Great Small Works | Melanie Perreault | Clare Samuel

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Published on : 2012-02-13 00:00:00

Concordia University's FOFA Gallery presents

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The Toy Theater of Terror as Usual, Great Small Works Theater


GREAT SMALL WORKS

The Toy Theater of Terror As Usual: Episodes 1-12
York Corridor Vitrines

MELANIE PERREAULT

Vibrancy Trickling Into Tuesday Before Dawn
Main gallery and Ste. Catherine Street vitrine

CLARE SAMUEL

Otherwise Than Being
Black Box

Exhibition:

February 13 to March 11, 2012
Vernissage:
Thursday, February 16, 5 to 7 p.m.

Where:

FOFA Gallery, Faculty of Fine Arts, Concordia University
1515 Ste. Catherine Street W., EV 1.715
Montreal, Quebec (Metro Guy-Concordia)

Gallery hours:

Monday to Friday, 11 a.m. to 7 p.m.

Cost:

Free admission. Everyone welcome.

Information:

FOFA Gallery website or 514-848-2424 ext. 7962
(no voicemail, call during gallery hours)

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GREAT SMALL WORKS: The Toy Theater of Terror As Usual: Episodes 1-12

A popular and simple means of staging dramatic spectacles in the Victorian living room, toy theatre was the rage in homes across Europe and the Americas. During the countdown to the Gulf War in 1991, members of Great Small Works, inspired by Walter Benjamin's notion of culture in a permanent "state of emergency" and by the political photomontages of Weimar artist John Heartfield, began performing a surreal news serial, entitled The Toy Theater of Terror As Usual. Using excerpted texts and cut-out images from current newspapers, magazines and philosophical works, the series, now in its twelfth episode, has dealt with issues ranging from the Gulf War and the Los Angeles riots to the condition of New York City real estate and American gun culture. Performed by five visible puppeteers hovering around a tabletop proscenium stage, Terror As Usual has become the company's signature piece. The exhibition at the FOFA Gallery presents miniature versions of the theatres, a graphic timeline of performances and video documentation, and will conclude its run with a performance by the Great Small Works Troupe; John Bell, Trudi Cohen, Stephen Kaplin, Jenny Romaine, Roberto Rossi and Mark Sussman, in conjunction with the Festival des Castelliers.

MELANIE PERREAULT: Vibrancy Trickling Into Tuesday Before Dawn

Melanie Perreault's installation provides a visceral experience of information overload infused with the sense of another dimension and the fantastic. Monochromatic and dense, Vibrancy Trickling Into Tuesday Before Dawn becomes a cardboard oasis for the durational performance of the character Jillian. Her actions are those of the culturally neurotic – seeking to read more, see more, learn more, know more – and her guarantee of failure has lead her to this fantastical display where she begins to fade into the site.

CLARE SAMUEL: Otherwise Than Being, (2011), three channel HD video, approx. 20-minute loop
The title of Clare Samuel's installation comes from a work by Emanuel Levinas, whose existential philosophy addresses the relationship between the Self and Other, particularly focusing on the the face, which calls forth a responsibility for exchange. Otherwise than Being also refers to the disappearance of the image. A photograph of a man's face gradually disintegrates before us, eventually becoming an empty screen – a lack. The figure's eyes are closed, cutting off communication, and yet holding our attention by belying the stillness of the image, as though at any moment he could "wake up". The action of the piece is literally one of de-facing, but rather than violence, the subject's pose and the beauty of the colours suggest a passive and willing surrender to the process and gaze of the viewer.


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Farming the Unconscious

Feed : we make money not art
Published on : 2012-02-10 20:07:16

The Architecture Department at the Royal College of Art had some thought-provoking projects at the work in progress show. Architectural Design Studio 1's exhibition was looking at how a dense and vertical architecture can bring back food production and consumption in the city.

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Image courtesy André Ford

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Image courtesy André Ford

One of the students of the course, André Ford, looked at the intensification of the broiler chicken industry. Each year, the UK raises and kills 800 million chickens or 'broilers' for their meat. Broiler rearing might be unethical and unsustainable but it is now the most intensified and automated type of livestock production.

Broiler chickens spend their 6-7week lives in windowless sheds, each containing around 40,000 birds. They are selectively bred to grow faster than they would naturally which often causes skeletal problems and lameness. Many die because their hearts and lungs cannot keep up with their rapid growth. Information about the atrocious conditions in which they are raised can be found online.

