Noah Cole: Summer in the Arctic

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Published on : 2014-11-27 00:00:00


Summer in the Arctic, by Noah Cole, Gladstone Hotel. Nov 27th

Canadian landscapes and ecosystems are under pressures of climate change and human impact. Pristine natural areas are increasingly uncommon. Journey, led by a glimpse, to the remote historically significant community of Bathurst Inlet and experience its remarkable natural legacy through Summer in the Arctic.

A portion of the proceeds of this show will go to benefit the Kingaunmiut community of Bathurst Inlet, as well as towards WWF-Canada’s Arctic programs and to Ontario Nature for their excursion with Quest Tours to visit Bathurst Inlet in 2015, with contributions from the excursion to benefit the Nature Guardians Youth Program.

Join us for the Opening Reception on Thursday, November 27th | 7 - 9 PM, 7:30 PM Opening Remarks by Dr. Pete Ewins, WWF-Canada

Photographs include: Franklin expedition locations, Bathurst Inlet, the Arctic Ocean, landscapes, caribou, cultural images, bird life, rare species and more.

Please RSVP, Subject Line: Summer in the Arctic-Nov 27

Summer in the Arctic. Noah Cole. November 27 - December 27, 2014. Gladstone Hotel, 2nd Floor Gallery. 1214 Queen Street West, Toronto.

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30th Annual Holiday Fundraising Art Sale

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Published on : 2014-11-27 00:00:00



The Ottawa School of Art - Downtown & Orleans Campus Galleries are both pleased to present their 30th Annual Holiday Fundraising Art Sale. The exhibition features a wide range of original, unique and affordable works of art created by the students, instructors and alumni of the School in a wide variety of media, sizes and prices. The funds raised from this sale go toward the Ottawa School of Art’s bursary programs to provide free art classes and materials, while maintaining our high standard of instruction.

You are invited to the opening reception on Thursday November 27, 2014 from 5 to 8pm at the Ottawa School of Art Downtown Gallery. Don’t miss the presentation of awards and scholarships! Works will be on display from: November 27 - December 14, 2014.

You are also invited to the opening reception on Sunday November 30, 2014 from 1 to 3pm at the Ottawa School of Art Orleans Gallery. Works will be on display from: November 28 – December 14, 2014

The Ottawa School of Art offers Diploma and Certificate Programs, and a full range of community level art courses including drawing, painting, photography, new media, ceramics, sculpture, printmaking, and a wide variety of specialized short courses and workshops. Children’s and Teens’ classes range from multi-media to animation and cartooning, to sculpture and construction, pottery, drawing and painting.

The Ottawa School of Art is located at 35 George Street in the Byward Market and at 245 Centrum Boulevard in Orleans. Admission to the gallery is always free.


Ottawa School of Art
35, rue George Street
ByWard Market
Ottawa, ON K1N 8W5

Ottawa School of Art
245, Centrum Boulevard
Shenkman Arts Centre
Orleans, ON K1E 0A1

Contact Information:
Nina Camilleri, Marketing & Events Coordinator
613-241-7471 x 26

Stay in touch: |

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Convergence: An International Summit on Art + Technology

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Published on : 2014-11-27 00:00:00


Convergence: An International Summit on Art + Technology
The Banff Centre
November 27 – 29, 2014

What happens when art + technology converge? That is what we are going to find out during Convergence and we want you to join the party. For three days in November, performers, exhibitions and presenters from around the world are converging in Banff to showcase work that crosses disciplines, sparks the imagination and builds relationships across creative communities in art + technology. With performances every night and jam-packed schedules during the day, Convergence is a must-attend event this fall.

Want to find out more? Check out the schedule and read about the presenters and performers coming to Convergence. Register now to avoid missing out!

For more information:
T: 1.800.884.7574

Photo credit: kondition pluriel. Intérieur (2010/11). Courtesy the artist.

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James George's talk at the DocLab Interactive Conference

Feed : we make money not art
Published on : 2014-11-26 13:08:12

As the title of this post implies, i was in Amsterdam on Sunday for the DocLab Interactive Conference, part of the Immersive Reality program of the famous documentary festival.

