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SCAN by Colab
SCAN SCAN by CoLab ISSUE TWO ON ECOLOGIES OF THINKING AND ECOLOGIES OF PRACTICE: AN INTERVIEW WITH ERIN MANNING. PEACE IS STILL FRAGILE: AN INTERVIEW WITH PETER FRANZ By Pancho Puelles NOW WE’RE TALKING MAWA: AN INTERVIEW WITH SHAWNA DEMPSEY OF MENTORING ARTISTS FOR WOMEN’S ART (MAWA) By Bonnie Marin RHIZOMES AND MONUMENTAL STRUCTURE: CHRIS BOOTH IN CONVERSATION By Kelley Morrell THROUGH THE LIQUID LENS: QUESTIONS FOR LAUREL JOHANNESSON By Lori Lofgren A CONVERSATION MASQUERADING AS AN INTERVIEW: JEANNE RANDOLPH AND SHAUN DE ROOY A CONVERSATION WITH KARA UZELMAN By Michelle Bigold WHAT IS POETRY? WHO LIVES IT?’: FRED MOTEN ON RACE, CONTROVERSY, AND CONCEPTUAL POETRY. By Jessica Evans GREEK PROSTHETICS AND DOCUMENTA 14: A PARAPHRASE AND A PREVIEW OF AN EXHIBITION YET TO COME By Shep Steiner BEING IN PHOTOGRAPHY: AN INTERVIEW WITH KELLY LYCAN SCAN by CoLab ON ECOLOGIES OF THINKING AND ECOLOGIES HORIZONTALITIES OF PRACTICE: AN INTERVIEW WITH ERIN MANNING. Erin Manning is University Research Chair in Relational Art and Philosophy in the Faculty of Fine Arts at Concordia University in Montreal. She is the founder of SenseLab, the author of Always More Than One: Individuation’s Dance (Duke, 2013) and Politics of Touch: Sense, Movement, Sovereignty (Minnesota, 2006). More recently with Brian Massumi, she co-authored Thought in the Act: Passages in the Ecology of Experience (Minnesota, 2014), which provides the focus of the following conversation. The Minor Gesture (Duke 2016), Manning’s latest book will be released this year. Given her achievements and Massumi’s prodigious publishing record from 2014-15 alone—What Animals Teach Us about Politics (Duke 2014), The Power at the End of the Economy (Duke 2015), Politics of Affect (Duke 2015 and Ontopower: War, Powers, and the State of Perception (Duke, 2015) there should be little doubt that Thought in the Act is a major contribution to thinking the borders of art, philosophy and politics today. -
Winter 2011 – 12 December 2011 – March 2012 OVERVIEW Winter at the Power Plant
exhibitions / programs / events Winter 2011 – 12 December 2011 – March 2012 OVERVIEW Winter at The Power Plant Our Winter season presents two major The evening before the opening of the Winter exhi- exhibitions that delve into a wellspring bitions, Stan Douglas will speak in our International Lecture Series (8 December), while the influential of cultural history and the archive of artist Martha Rosler will give an ILS presentation a the social. week later, on 15 December. In the new year, in addition to a lecture by participating artist Stan Douglas: Entertainment features selections Christian Holstad, Coming After extends into a from the Vancouver artist’s outstanding new series of live events and film programs co-present- photographic project Midcentury Studio, in which ed with the Feminist Art Gallery and the Art Gallery Douglas assumes the lens of a postwar photogra- of York University, in tandem with their retrospec- pher as he takes on various jobs from photojour- tive of the late Toronto artist Will Munro. nalism to advertising. The exhibition includes In addition, we are pleased to collaborate with images of novelties and divertissements, as well as World Stage, Harbourfront Centre’s international his Malabar People suite of portraits of the performing arts series for the theatrical run of denizens of a fictional nightclub. The bars, clubs Everything Under the Moon by Toronto artist Shary and bathhouses that appear in the work in the Boyle (who had a solo exhibition at The Power Plant group exhibition Coming After, however, are in 2006) and Winnipeg musician Christine Fellows, absent of revelers — as if the party is over. -
Sinbad in the Rented World