Philosopher Paul Thompson, of Purdue University is a proponent of The Blind Chicken Solution. Chickens blinded by "accident", he says, "don't mind being crowded together so much as normal chickens do." He adds that while most people would think that creating blind chickens for the poultry and egg industry is an abomination, it would nevertheless be more humane to have these blind chickens.

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Image courtesy André Ford

Sadly, the demand for chicken is rising and methods of production will need to intensify in order to meet this increase. André Ford proposes to adopt a 'headless chicken solution'.

As long as their brain stem is intact, the homeostatic functions of the chicken will continue to operate. By removing the cerebral cortex of the chicken, its sensory perceptions are removed. It can be produced in a denser condition while remaining alive, and oblivious.

The feet will also be removed so the body of the chicken can be packed together in a dense volume.

Food, water and air are delivered via an arterial network and excreta is removed in the same manner. Around 1000 chickens will be packed into each 'leaf', which forms part of a moving, productive system.

The model in the exhibition showed the system in which a chicken would be grown at The Centre for Unconscious Farming. Feed lines provide sustenance, excreata lines remove waste, electrodes stimulate muscle growth.

Questions to the architect:

First of all, i found your project extremely shocking. Shocking because of all the cruelty it reveals -the way chickens are raised in windowless sheds is brutal- but also shocking because the solution you suggest -while it is not as atrocious as the way these poor animals are raised- might sound cynical. So how much provocation is there in Farming the Unconscious? Is the idea mostly an invitation for people to reflect on what they are buying and eating?

The project is almost effortlessly provocative because it is dealing with a subject matter which the majority of people are aware of, complicit in and culpable to varying degrees. The mass media is saturated with documentary films, books and celebrity chef hosted exposé's that document the plight of animals bred for our consumption and I don't wish to add to the plethora of information readily available. The information is there, but the majority of people don't care to know or purport they can't afford to care.

In the past six years we have witnessed an unprecedented increase in the demand for meat. Higher welfare systems are available but this project looks at addressing the inherent problems with the dominant system that produces the majority of our meat - the system that will be increasingly relied upon to cope with the ever-increasing demand for meat.

I think it is time we stopped using the term 'animal' when referring to the precursor of the meat that ends up on our plates. Animals are things we keep in our homes and watch on David Attenborough programs. 'Animals' bred for consumption are crops and agricultural products like any other. We do not, and cannot, provide adequate welfare for these agricultural products and therefore welfare should be removed entirely.

Earlier in the project I was proposing the chickens would be rendered unconscious, or desensitized by complete removal of the head but this has since been revised. Desensitisation will be achieved by a surgical incision that separates the animal's neocortex, responsible for sensory perceptions, and its brain stem which controls its homeostatic functions. The head remains intact.

So in short, I would refer to this solution as pragmatic, not cynical and if the project does cause anyone to reflect on his or her dietary habits then that's great.

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Image courtesy André Ford

How have people reacted to your idea so far? Did they raise the issue that this is not a 'natural' way to raise chicken?

Mostly disgust, but it varies. When meat eaters express disgust I put to them this argument, borrowed from Jonathan Safran Foer, in Eating Animals:

One piece of flimsy logic that we omnivores employ to justify our dietary choice, is that our superior intelligence and greater ability to comprehend the world, verifies our position at top of the food chain. So, if for the sake of the argument, our planet became occupied by a species that was more intelligent than our own, what would our argument be for not being eaten? If you are a meat eater, you might not have an argument, or if you did, you'd run the risk or being a hypocrite. So then you have to ask yourself, how would you like to be farmed?

An ancillary part of my proposal is to use the blood of the chicken posthumous, to hydroponically feed a nursery of rare orchids. The rationale behind setting up this unlikely mutualism is to display the similarities between these two organisms once the chicken has been desensitised. The unconscious chicken is just a different expression of the same chemical elements as in the orchid.

To answer the second part of your question - The project is overtly a hybridisation of nature and machine which is how I see the future of farming. Unfortunately, there is very little that is natural about the way the our food is currently produced. The monocultures and intensive farming systems upon which we rely are technological landscapes, harvested and processed using high-tech, and increasingly robotised machinery.

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Image courtesy André Ford

Could you describe the system the new farming system would be based on?

The system does not subscribe to contemporary intensive farming models, which are not nearly productive enough and are incredibly wasteful with regards to land and resources. This system would be closed-loop and looks to achieve density through verticality and a layering of programmes within these productive spaces.

Did doing the research for this project influence your relationship to animal products, whether it's chicken, eggs, ham or dairy?