James George at the DocLab Interactive Conference. Photo by Nichon Glerum

The conference (ridiculously interesting and accompanied by an exhibition i wish i could see all over again but more about all that next week) looked at how practitioners redefine the documentary genre in the digital age. In his talk, artist James George presented artistic projects that demonstrate how fast computational photography is evolving. Most of the project he commented on were new to me but more importantly, once they were stitched together, they formed a picture of how innovations are changing our relation to the essence, authorship and even definition of the image. Here are the notes i took during his fast and efficient slideshow of artistic works:

Erik Kessels, 24hrs of Photos

Erik Kessels printed out every photo uploaded on Flickr over a 24-hour period. Visitors of the show could literally drown into a sea of images.

The work, commented George, functions more as data visualization than as a photo installation.

Penelope Umbrico, Suns (From Sunsets) from Flickr, 2006-ongoing. Installation view, SF MoMA

In 2006, Penelope Umbrico searched for 'sunset' on Flickr back. She then printed the 541,795 matches and assembled them into one wall-size collage of photographs. She said. "I take the sheer quantity of images online as a collective archive that represents us - a constantly changing auto-portrait."



With 9 Eyes ongoing work, Jon Rafman shows that you don't need to be a photographer to create photos. The artist spent hours pouring over google street view to spot the inadvertently eerie or poetic sights captured by the nine lenses of the Google Street View camera cars.


Clement Valle, Postcards from Google Earth

Clement Valle fortuitously discovered broken images on Google Earth. The glitches are the result of the constant and automated data collection handled by computer algorithms. In these "competing visual inputs", the 3D modellings of Earth's surfaces fail to align with the corresponding aerial photography.

Google Earth is a database disguised as a photographic representation. These uncanny images focus our attention on that process itself, and the network of algorithms, computers, storage systems, automated cameras, maps, pilots, engineers, photographers, surveyors and map-makers that generate them.

Teehan+Lax Labs, Google Street View Hyperlapse

Teehan and Lax created a tool that taps into Street View imagery and pulls it together to create an animated tour. Pick the start and end points on Google Maps and Hyperlapse stitches together a rolling scene of Street View imagery as if you were driving the GSV car.

Staro Sajmište

Living Death Camp, by Forensic Architecture and ScanLAB, combines terrestrial laser scanning with ground penetrating radar to dissect the layers of life and evidence at two concentration camp sites in former Yugoslavia.

But how about the camera? When is the camera of the future going to emerge? What is it going to be like? It will probably be more similar to a database than to an image. In his keynote speech concluding the Vimeo Festival + Awards in 2010, Bruce Sterling described his prediction of the future of imaging technology. For him a camera of the future may function as follows: "It simply absorbs every photon that touches it from any angle. And then in order to take a picture I simply tell the system to calculate what that picture would have looked like from that angle at that moment. I just send it as a computational problem out in to the cloud wirelessly."



In mid-2005, New York City MTA commissioned a weapon manufacturer to make a futuristic anti-terror surveillance system. The images were to be fed directly into computers, watched by algorithm and alerts would be sent automatically when danger was detected. However, the system was plagued by "an array of technical setbacks", the system failed all the tests and the whole project ended in lawsuits. Thousands of security cameras in the New York subway stations now sit unused.

One month later after Sterling's talk, Microsoft released Kinect. The video game controller uses a depth sensing camera and computer vision software to sense the movements and position of the player. Visualizations of space as seen through Kinect's sensors can be computed from any angle using 3D software. James George and Collaboration with Alexander Porter decided to explore the artistic use of the surveillance and kinect technologies. "We soldered together an inverter and motorcycle batteries to run the laptop and Kinect sensor on the go. We attached a Canon 5D DSLR to the sensor and plugged it in to a laptop. The entire kit went into a backpack.

We spent an evening in the New York Union Square subway capturing high resolution stills and and archiving depth data of pedestrians. We wrote an openFrameworks application to combine the data, allowing us to place fragments of the two dimensional images into three dimensional space, navigate through the resulting environment and render the output."