Sinbad in the Rented World Sinbad in the Rented World JOEL GIBB ANDREW HARWOOD JEREMY LAING AND WILL MUNRO IAN PHILLIPS THE ENSEMBLE OF TOPS ‘N’ BOTTOMS SCOTT TRELEAVEN Ian Phillips Untitled Found Object, 2003 [detail] Sinbad in the Rented World WITH AN ESSAY BY R.M. VAUGHAN AND A STORY BY DEREK MCCORMACK ART GALLERY OF YORK UNIVERSITY TORONTO Jeremy Laing and Will Munro Pavilion of Virginia Puff-Paint, 2004 [detail] ON THE OTHER HAND Sinbad in the Rented World With the title, Sinbad in the Rented World, I pay homage to the legacy of the legendary underground filmmaker and performer Jack Smith, referring to one of his unfinished film projects. Not that I suspect Smith’s legacy to be fulfilled by the artists in the exhibition—or even his amazing achievements in film, experimental theatre, and installation necessarily to be known. What I want to explore is a queer aesthetic in Toronto art but as applied to social function. Is this a new phenomenon? Perhaps, if we are willing to stretch our understanding of the parameters of visual culture—or queer art. One might not think that glamour or the superficial excess of glitter could have a social function, but Smith adamantly believed so saying: “Could art ever be useful? Ever since the desert glitter drifted over the burnt-out ruins of Plaster Lagoon thousands of artists have pondered and dreamed of such a thing, yet, art must not be used anymore as another elaborate means of fleeing from thinking because of the multiplying amount of information each person needs to process in order to come to any kind of decision about what kind of planet one wants to live on before business, religion, and government succeed in blowing it out of the solar system.”* The environmental costuming of the gallery (to extend a phrase of Charles Ludlam’s) that takes place here can be considered co-extensive with social practices in the world, even if the works herein contained seem too playful. -
Une Bibliographie Commentée En Temps Réel : L'art De La Performance
Une bibliographie commentée en temps réel : l’art de la performance au Québec et au Canada An Annotated Bibliography in Real Time : Performance Art in Quebec and Canada 2019 3e édition | 3rd Edition Barbara Clausen, Jade Boivin, Emmanuelle Choquette Éditions Artexte Dépôt légal, novembre 2019 Bibliothèque et Archives nationales du Québec Bibliothèque et Archives du Canada. ISBN : 978-2-923045-36-8 i Résumé | Abstract 2017 I. UNE BIBLIOGraPHIE COMMENTÉE 351 Volet III 1.11– 15.12. 2017 I. AN ANNOTATED BIBLIOGraPHY Lire la performance. Une exposition (1914-2019) de recherche et une série de discussions et de projections A B C D E F G H I Part III 1.11– 15.12. 2017 Reading Performance. A Research J K L M N O P Q R Exhibition and a Series of Discussions and Screenings S T U V W X Y Z Artexte, Montréal 321 Sites Web | Websites Geneviève Marcil 368 Des écrits sur la performance à la II. DOCUMENTATION 2015 | 2017 | 2019 performativité de l’écrit 369 From Writings on Performance to 2015 Writing as Performance Barbara Clausen. Emmanuelle Choquette 325 Discours en mouvement 370 Lieux et espaces de la recherche 328 Discourse in Motion 371 Research: Sites and Spaces 331 Volet I 30.4. – 20.6.2015 | Volet II 3.9 – Jade Boivin 24.10.201 372 La vidéo comme lieu Une bibliographie commentée en d’une mise en récit de soi temps réel : l’art de la performance au 374 Narrative of the Self in Video Art Québec et au Canada. Une exposition et une série de 2019 conférences Part I 30.4. -
Investigating Race, Space and Meaning in Toronto's Queer Party
AND YA DON’T STOP: INVESTIGATING RACE, SPACE AND MEANING IN TORONTO’S QUEER PARTY ‘YES YES Y’ALL’ by Trudie Jane Gilbert, BSW, University of British Columbia, 2015 A Major Research Paper presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the program of Immigration and Settlement Studies Toronto, Ontario, Canada © Trudie Jane Gilbert 2017 AUTHOR’S DECLARATION I hereby declare that I am the sole author of this Major Research Paper. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. Trudie Jane Gilbert ii AND YA DON’T STOP: INVESTIGATING RACE, SPACE AND MEANING IN TORONTO’S QUEER PARTY ‘YES YES Y’ALL’ Trudie Jane Gilbert Master of Arts 2017 Immigration and Settlement Studies Ryerson University ABSTRACT This Major Research Paper (MRP) is a case study of the queer hip hop and dancehall party Yes Yes Y’all (YYY). This MRP seeks to challenge white, cismale metanarratives in Toronto’s queer community. This paper employs Critical Race Theory (CRT) and queer theory as theoretical frameworks. Racialization, racism, homophobia, homonormativities and homonational rhetoric within queer discourses are interrogated throughout the analysis. -