Absolutely. I have had a full reassessment of the choices I make as a consumer, in all products that have a welfare factor. I am in denial about my impending return to vegetarianism but I could never be a vegan.

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Component drawing of the growing cell

How do headless chicken produce the muscles that will end up on people's plates?

The brain stem of the chicken which remains intact, is responsible for the metabolic systems involved in muscle growth. The muscles will need exercising in order to grow and this could be done physically by providing some sort of resistance, or as I am proposing, using electric shocks as in 'in-vitro' meat production.

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Image courtesy André Ford

Last question is about a detail really. you wrote on the blog of Naturoids that the coloured light used in batteries 'has a calming effect on the birds and reduces cannibalism.' Cannibalism? Why does that happen?

The exact etiology is unknown, but essentially they are bored. There is a greater propensity for it to occur in barren environments that restrict or limit natural behaviors like nesting, perching and foraging. This coupled with overcrowding and/or a lack or resources and flock behavior takes over.

Thank you André!

Related story: The Meat Licence Proposal.

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Christian Marclay: The Clock

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Published on : 2012-02-10 00:00:00

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CHRISTIAN MARCLAY. THE CLOCK
National Gallery of Canada
10 February – 25 March 2012

Vernissage

Thursday 9 February at 6 pm

Special 24-hour screenings

Free admission on the nights of 9, 10, 16, 17, 18 and 19 February in conjunction with Winterlude and Thursday nights 1, 8, 15 and 22 March, between 5 pm and 10 am.

About The Clock
Catch the Canadian premiere of Christian Marclay's most ambitious video installation to date. The Clock evokes the wonder and illusionism of more than a century of cinema through a captivating 24-hour looped video that plays in real-time. This remarkable production compiles thousands of film references to time and timepieces creating a compelling moving image illustration of the minutes of a passing day. The Clock won a Golden Lion for best artist at the 2011 Venice Art Biennial.

Purchased 2011 with the generous support of Jay Smith and Laura Rapp, and Carol and Morton Rapp, Toronto. Jointly owned by the National Gallery of Canada and the Museum of Fine Arts, Boston.

Access to the exhibition space is subject to availability; limited seated and standing room. Undetermined waiting time is to be expected. No reservation. No photography or recording.

Free admission with Gallery admission fee during regular hours.

www.gallery.ca/theclock



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CHRISTIAN MARCLAY. THE CLOCK
Musée des beaux-arts du Canada
10 février 2012 – 25 mars 2012

Vernissage

Le jeudi 9 février à compter de 18 h

Présentations spéciales de 24 heures

Entrée gratuite les nuits des 9, 10, 16, 17, 18 et 19 février dans le cadre du Bal de neige et des jeudis 1er, 8, 15 et 22 mars, entre 17 h et 10 h le lendemain matin.

À propos de The Clock
Ne manquez pas la première canadienne de la plus ambitieuse installation vidéo de Christian Marclay. The Clock souligne le merveilleux de plus d'un siècle de cinéma ainsi que son mirage à travers une fascinante vidéo de 24 heures, présentée en boucle, en temps réel. Cette compilation remarquable comprend des milliers d'extraits de films qui font référence au temps, créant une saisissante image qui illustre chacune des minutes d'une période de 24 heures. The Clock a remporté le Lion d'Or du meilleur artiste de la Biennale des arts visuels de Venise 2011.

Achetée en 2011 grâce à l'appui généreux de Jay Smith et Laura Rapp, et Carol et Morton Rapp, Toronto. Acquise conjointement par le Musée des beaux-arts du Canada et le Museum of Fine Arts, Boston.

L'accès à la salle d'exposition est sujet à disponibilité et les places assises et debout sont limitées. Une période d'attente indéterminée est à prévoir. Aucune réservation permise. Photographies et enregistrements interdits.

Entrée libre avec le droit d'entrée au Musée pendant les heures d'ouverture habituelles.

www.beaux-arts.ca/theclock

Image:
Christian Marclay
The Clock, 2010
Single channel video, 24 hours
Courtesy the artist, White Cube, London and Paula Cooper Gallery, New York

___________________________________________________
National Gallery of Canada | Musée des beaux-arts du Canada
380, promenade Sussex Drive | Ottawa ON K1N 9N4
613-990-1985 | 1-800-319-ARTS



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Matt Harley: 24 kt.

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Published on : 2012-02-10 00:00:00

CRAM International

24 kt.