The OS image capture system, which uses the Microsoft Kinect camera paired with a DSLR video camera, creates 3D models of the subjects in video that can be re-photographed from any angle virtually.

James George, Jonathan Minard, and Alexander Porter, CLOUDS

George and Porter later worked with Jonathan Minard and used the technology again for CLOUDS, an interview series with artists and programmers discussing the way digital culture is changing creative practices.

Sophie Kahn

New and old media collide in Sophie Kahn's work. The artist uses a precise 3D laser scanner designed for static object to create sculptures of human heads and bodies. Because a body is always in flux, the technology receives conflicting spatial co-ordinates and generates irregular results.

Marshmallow Laser Feast, MEMEX | Duologue

Marshmallow Laser Feast's Memex is a "3D study of mortality exploring new photographic processes, in this case photogrammetry".

MLF worked with a 94-camera high resolution scanning rig, to create the full body scan of an old lady and explore what filmmaking for the virtual-reality environment could be like.

Introducing the Source Filmmaker

Source Filmmakers, produced by Valve, is a tool to create movies inside the Source game engine. George finds their work relevant to his own practice because although Valve comes from a video game culture, they investigate the same ideas.

Naked scene from Beyond: Two Souls (image)

Beyond: Two Souls, by Quantic Dream, is an interactive drama action-adventure video game for PlayStation 3. At some point in the game, character Jodie Holmes (played by Ellen Page) is taking a shower. All in a perfectly politically correct fashion.

After the release of the game, nude images of Jodie Holmes leaked online, and were published by several gaming blogs. The "nude photos" were a result of hacking into the files of a debug version of the game and manipulating the camera. The game's publisher, Sony Entertainment, got these posts taken down. "The images are from an illegally hacked console and are very damaging for Ellen Page," the rep reportedly told one site. "It's not actually her body. I would really appreciate if you can take the story down to end the cycle of discussion around this."

But if the nude images were "not actually her body," how could they be "very damaging" to the actress? Whether or not the answer to this question is a convincing one, the little scandal shows the kind of challenge that filmmaker will have to face when dealing with this kind of hyper realistic technology.


Selfiecity by Lev Manovich and Moritz Stefaner analyzes 3,200 selfies taken in several metropoles around the world and looks at them under theoretic, artistic and quantitative lenses.

DocLab Immersive Reality is accompanied by an exhibition featuring Virtual Reality projects, web documentaries, apps and interactive artworks. The show remains open until the end of the month at The Flemish Arts Centre De Brakke Grond in Amsterdam.

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Final Weeks: Dispatch | Harun Farocki | Remembering the Real Winnie

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Published on : 2014-11-26 00:00:00

An Afghan soldier seen warming his henna stained hands on the front lines in Zhari District, Kandahar, Afghanistan. 2007. Detail of still from the video series Unconventional Warfare, published online by The Atlantic. Photo © Louie Palu

War in focus at the Ryerson Image Centre
FINAL WEEKS – Don't miss your chance to see our current exhibitions!

DISPATCH: War Photographs in Print, 1854-2008
On view until December 7, 2014
Curator: Thierry Gervais
From Roger Fenton’s collodion-plate Crimean War photographs (1853–1856) to Luc Delahaye’s images of recent conflicts in Afghanistan (2001–present), the photographic representation of war has evolved dramatically in the Western press over the past 150 years. By comparing original prints with their reproductions in magazines and newspapers, DISPATCH reveals that taking a shot is only one step in the process of illustrating war. This exhibition views these photographs not as windows to the world, but as representations determined by changing editorial figures, aesthetic priorities and historical contexts.

Harun Farocki: Serious Games I–IV
On view until December 7, 2014
Curator: Gaëlle Morel
Also on view is video work by artist Harun Farocki, which the New York Times has called “almost too interesting to be art.” Since the late 1960s, Farocki has created subversive films and videos integrating his own material with footage appropriated from diverse sources, including mass media, security cameras and political propaganda. Farocki’s Serious Games I–IV explores the use of virtual reality and gaming technology in U.S. military recruitment, training and after-action therapy, revealing fundamental links between technology and violence in a time of war.