VIKKY ALEXANDER Born 1959, Victoria, British Columbia Lives in Montréal, Québec EDUCATION 1979 Nova Scotia College of Art
VIKKY ALEXANDER Born 1959, Victoria, British Columbia Lives in Montréal, Québec EDUCATION 1979 Nova Scotia College of Art and Design, Halifax, Nova Scotia, BFA SELECTED EXHIBITIONS Solo 2019 Vikky Alexander: Extreme Beauty, Vancouver Art Gallery, Vancouver, British Columbia 2018 Vikky Alexander: Other Fantasies, TrépanierBaer, Calgary, Alberta Vikky Alexander: FIAC, Downs and Ross, Paris, France Vikky Alexander: Vertical Dreams, Wilding Cran Gallery, Los Angeles, California Vikky Alexander: Spoils of the Park, Canada House, Canadian Embassy, London, United Kingdom Vikky Alexander: Between dreaming and living, Cooper Cole, Toronto, ON 2017 Vikky Alexander: Unnatural Horizon, L’ESCALIER, Montreal, Quebec Vikky Alexander: 1981 – 1983, Downs & Ross, New York, New York Vikky Alexander, Between Living and Dreaming, Chernoff Fine Art, Capture Photography Festival, Vancouver, BC 2016 Temptation of St. Anthony, Cooper Cole, Toronto, ON 2015 The Troublesome Window, TrépanierBaer Gallery, Calgary, Canada La Vitrine, Atelier Daigneault/Schofield, 2126 Rue Rachel Est, Montréal, Québec 2014 Theatregarden Beastiarium, Wilding Cran Gallery, Los Angeles, California The Temptation of St. Anthony, The Apartment, Vancouver, British Columbia 2011 Island, TrépanierBaer Gallery, Calgary, Canada 2010 Houses of Glass, University Art Gallery, Massey University, Wellington, New Zealand Paris Showrooms, TrépanierBaer Gallery, Calgary,Alberta; Lúz Gallery, Victoria, British Columbia 2008 Lost Horizons, TrépanierBaer, Calgary, Alberta 2007 Model Suites, TrépanierBaer, -
UAAC Conference.Pdf
Friday Session 1 : Room uaac-aauc1 : KC 103 2017 Conference of the Universities Art Association of Canada Congrès 2017 de l’Association d’art des universités du Canada October 12–15 octobre, 2017 Banff Centre for Arts and Creativity uaac-aauc.com UAAC - AAUC Conference 2017 October 12-15, 2017 Banff Centre for Arts and Creativity 1 Welcome to the conference The experience of conference-going is one of being in the moment: for a few days, we forget the quotidian pressures that crowd our lives, giving ourselves over to the thrill of being with people who share our passions and vocations. And having Banff as the setting just heightens the delight: in the most astonishingly picturesque way possible, it makes the separation from everyday life both figurative and literal. Incredibly, the members of the Universities Art Association of Canada have been getting together like this for five decades—2017 is the fifteenth anniversary of the first UAAC conference, held at Queen’s University and organized around the theme of “The Arts and the University.” So it’s fitting that we should reflect on what’s happened in that time: to the arts, to universities, to our geographical, political and cultural contexts. Certainly David Garneau’s keynote presentation, “Indian Agents: Indigenous Artists as Non-State Actors,” will provide a crucial opportunity for that, but there will be other occasions as well and I hope you will find the experience productive and invigorating. I want to thank the organizers for their hard work in bringing this conference together. Thanks also to the programming committee for their great work with the difficult task of reviewing session proposals. -
The Vazaleen Posters Mark Clintberg