Matt Harley


February 10 - 28, 2012

Reception: Friday, Feb 17th, 7 - 11 pm


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Pure 24 carat gold surrounds itself with a permanent electrostatic field at just the right frequency to annihilate all bacteria that come within its boundaries (leaving a corona of untouched culture around golden objects placed in the centre of infected Petri dishes). Among the metals, gold has the rare ability to resist oxidization, making it impervious to corrosion and discoloration under normal atmospheric conditions. Because of its seeming incorruptibility, the earliest civilizations, oceans apart, independently followed the cultural pattern of ascribing a spiritual value to gold, followed by a commercial value some hundreds of years later. In one period in medieval Japan gold was restricted to objects and decorations for the Emperor (descended from the spiritual founder of Shinto) or the interior of the Emperor's palace, as well discreetly symbolic decorations on the sword hilts of certain Samurai warriors. Similar restrictions are seen in cultures during various periods, again on all continents.

Gold also has its dark side. The chemical process of extracting gold now in use, as opposed to the ancient smelting methods, leaves behind arsenic trioxide, one of the deadliest agents know to mankind – a couple of milligrams shuts down the nervous system in seconds.

Now that advanced art is a branch of philosophy, the role of the would-be "advanced artist" becomes that of an artist/philosopher. Naturally, nothing less than brilliance is the aspirant's goal. The thought of merely illustrating existing philosophical propositions leads inevitably to the question of how to include the intuitive and unexplainable quality inhabiting the most sublime artworks, where form and feeling exist in total integration, a perfect blend of object and concept making it possible to communicate a philosophical understanding without the necessity of linguistic explanation.

Given the non-linear nature of such a goal, every decision regarding every detail of a given artwork now includes not only its aesthetic implications and potentialities but also its intellectual, ethical, moral, poetic, and spiritual plus, most difficult to achieve, its emotional implications, the 'je ne sais quoi' behind the near-universal agreement on the greatest masterpieces from all cultures and periods. The now-beleaguered artist needs to think about absolutely every detail and begins researching those aspects above plus related fields of study in order to make the most informed decisions possible. These extend from the form the work takes in the physical world to its less tangible aspects such as the title or the list of materials - especially the list of materials.

Consider the poetry of: ink, watercolor, 24 carat gold, a carboard toilet paper tube.

The exhibition is comprised of paintings in watercolor, ink, gouche, enamel, on construction grade plywood with 24 kt gold leaf, and works on paper and post-consumer cardboard with gold leaf.


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The CRAMplex
24 James Street, 2nd floor
St. Catharines, Ontario
CANADA L2R 4T8

GALLERY HOURS: by appointment & when the sandwich board is out

between The Office Tap & Grill and Christophers Magazine and Cigar Store

CRAM International is a growing concern...

Contact:

Tobey C. Anderson
info@cramart.ca
cramart.ca
905.380.3910

CRAM International is an artist collective operating Canada's smallest alternative multi-purpose art facility. Organized on a benevolent dictatorial management model, CRAM Gallery is funded by collective members, sponsors, patrons, partners, and the director. Since 2006, CRAM has encouraged and promoted local investment in original art and advocated for local contemporary artists.

Since 2007 CRAM International has been in a unique and growing relationship of cultural exchange with the artists of Taller Cultural "Luis Diaz Oduardo" in Santiago de Cuba that has artists from both counties participating in exhibitions, mural events, print projects, and artist residencies. CRAM International is the sole Canadian representative of the artists in the Cuban Artist Exchange and maintains a selection of original Cuban prints and paintings.

Initiated in 2009, CRAM Press is Niagara's only professional print workshop. CRAM Press works with artists to publish Original Print Editions and Original Limited Edition Artist Bookworks.

The Disco Gallery is Niagara's underground art boutique and micro gallery with a focus on emerging artists, unorthodox mediums, and inspired events since December 2009. We are located in the CRAMplex at 24 James Street and are partners in crime with Cram International. Please feel free to circulate this information widely. For further info, interviews, or photos, please reply via email or call Marinko at (905) 937-3021.



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Uncanny algorithms and superstitious bankers

Feed : we make money not art
Published on : 2012-02-09 22:22:57

"They [superstitions] give us a feeling of control over uncertainty and so it might be predicted that the current feeling of instability in the world would create an increase in superstition," said Prof. Richard Wiseman in 2003, just before launching his 'UK Superstition Survey'. The research demonstrated that levels of superstition in the UK were surprisingly high, even among people with a scientific background (full details in the PDF.)