Public Studio: Drone Wedding
On view until December 19, 2014
Curator: Gaëlle Morel
Salah J. Bachir New Media Wall
In their ongoing investigation of the everyday impact of warfare, Toronto artist collective Public Studio (Elle Flanders and Tamira Sawatzky, with sound artist Anna Friz) uses drone technology to provoke conversations about surveillance and conflict. Mechanized apparatuses visually record millions of images every day, documenting people’s lives, often without their awareness or permission. While surveillance has existed for some time, improved technology has led to greater consequences: targeted killing, collateral damage and the death of privacy. A catastrophic sequence of events often begins with a single image.

Remembering the Real Winnie: The World's Most Famous Bear Turns 100
On view until December 7, 2014
Guest curators: Kate Addleman-Frankel and Irene Gammel
The exhibition celebrates the story of Canadian soldier and veterinarian Harry Colebourn (1887-1947), who at the onset of World War I bought the bear cub that later became the inspiration for A.A. Milne's world famous Winnie-the-Pooh books. In this jewel-like exhibition, the Colebourn Family Archive is made public for the first time. This multi-disciplinary project is presented by Ryerson University and generously supported by Scotiabank.


Ryerson Image Centre
33 Gould Street
Toronto, Ontario, Canada

Free exhibition tours daily at 2:30pm
Follow us @RICgallery


Media Contact:

Erin Warner
Ryerson Image Centre
416.979.5000 x7032

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Bloor Street Culture Corridor Launches Mobile App

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Published on : 2014-11-25 00:00:00




The Bloor St. Culture Corridor, Toronto's most diverse arts and culture district, is pleased to offer a new, free Bloor St. Culture Corridor mobile app, connecting Torontonians and visitors to Toronto with 14 arts and culture destinations on Bloor St. West, and the vast range of cultural events on offer year round - conveniently via personal smartphones and tablets.

The Bloor St. Culture Corridor highlights the extraordinary wealth of cultural experiences that are so easily accessible all in one easily-walkable mile (1.6 kms), along Bloor St. West, between Bathurst and Bay: museums, films, art exhibitions, music concerts, culture talks, architecture, and more. It also offers opportunities to experience some of Toronto's most accessible cultural diversity, including French, Jewish, Italian, Japanese and Aboriginal arts and culture.

The Bloor St. Culture Corridor free mobile app provides access to special offers exclusive to app users, and a convenient way to easily see the richness of cultural destinations and events on offer in the Bloor St. area of central Toronto, from The Annex through to Yorkville. The app's social feed connects users with the latest news and announcements from the Twitter feeds of all of the arts and culture destinations on the Bloor St. Culture Corridor. Users can also browse through options for shopping, eating, and hotels on the corridor.

The Bloor Culture mobile app is available from the Bloor St. Culture Corridor web site at, via the iTunes App Store, Google Play, and at

image   image

The Bloor St. Culture Corridor arts and culture partner destinations include:

  • Alliance Française de Toronto: 24 Spadina Road
  • Bata Shoe Museum: 327 Bloor Street West
  • Bloor Hot Docs Cinema: 506 Bloor Street West
  • Gardiner Museum: 111 Queen’s Park
  • Istituto Italiano di Cultura: 496 Huron Street
  • The Japan Foundation, Toronto: 131 Bloor Street West
  • Miles Nadal Jewish Community Centre: 750 Spadina Ave.
  • Native Canadian Centre of Toronto: 16 Spadina Road
  • Royal Ontario Museum (ROM): 100 Queen’s Park (Entrance on Bloor Street W.)
  • The Royal Conservatory / Koerner Hall: 273 Bloor Street West
  • Tafelmusik Baroque Orchestra & Chamber Choir: 427 Bloor Street West
  • Talisker Players: 427 Bloor Street West
  • The Toronto Consort: 427 Bloor Street West
  • University of Toronto Faculty of Music: 80 Queen’s Park

Arts and culture organizations along Bloor St. West have come together in partnership to create the Bloor St. Culture Corridor, a uniquely Torontonian arts and culture district. Each year, more than two million members of the public go to Bloor St. Culture Corridor arts and culture destinations, and more than 1.5 million people attend the partner destinations’ exhibitions, performances, and events. Torontonians and visitors to the City can easily take public transit to get to the Bloor St. Culture Corridor - there are 5 major subway stations along the Corridor - and walk from a museum to an afternoon art talk or exhibition, shop, have lunch or dinner, and enjoy an inspiring concert or film – all within just a few blocks along Toronto’s most diverse arts and culture corridor.

