ended more than four months prior to the release of the issue in which the review will be published.
c) The title of the review should be limited to the title of the exhibition, and include the artist’s name if it is a solo exhibition.
d) The header should also include the venue and dates of the exhibition.
e) Intertitles should be avoided and footnotes should be kept to a minimum, if at all.
f) Images, with full captions, to accompany the text are welcome but not mandatory.
g) A proposal should be sent by e-mail to dmorelli [@] espaceartactuel [.] com as soon as possible before the deadline. The editor-in-chief’s preliminary approval of this proposal does not mean that the submission of the completed text is accepted. The editorial committee must still review the final text for acceptance or rejection.
➜ The next deadline for exhibition reviews is September 5th, 2022.

2. EVENTS section

a) The texts in the Events section are reviews of large-scale exhibitions, particularly biennales or other artistic events involving several venues.
b) A review in the Events section will be 1500 to 2000 words.
c) Apart from exceptional cases, the event reviewed should not have ended more than four months prior to the release of the issue in which the review will be published.
d) The title should include the name of the event, but not necessarily limited to it.
e) The header should also include the venues and dates of the event.
f) Headings and footnotes are welcome but not mandatory.
g) Images, with full captions, to accompany the final text are welcome but not mandatory.
h) A proposal should be sent by e-mail to dmorelli [@] espaceartactuel [.] com as soon as possible before the deadline. The editor-in-chief’s preliminary approval of this proposal does not mean that the submission of the completed text is accepted. The editorial committee must still review the final text for acceptance or rejection.
➜ The next deadline for the Events section is September 5th, 2022.

3. FEATURE section

a) For the Feature section, we would like original texts of 1500 to 2000 words (excluding footnotes) on the theme addressed, along with relevant case studies.
b) Headings are welcome for clarity, but not mandatory
c) Footnotes are welcome, but should not exceed 20.
d) The text will not include a bibliography.
e) Images, with full captions, to accompany the final text are welcome but not mandatory.
f) The author is invited to send us, as soon as possible (June 6, 2022), a proposal by email to dmorelli [@] espaceartactuel [.] com before the final submission of his or her text. The preliminary acceptance of this proposal by the editor-in-chief does not, however, prevent the submission of the completed text to the editorial committee for final validation or rejection.
➜ The next deadline for the Feature section is September 5th, 2022.


ESPACE art actuel (Winter 2023)

Thematic issue: Neurodiversity

Guest editor: Mélissa Sokoloff, research associate in art therapy (Concordia University, Montreal).

First developed by the psychologist and sociologist Judy Singer in the 1990s, the concept of neurodiversity refers to the plurality of human cognitive profiles. For a long time, this term was associated with autism and the autism rights movement, but it has since been expanded to include other neurodivergencies such as ADHD, learning disabilities (dyslexia, dyscalculia, dyspraxia, dysphasia, etc.), giftedness, hypersensitivity, synaesthesia, intellectual disability, etc. Today, neurodiversity has become a paradigm and refers to a specific and dynamic approach, which functions for all human beings, both neurodivergent and neurotypical.

In fact, in the same way that biodiversity is the mark of a healthy ecosystem, neurodiversity, like any other diversity, is a “source of creative potential for the development of humanity.” More specifically, proponents of the neurodiversity paradigm are tired of defining neurodivergence on the basis of neurotypical standards and therefore advise against using terms such as illness, disorder, deficiency, medical disability, or abnormal imbalances, when one should instead speak of natural divergent functions. In the same vein, Juliette Sperenza stated that “just as biodiversity is essential to the balance of our planet, so is neurodiversity essential to humanity.”