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Image courtesy Shing-Tat Chung

In this time of crisis and confusion, are we going to resort more than ever to superstition and irrationality in order to get back an illusion of control? The project that Shing-Tat Chung was showing at the work in progress show of Design Interactions, explores a world in which beliefs and rituals emerge from the seemingly harmless private sphere to infect larger and more complex public systems. In times of uncertainty will the population demand an alternative logic to be implemented? This project imagines a stock market in which superstitions abound, producing uncanny algorithms and illogical bankers attired in green suit and Feng-Shui briefcases.

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Image courtesy Shing-Tat Chung

Questions to the designer:

I found surprising that your project associate people working in the Stock Exchange with superstition. I thought they were the only people who had control these days. What triggered this interest in 'illogical bankers'?

We're at our most superstitious in times of uncertainty, as we are hardwired to gain control of a situation by recognising patterns, even if they ignore current rationale. When I started researching superstition, I started to concentrate on looking at contextualising my project in scenarios that would best suit my project. This drew me to the stock market and thus bankers. Due to the high levels of instability and vast amounts of money at risk, it seemed the ideal economy to play out my project.

The stock market is in essence a breeding ground for superstition. We have this view that trading is done the rational way, almost emotionless, and then there is this whole other part that is hidden in the private sphere of the banker or trader, such as being buried in their lucky trading jacket or large hedge funds using financial astrology as a source of advice.

One of my favourite researched rituals is a 'reputable' trader who establishes his starting trading position based on the nipple direction of the Sun's page 3 model (up or down). Whilst these facts may be fun and whimsical, what really interests me is when these irrational beliefs start to emerge and become implicated into more cemented systems. For example, 70% of the largest lift supplier's orders, request that the number 13 is removed. So in question, how far will it go, and how far do we demand such beliefs to be implemented? What I want to do is extract these irrationalness and redesign a system which is governed by alternative beliefs. One in which all these beliefs that exist on a private level emerge to infect larger systems. In effect creating this parallel stock market.

With the economic and financial systems collapsing, will we seek an alternative logic? One in which will give us illogical bankers.

Do you think people would trust them more (or at least see them in a more favourable light) if they knew that bankers' decisions are influenced by superstition and illogical elements?

Maybe we would see them as more human and as a result vulnerable. However I think it says a lot more about us in general. The stock market is just another structure among many in which decisions are much more influenced by superstition. The same with extreme fishing, or even sports. That's why a lot of sports stars or even politicians deploy more superstitions than average.

In the early 20th Century, the anthropologist Bronisław Malinowski noted that islanders in the pacific who fished in 'safe zones' carried out their jobs with a high level of rational expertise. However the fisherman who ventured off beyond the coral reef displayed many superstitious rituals and ceremonies to invoke magical powers for safety and protection. So it would seem reasonable that bankers would use more irrationalities. What I want to see is what happens when they solely use illogical elements.

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Image courtesy Shing-Tat Chung

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Image courtesy Shing-Tat Chung

Can you talk to us about the Power of 8 suit? Why the number 8? And what do you mean by "The suit provides the owner with the comfort that even the process of the making of the suit has accommodated relevant superstitions'?

The idea was to begin to question what, why and how the stock market is run. What bankers and traders wear, the colours, the organisation. My first objective was to imagine what it may look like visually, would all the bankers wear green because green represents a rise in the market. However, I wanted to take this a bit further, so working with a pattern cutter, we came up with a pattern that had all its dimensions tailored towards a multiple of the number 8 (cm). Whilst it may look like a regular suit, the cuffs are in fact a bit wider than normal, the sleeves stretch out a bit more than usual.

Why I used the number 8? Well 8 is a lucky number in Asia. (Translates as sudden fortune and prosperity). A number 8 plate in Hong Kong sold for around half a million pounds, where as the Beijing Olympics started on 8.2008 on the eighth hour, eighth minute and eighth second. Part of the project is not only to critique certain collective beliefs but also to see how far we demand them to become implanted and that's where the comment comes in. To what extent do we take our beliefs. Do we require that the current logic in manufacturing is replaced with alternative ones? So if all the measurements of products had to abide to the number 8, what would our reality shape to look like?

If I was rich and superstitious and someone came up with the proposal to convert the all my belongings to be tailored towards 8, I would probably go for it.

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Architecture following Feng Shui principles in China

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Image courtesy Shing-Tat Chung

One of the experiments of Superstitious Thoughts involves an Uncanny Algorithm. What is this algorithm about? And what do people invest in when they invest in this Uncanny Algorithm?

