Q&A with Francisco echo Eraso, arts and access consultant.

How did you get involved in accessibility work?
I’m a disabled, trans, Colombian American artist, curator, arts administrator, and access consultant. I started my organizing work at the now disbanded Third Root Community Health Center in Brooklyn, where I learned how to approach accessibility in a grassroots context. I moved on to larger institutions such as the Ford Foundation, where I worked on a Disability Futures Fellowship. That experience, developing programs with 20 leaders of various disability arts and justice movements, is central to how I now understand contemporary access in the arts.

What are access services?
Institutions often approach access issues through the framework of the Americans with Disabilities Act (ADA). Many art spaces are working to meet a checklist of services now required by law, whether affecting exhibition design or programs for disabled workers. Recently, there has also been a lot of recommitment to diversity, equity, access, and inclusion (DEAI), but all these efforts can still leave out many types of access that disability justice organizers foreground.

My own communities of disabled people concentrate on making space for being together. That includes access services like tours designed to meet specific disability needs, access work, care work, event coordinating, public programs, and virtual spaces. Access work should be locally centered, but also very expansive, community engaged, and led by disabled people.

What does your role entail?
Access work in the arts incorporates services such as consulting with installation teams and graphic designers to develop a universal exhibition design, which often includes tours in ASL for those who are Deaf and hard of hearing, and visual descriptions for those who are blind or have low vision.

On a street not far from Paris’s Centre Pompidou, there once was a sculpture that moved. It had a muscular man formed from gold leaf and bronze who, at various points of the day, would appear to fight a dragon, a crab, and a rooster, clanging as his arms and body swayed around. A clock nearby him announced the time.

Since 2003, the year that funding to maintain the piece dried up, its clock has been stopped, and the man has remained static. A quiet hush has since fallen over this sculpture by Jacques Monestier, titled Le Défenseur du temps (The Defender of Time).

All that has changed, however, thanks to artist Cyprien Gaillard.

For the past few years, Gaillard has been working to breathe new life into Monestier’s sculpture, which he has transported to Lafayette Anticipations for a moving show that also extends to the Palais de Tokyo. Once his exhibition ends, Gaillard will return Le Défenseur du temps to its former home, where it will once again creak and clang for unsuspecting passersby.

The curator of both shows, Lafayette Anticipations director Rebecca Lamarche-Vadel, said in an interview with ARTnews, “When I invited him, he said, ‘Okay, I will basically make my work be material that’s consistent with the revival of an artwork by someone else. And I will dedicate all my budget to an outsider to public art that’s not loved anymore.’”

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Inclusivity, culture and power

The nightlife of Oxford occupies an important place in the story of the city, and in its historic contribution to the wider world.

Nightlife can embrace or ostracise. Some spaces are widely accessible – open to non-students and actively welcoming to those who identify as LGBTIQA+. Other spaces bar entry in accordance with university tradition.

This accessibility is important, because the international importance of the university gives Oxford’s night-time scene real power. Over time, it has been shown to dictate national politics, shape culture, and embody the systemic social divide in this country. In many ways, traditional systems of power are perpetuated by Oxford’s nightlife.

There is also an important relationship with film and literature. Oxford’s nightlife has been widely portrayed in fictional media, and at the same time venues in the city have played a role in the discussion and production of literary creations.

Cultural contributions

The public houses of Oxford have long contributed to the cultural fabric of the city and the wider world. The most prominent example is the Eagle and Child pub, founded in 1650. In the early to mid-twentieth century this was the place in which J. R. R. Tolkien and C. S. Lewis first shared the manuscripts of The Lord of The Rings and the Chronicles of Narnia, reading them aloud to a group of writers known as ‘The Inklings’. This group, which included poets Owen Barfield and Charles Williams, was a forum in which the writers discussed their work. They met in the ‘Rabbit Room’ of the Eagle and Child, and in Lewis’s own rooms at Magdalen College.

4 min read

Tracing Oxford’s history in its buildings

During my time in Oxford, I have seen many shops come and go. Nowadays they often leave with little or no sign they ever existed, but back in the day when advertising was hand painted on walls, the new owners often just covered it up. Taking a walk in Oxford and keeping your eyes open, you can still find the fading remains of some of these so-called ghost signs today as they get uncovered. In a broader definition they can also include metal signs or stone engravings. Have you noticed some of the ones below?

1) Curry’s, Cowley Road

Curry’s signage on Stockmore Street / Cowley Road. Photo by Paul Freestone 2020.

On the popular Cowley Road in East Oxford, you can find the traces of a shop that some of you may be very familiar with. Although now selling primarily electronics, then Curry’s were advertising above what is now Atomic Burger with the words “Accessories Curry’s Cycles”. On the side of the building on Stockmore Road the faded writing reads “Toys & Baby Carriages Curry’s Cycles and Radio”. The advertisement was likely put up sometime between 1934 and 1948.

2) Lumley’s Grocery, Walton Street

Lumley’s corner shop. Photo by Isisbridge 2013, album “ghost signs etc”.

In Jericho two special signs are displayed above the Oxford Wine Café at 127 Walton Street: they are ghost signs covered up by ghost signs. The sign at the top reads “The finest Turkey coffee ¼ [meaning: one shilling and fourpence] in one pound canisters”. However, if you look very closely, you can make out another advertisement beneath the visible one. It says “G. Lumleys Grocery Provision Warehouse”. The previous corner shop also encouraged passers-by to “try Geo Lumleys 2/6 [meaning: two shillings and sixpence] tea” on the lower of the two signs. Again, a previous advertisement can be made out beneath this sign proclaiming “[illegible] Bacon, Crosse & Blackwell’s Pickles”. George Lumley was a grocer there until 1888.

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