Sticky: The Vazaleen Posters Mark Clintberg Abstract Vazaleen was a monthly serial queer party in Toronto founded by artist and promoter Will Munro (1975–2010) in 2000. Munro commissioned Toronto-based artist Michael Comeau (1975–) to create many silkscreen poster advertisements for these parties. His designs include an array of typographic treatments, references to popular culture and queer icons, and vibrant colour schemes. This article discusses these posters in relationship to Michel Foucault’s theory of the heterotopia, Roland Barthes’s semiotic analysis of advertising, and Eve Kosofsky Sedgwick’s writing on camp. Résumé Vazaleen était une fête périodique queer à Toronto, fondée en 2000 par artiste et promoteur Will Munro (1975–2010). Munro a commandé à l’artiste torontois Michael Comeau (1975–) la création de nombreuses affiches publicitaires sérigraphiées pour ces fêtes. Les designs de Comeau comportent une gamme de traitements typographiques, des références à la culture populaire et aux idoles queer, et des modèles de couleurs vibrants. Cet article expose les affiches de Comeau en relation avec le concept de l’hétérotopie élaboré par Michel Foucault, l’analyse sémiotique de la publicité de Roland Barthes, et les écrits sur la culture camp d’Eve Kosofsky Sedgwick. Vaseline is: a sticky petroleum product used for moisturizing; a potential lubricant for sexual encounter; and a Toronto-based serial queer dance party founded by Canadian artist Will Munro (1975– 2010) and contributed to by the city’s queer, gay, lesbian, bisexual, and -
Camoutopia: Dazzle, Dance, Disrupt by Mary Elizabeth Tremonte
Camoutopia: Dazzle, Dance, Disrupt by Mary Elizabeth Tremonte A thesis exhibition presented to OCAD University in partial fulfillment of the requirements for the degree of Master of Fine Arts in Interdisciplinary Master’s in Art, Media and Design Flex Studio Gold at Artscape Youngplace, April 2-12, 2014 Toronto, Ontario, Canada, April 2014 Mary Elizabeth Tremonte 2014 This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 2.5 Canada license. To see the license go to http://creativecommons.org/licenses/by-nc-sa/2.5/ca/ or write to Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA. Copyright Notice This document is licensed under the Creative Commons Attribution-Noncommerical- Share Alike 2.5 Canada License. http://creativecommons.org/licenses/by-nc-sa/2.5/ca/ You are free to: Share — copy and redistribute the material in any medium or format Adapt — remix, transform, and build upon the material The licensor cannot revoke these freedoms as long as you follow the license terms. Under the following conditions: Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. Non-Commercial — You may not use the material for commercial purposes. ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits. -
General Idea, Andy Fabo, Tim Jocelyn, Chromazone Collective
The Aesthetics of Collective Identity and Activism in Toronto’s Queer and HIV/AIDS Community By Peter M. Flannery A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in Art History and Visual Culture Guelph, Ontario, Canada © Peter M. Flannery, April, 2019 ABSTRACT THE AESTHETICS OF COLLECTIVE IDENTITY AND ACTIVISM IN TORONTO’S QUEER AND HIV/AIDS COMMUNITY Peter M. Flannery Advisor: University of Guelph, 2019 Prof. A. Boetzkes This thesis investigates the social and political impacts of art and visual culture produced in Toronto from the 1970s to the present day through changing dynamics of gay liberation, raids of gay bathhouses by the Metropolitan Toronto Police Force during “Operation Soap,” and the continuing HIV/AIDS crisis. Throughout these historic moments, visual culture was an incubator by which artists formulated the values, performative identities, and political actions that defined their activism. Beginning with a brief history of LGBTQ2S+ issues in Toronto, this thesis analyzes selected works by General Idea, Andy Fabo, Tim Jocelyn, ChromaZone Collective, Will Munro, and Kent Monkman. By performing their identities within the public sphere, these artists developed communities of support and, through intensely affective and political acts, catalyzed social change to advocate for equal rights as well as funding, medical care, and reduced stigma in the fight against HIV/AIDS. DEDICATION To the artists, activists, and community builders whose fierce and devoted work catalyzed social change and acceptance. They have led the way in the continued advocacy for LGBTQ2S+ issues and the fight against the HIV/AIDS crisis. -