The Uncanny Algorithm is a trading algorithm. One that is currently in stage 1, which is the call for investment and the creation of the actual algorithm. The algorithm will use a trading platform and buy and sell shares with the investors money. However, rather than using current rationale, the algorithm will use superstition as its principle logic. The rules or logic will be governed by collective beliefs such as the fear of the number 13. Buying and selling on a collection of numerological rules (that don't clash). Whilst it will acknowledge collective superstitions, it will also generate its own. Hopefully it will recognise hidden patterns whilst it is trading. So upon a successful trade it will seek for hidden 'charms'. Speculating a bit here, but if I could link this pattern recognition with, for example, the BBC sports webpage, it could potentially start to develop superstitions that are related to the performance, of say, Manchester United. It will then use this to govern how it trades. Or much more simply, if it made a successful trade at a certain time, it may consider the numbers in this time lucky and start computing these as the logic to trading.

So what will happen is that the algorithm will happily trade shares for one year, after this period, the result, whether it has lost or won money will be returned to the investor.

During the trading year, I hope to release quarterlies (reports) and AGMs where investors can attempt to raise trading performance supernaturally. At this very moment, £686 had been invested.

Essentially, what people are investing in is superstition. The experiment, rather than a tool to make money, is more about moving people into the thought space that an algorithm could operate with a very humane way of working and to also act as a live social experiment. As an experiment, that is why I am accepting investments as low as two pounds.

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Image courtesy Shing-Tat Chung

How do you feng-shui a briefcase?

I like the term 'to feng-shui'. Maybe I'll use that more. What I was trying to be careful with, was not to embody the briefcase with, all aspects of superstitions, but to sub divide beliefs into more manageable slices. Feng-Shui has a lot of rules to abide to. So I didn't want to use them all in one go (my project would be over in a flash). In this case, I wanted to take the iconic 'hole in a structure' that channels through chi. It still amazes me when I see those buildings in Asia that have huge holes in the middle of their architecture. Incidentally Feng-Shui is used a lot in businesses, I wonder how you could Feng-Shui a business plan.

Maybe I should go to a specialist and ask to Feng-Shui my thesis.

Did working on this project make you more superstitious than ever?

I would say I am on the half way line. I am pretty rationale, however I like to entertain myself with superstitions. But by working on this project, and unearthing all these wonderful superstitions out there and its effect on systems, it hasn't made me more of a believer, but it has definitely made me admire them more.

Although now that my superstition knowledge has quadrupled and that I now know of more beliefs and rituals, maybe they will slowly or subconsciously affect me.

In fact, I recently found out the time I was born which was 8.18pm. Combine this with 8th Nov 1986 and I am starting to feel pretty lucky.

Thanks Shing-Tat!

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The Artist Project Announces 2012 UNTAPPED Emerging Artists

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Published on : 2012-02-09 00:00:00

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Untapped Artist, Keita Morimoto

ANNOUNCING THE WINNERS OF THE UNTAPPED EMERGING ARTISTS COMPETITION PRESENTED BY MOLSON!

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In search of the next master of their art, Molson M presents the Untapped Emerging Artists Competition at this year's show. Selected from hundreds of applications, 16 of the best up-and-coming artists have been invited to showcase and sell their cutting-edge work. This will be their opportunity to enjoy all the perks of exhibiting artists for FREE! With their commitment to the arts matching their passion for brewing quality beer, Molson M is excited to unveil the following emerging artists that have been selected to participate:


Open Gallery Untapped Winners
Morgan Allaby

Sarah Ammons
Harv Glazer
Bailey Govier
Haejung Lee
Erin Loree
Ryan Louis
Shanna Van Maurik
Keita Morimoto
Jenna Faye Powell
Elly Smallwood
Dana Tosic

Intallation Alley Untapped Winners
Omar Aljebouri & Michael CC Lin

Aaron Badham
Sandra Poczobut
Tong Shen

Click here to see their profiles


Click here to take advantage of our special Valentine's Ticket Offer for Opening Night Preview Party (March 1st, 7-10pm)!
Promo code: lovetap

Show info
: March 1-4, 2012, Queen Elizabeth Building, Exhibition Place, Toronto
Thursday, 7-10pm - Opening Night Preview Party!
Friday, 12-9pm
Saturday, 11am-9pm
Sunday, 11am-6pm

For tickets, special offers and more info, visit www.theartistprojecttoronto.com

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Rebecca Cairns: Inchoate

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Published on : 2012-02-09 00:00:00

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Rebecca Cairns
Inchoate

[in-koh-it]: being only partly in existence; imperfectly formed; formless; not yet completed

Rebecca Cairns 'Inchoate' is a direct passage into the unformed, incomplete and indefinite states of human existence. Image by image the observer is submerged into a dream state, one that drifts through a series of beautifully mystifying experiences, and wakes just short of reality. The presence and absence of form in Cairns images exhibit a clear understanding of the isolation and dissociation experienced by the human body through time and space.