In this thematic issue of ESPACE, we invite authors to broaden the dynamic dimensions of neurodiversity for humanity, in particular in regards to the notion of places and artistic productions that are conducive to a creative encounter of various cognitive profiles. Consider, for example, Project Art Works, a British collective of artists and activists working to increase our understanding of neurodiversity in culture. Nominated for the prestigious Turner Prize 2021, this collective brings together neurodivergent artists, their caregivers, such as parents or siblings, health and social service workers, and members of a cultural organization, both from management and work teams. In this “ecosystem of interdependence,” how does this type of initiative advance the contemporary art world ? Conversely, with such a reputation and an increasingly important place in the field of visual arts, does this point to upheavals or tensions in the criteria of professional artistic practices ? How could this meeting of milieus become a source of creative potential to make our society more integrated, accomplished, deeper and whole, according to the words of neurodiversity’s advocates?2

In the art therapy milieu, we also feel this creative tension generated by the integration of its artistic and therapeutic poles. On the one hand, one of the founding principles is to trust the process. However, this disciplinary culture sometimes diminishes the aesthetic value of the finished product at the expense of the therapeutic value of the artistic process in a non-judgmental setting. This non-judgement is indeed essential to deconstruct the idea that one must know how to make art to benefit from the approach and to favour the free emergence of the creative potential among people. On the other hand, can this non-judgement become an impediment to the artistic and creative value of the person in his or her social, or even globalized context ? In other words, when is the artistic judgment of the person who creates effective for his or her well-being as well as that of society ?

Along the same lines, the Quebec-based organization Les Impatients uses artistic activities to help people facing mental health issues. The workshops are given by art therapists or professional artists, and the participants are invited, if they wish, to take part in the exhibition or public arts projects. In this practice context, the participants are primarily welcomed on the basis of their desire to create, regardless of their mental health diagnostic or an associated neuroatypical condition. The human and kind-hearted setting put in place by the artist or art therapist emphasizes both the establishment of a long-term relationship of trust and the aesthetic quality of the studio, located in well lit spaces and offering quality materials, as well as an exhibition site for the artworks. Moreover, the exhibitions sometimes juxtapose works by contemporary artists with works created by the workshop participants. This attention, both to the aesthetics and to the non-judgement, de facto dismantles the categories: is it art ? is it therapy ? is it normal ? Perhaps it is this very dismantlement, this human encounter, around art, that is in fact beneficial for society by way of an attentiveness to the voices and creative work of often marginalized people ?

In parallel, the US-based organization Creative Growth demonstrates that the contemporary art field can benefit from being more inclusive by including artists who, until very recently, were viewed as marginal figures of the art world. This not-for-profit centre provides a professional studio environment and a gallery representation for artists with developmental disabilities. In addition to these various realities there are the emerging or established artists who now openly affirm their cognitive specificity in view of more freely living their respective identities, all the while breaking the persistent taboos around neurodiversity.

We therefore invite authors, whether neurodivergent or neurotypical, to contribute to this issue by proposing texts on neurodiversity, more specifically in relation to space. The notion of space can refer to accessibility, to the studio, to gallery representation, which enables creative encounters in a context of neurodiversity. Space can also be reflected in the chosen medium, such as sculpture, installation, video, etc., or refer back to inner, intrapsychic or imaginary space, or more extensively to an external context, in nature, or the city, which is still linked to the creative potential that neurodiversity offers. Finally, any other notion of space could also be a focus, such as sound, interactive, bodily spaces or in reference to affect. This call is thus multidisciplinary, at the intersection of various arts and therapeutic disciplinary practices, including health and social services and other pertinent disciplines (human and social sciences, biology, political science etc.).

If you wish to contribute to this thematic issue, we invite you, as a first step, to email the editor of the magazine ( before June 6, 2022, in order to make a brief proposal pitch (250 words). We will inform you promptly if your proposal is selected. Your completed text should not exceed 2000 words, footnotes excluded, and will be submitted to us by  September 5, 2022. The honorarium is $65 per page (250 words).


1 Ouimet, M. Miller, C. Boiteau, C. Labbé, C. Finiels, J. Monzée, S. Blackurn, S. Gémis, J. Leduc, C. Baril, F. Lebrun, N. Randoll, H. Chartrand, M. Gervais, C. Stride. (April 4. 2022),  “Autisme et autres divergences cognitives. Qu’est-ce que la neurodiversité ?”, La Presse. April 4, 2022. [On line] :
Our translation.
2 J. Sperenza (2020), Le concept de neurodiversité peut-il révolutionner l’école ?  Rhizome, Volume 78, Issue 4, pp. 6-7. Our translation.