Instant Coffee • Caitlin Jones • Dave Dyment • Rakett
1 AUTHOR FSM YDSL • Instant Coffee • Caitlin Jones • Dave Dyment • Rakett 4 CONTENTS 5 FSMYDSL INTRODUCTION INSTANT COFFEE Instant Coffee Dave Dyment • p 8 • p 66 QUALITY IS AN INSTANT BESIDE THE QUALITATIVE POINT SOCIETY Caitlin Jones Rakett • p 24 • p 88 6 ESSAY TITLE 7 AUTHOR 8 INTRODUCTION 9 INSTANT COFFEE It doesn’t have to be good to be meaningful. We came up with this phrase in the early years of our formation INTRODUCTION and have since propagated it in many forms — as posters, t-shirts, by-lines, lived aphorism and internalized methodology. It is a slogan we wrote while discussing (IT DOESN’T Andy Warhol. We weren’t speaking about particular artworks by him but referring to his process and subjects. The gist of our conversation being: HAVE TO BE • Quality matters but not more than production. • Producing precedes evaluation. It comes first and should be pursued without the harbinger of good. GOOD TO BE • It doesn’t matter if we like Campbell’s Soup. • Taste rests in the mouth, but there is no need to begin there. • Best to reside in the moment before judgment. MEANINGFUL) • Stay in the instance of making. • Immediacy and production are related and should not get waylaid by concerns about reception. • Our exhibition “Feeling So Much Yet Doing So Little” was presented more than a decade after this conversation, and even though our belief in the original sentiment Instant Coffee has not waivered, the exhibition’s title acknowledges that sometimes our feelings do get in the way of our productivity. We believe that making and doing should precede concerns of quality; output is primary (even if 10 INTRODUCTION 11 INSTANT COFFEE it means repetitiously painting beautifully warm yellow cedar stumps acidic fluorescent pink) but sometimes time is needed to reflect back on what we produce. -
Ho2) Sale AUGUST 10, 2021 – AUGUST 24, 2021 H201 KIM KENNEDY AUSTIN 1977 Canadian B.C
TogeTher again | BaF exhiBiTion and JULY 15, 2020 15, JULY aucTion in SupporT oF alumni arTists online AUCTion parTnerShip (ho2) Sale AUGUST 10, 2021 – AUGUST 24, 2021 h201 KIM KENNEDY AUSTIN 1977 Canadian B.C. Sugar Refinery. Picnic. Bowen Island. 6 August 1921. Dominion Photo Co. AM1535-: CVA 99-5120 watercolour on paper 16 x 20 inches 40.6 x 50.8 centimeters Provenance: Collection of the Artist Exhibited: Terminal Creek Contemporary, Bowen Island, Serpentine Path curated by Patrik Andersson, September 25 - August 26, 2018 Literature: Clint Burnham, Serpentine Path, Espace, Issue 121, Winter 2019 Kim Kennedy Austin is an artist based in Vancouver, Canada. Recent solo exhibitions include You, Only Better at Burrard Arts Foundation (2017); Fast Girls Get There First at Wil Aballe Art Projects (2017); and Industry, Charity, Faith, Hope at West Vancouver Art Museum (2015). Recent group exhibitions include Trapped in 2020 (2020) and Leftovers at Trapp Projects (2019); Serpentine Path at Terminal Creek Contemporary on Bowen Island (2018); and Metamorphosis at Vancouver Art Gallery (2018). Austin’s work has been collected by Burnaby Art Gallery, West Vancouver Art Museum, Vancouver Art Gallery, and Foreign Affairs and International Trade Canada. Austin is represented by Wil Aballe Art Projects. In 2017, Austin presented a new body of work, a result of her artist residency at BAF. These works explored the subject of self-betterment through the advertisements found in American home and fitness magazines from the mid-20th century to comment on the capitalist rise of the “keeping-up-with- the-Joneses" consumerism of the post-WWII era.