A 2011 graduate of the Creative Photography Program at Humber College, Cairns has shown in several group shows over the past year and has appeared in various publications. Her work has also been exhibited internationally in France, England and Vienna. To add to her credentials, Cairns has a self-published book of photographs and personal writing entitled 'Ghost'. Akasha Art Projects is honoured to present the first solo show by this newly discovered talent which runs February 9-March 10, 2012. Opening reception is February 11, 5 - 8 pm

akasha art projects
511 church st
suite 200
toronto, on m4y 2c9
647.348.0104
akashart@rogers.com
akashaart.com
hours:
Mon – Wed 10 - 6
Thurs – Fri 10 – 7
Sat 11 – 6
or by appointment


akasha art projects is an independently owned and operated gallery that showcases Contemporary Photography from both emerging and mid-career artists. With monthly exhibitions, this gallery provides an open space through which the ingenuity of the photographic lens can both flourish and thrive.



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Michael Dudeck: M E S S I A H

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Published on : 2012-02-09 00:00:00

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Messiah(untainted), 2011, inkjet print on ragpaper, 72"x44"


Michael Dudeck
M E S S I A H

February 9 – March 24, 2012
Opening reception Thursday, February 9, 5-8 pm
The artist will be present


MESSIAH is Michael Dudeck's second solo exhibition at Pari Nadimi Gallery, and centers around a fictive prophet in an elaborate queer mythology Dudeck has spent the last 3 years developing. Focusing on the moment of Death of the Prophet, Dudeck explores the loss of subjectivity involved in being iconic. The Messianic figure must accept the projections of it's public and correspond to, or retaliate against the invention that accompanies his/her own existence. MESSIAH explores the propaganda, the consecration and ceremonial aftermath of the life of the messianic figure through the lens of a queer science-fiction/fantasy blurring prehistory and futurity in a hybrid museological installation.

The exhibition includes large-scale photographic prints on ragpaper, which Dudeck has carved into, maimed, and painted over, a stylized video of the prophets death ceremony, excerpts from an invented sacred text displayed on the walls of the gallery as didactic information, as well as the mummified prophet encased in a plexiglass tomb.

MESSIAH is the sixth installment of Michael Dudeck's RELIGION project following Parthenogenesis (Pari Nadimi Gallery, Toronto, 2009), Cathexis (PLATFORM Center for Photographic and Digital Arts, Winnipeg, 2010), WombTomb (Center for Performance Research, New York, 2011), Amygdala (ace art inc., Winnipeg, 2011), and Pharmakos (The Glasshouse, Tel Aviv, 2012). In addition to these projects, Dudeck has delivered performances, group and solo exhibitions and launched publications nationally and internationally including John Connelly Presents (NYC), The Watermill Center (New York), Art Metropole (Toronto), and Gallery Connexion (Fredericton, New Brunswick). His work has been featured in the New York Times, the Village Voice, View on Canadian Art, Fuse Magazine, and he was one of 500 young artists featured in the New Museum's Younger than Jesus Artist Directory by Phaidon Press. In fall of 2012, Dudeck is one of 12 artists selected to participate in The Winnipeg Art Gallery's banner exhibition Winnipeg Now, which will feature the seventh installment of Dudeck's Religion project: The Baculum Cosmogony, curated by Robert Enright and Meeka Walsh.


Pari Nadimi Gallery 254 Niagara St., Toronto, Ontario, Canada M6J 2L8
Info@Parinadimigallery.com, Parinadimigallery.com, t. +416-591-6464



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Unfamiliar Territories

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Published on : 2012-02-09 00:00:00

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image credit from left to right: Sally Ayre, Jim Hake, Joan Kaufman, Osheen Harruthoonyan


Unfamiliar Territories
featuring works by Sally Ayre, Jim Hake, Osheen Harruthoonyan, Joan Kaufman
February 9 – March 25, 2012
Reception: Saturday, February 18, 2012 from 2-4pm

Unfamiliar Territories brings together the work of artists: Sally Ayre, Jim Hake, Osheen Harruthoonyan and Joan Kaufman. Each of these artists employ ambiguous narratives in their work. Though varied in their techniques, a sense of the magical, the oblique and the bizarre presides in the work of each of these artists.

Sally Ayre is a photo-based artist employing techniques such as Van Dyke, cyanotype, photo silk-screen and photo lithography in her work. At the core of her art practice are notions of loss, longing, and the history of her Newfoundland roots. Now based in Toronto, the artist frequently returns to Newfoundland, in search of objects and information, which become the basis for the work. Organic objects such as rocks, seaweed, shells, and feathers, are the building blocks for her constructed narratives, abstractions that have their roots in the artist's childhood and reminiscence.

Jim Hake tells stories through sculpture. Although his work is dominated by clay and porcelain, he works with a variety of materials including wood, metal, plaster and glass. His work often depicts icons of the human condition with themes such as community, parenthood, and loss. Hake's deeply personal works touch on issues that effects us all, allowing for an individual connection for each viewer. Jim Hake received his BFA in sculpture at the Maryland Institute College of Art, an MA in Sculpture at the California State University, Sacramento and an MFA in sculpture at Henry Radford Hope School of Fine Arts, Indiana University, Bloomington. His work has been exhibited extensively throughout Europe, in particular Milan, Bologna, Venice, Lugano, Stockholm and London.

Osheen Harruthoonyan is a photographer and experimental filmmaker based in Toronto. He employs a multi-faceted approach towards his practice, investigating themes such as memory, history, and the deconstructive process of time. The idea of the fragmentation of memory over time is emphasized by his use of analogue printing processes in a traditional black & white darkroom. Harruthoonyan layers and manipulates both found and personal photographs to create provocative hand-made images that straddle the line between dream and nightmare. Osheen's work has been widely exhibited, including two Featured Exhibitions with the Scotiabank CONTACT Photography Festival (2010 and 2011).

Joan Kaufman is a multi-disciplinary artist exploring the mediums of sculpture, photography, video and sound composition to produce highly symbolic multi-dimensional works of art. She works in series producing multi-media installations that blur the boundaries between illusion and reality by creating both photographic and filmic constructs. Her work thus generates moments, which are continuously suspended in a larger unfolding narrative that spans the artist's entire oeuvre. Kaufman has exhibited both nationally and internationally; is the recipient of Canada Council, Ontario Arts Council and Manitoba Arts Council grants; and has works in both public and private collections.

Lonsdale Gallery is located in Forest Hill Village and was founded in 1995

as a gallery of contemporary painting, sculpture and photography.
For information contact Stanzie Tooth at 416.487.8733; info@lonsdalegallery.com
410 Spadina Road, Toronto, Ontario, M5P 2W2,
Gallery Hours: Thursday - Sunday 11-5pm or by appointment.


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Perceptions of Promise: Biotechnology, Society and Art

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Published on : 2012-02-09 00:00:00

The McMaster Museum of Art presents:

Perceptions of Promise
BIOTECHNOLOGY, SOCIETY AND ART

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Clint Wilson, detail from LOGOS Project, Phyciodes Pulchella Cascades, chromogenic print, 2010


Panel Discussion followed by Opening Reception: February 9 from 6 - 8 pm

Exhibition February 9 – March 31, 2012

Perceptions of Promise: Biotechnology, Society and Art is an exhibition of original artwork and essays that explore the complex legal, ethical and social issues of stem cell research. The project brings together nine internationally recognized visual artists with scientists and scholars. Curated by Lianne McTavish.

Featuring artwork by:

Derek Michael Besant
Sean Caulfield & Royden Mills
Bernd Hildebrandt & Liz Ingram
Shona Macdonald
Marilène Oliver
Daniela Schlüter
Clint Wilson

Panel Discussion Details
Stem Cell Culture: Biomedical Research, Popular Culture and Art
Moderator: Sean Caulfield - Artist, Professor, University of Alberta
Panelists:
Derek Besant - Artist
Roger Jacobs - Professor & Associate Chair (Undergraduate), Developmental Biology, Genetics & Molecular Biology, McMaster University
Patangi Rangachari - Professor Emeritus, Health Sciences, McMaster University
Daniela Schlüter – Artist

McMaster Museum of Art

Alvin A. Lee Building
McMaster University
1280 Main Street West
Hamilton, ON L8S 4L6
Admission is Free
Museum hours: Tue/Wed/Fri 11am-5pm, Thu 11-7, Sat 12-5

museum@mcmaster.ca

www.mcmaster.ca/museum

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mcmastermuseum.wordpress.com


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