The Bloor St. Culture Corridor is grateful to the Toronto Arts Council and the Ontario Ministry of Tourism, Culture, and Sport for their generous support of the Bloor St. Culture Corridor mobile app.

Bloor St. Culture Corridor
Twitter: @bloorstculture

# # #


Heather Kelly
Founder/Director, Bloor St. Culture Corridor
C: 416.879.0283

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Winter News

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Published on : 2014-11-25 00:00:00


Wil Murray

p|m Gallery, Toronto, and VITRINE, London, present a solo booth of Canadian artist Wil Murray. Murray’s practice centres around the production of materials and paint strokes used in his large-scale three-dimensional planar paintings, multiple exposure collages and more recent hand coloured photographic works; All a hybrid of painting and photography and united in this one solo presentation in Dialogues at London Art Fair.

The booth will comprise of one large installation ‘Painted Shut’, 2013-2015; two planar paintings and a selection of smaller collages and hand coloured photographic works. A solo presentation spanning a number of years and the entirety of Murray’s multifaceted practice.


Robert Waters

Change Room
Robert Waters’ recent exhibition Change Room at the Container Gallery, Tokyo was reviewed in HyperAllergic by Edward M. Gomez. If you couldn’t see the show you can enjoy the article and pick up the catalogue through


Pete Smith

On December 1st, Pete Smith starts a nine-week artist residency at the Robert McLaughlin Gallery in Oshawa wherein he will create a new body of work in response to works in the gallery’s permanent collection by Jock Macdonald. Follow this multidisciplinary project that includes animations, paintings, drawings, collage, sculpture and installation at

This will culminate in his exhibition, “Postscript” that will open January 9th at the RMG.

p|m Gallery
1518 Dundas Street West
Toronto, ON M6K1T9
twitter: @pmgallery1518
facebook: PMGallery

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CRAF, the paperplane machine for protests

Feed : we make money not art
Published on : 2014-11-24 09:12:28

Eizo Ishikawa and Tamon Sawangdee, CRAF, 2014

Examples of different themed projectiles

Third (and last) project from the graduation show of The interactive Architecture Lab, a Bartlett School of Architecture research group and Masters Programme headed by Ruairi Glynn, Christopher Leung and William Bondin...

With CRAF, Eizo Ishikawa and Tamon Sawangdee looked at how machines can be deployed to organize spectacles and engage people into performances and new forms of social protests. CRAF turns into paper planes messages of protests that people exchange on social media. Comments and reactions sent to @aerocraf are printed on paper, folded into little projectiles and thrown over passersby by a 6 meter high paper plane-folding machine.

Quick discussion with Tamon Sawangdee:

Hi Tamon! Why did you call the work CRAF? Is it an acronym?

CRAF has many meanings for our project. It came from our first paper plane folding machine project, which was called "AEROCRAFT". We chose the word "CRAFT" to signify its folding activity and transportation ability. After we have been working on our project for a while, we develop ourselves and our machines into an agency that is called CRAF. Having our ideas rooted from people protesting and looking for ways to express their ideas or feelings, we created CRAF to be the agent that works with people and can act for them. It is an acronym from Civilian Research and Acting Facilities.

You tested CRAF on Gordon Square. Can you tell us about the experience? How did people react?

The experience from testing CRAF in Gordon Square was really amazing. We have been working on it for a long time and it was the first time that we got to see it fully equipped and elevated up to 6 metres in the park. The weather was nice and sunny on that day so we got a lot of audience from the people who came in to have lunch, as well as, the ones who were just passing by. Some would come to talk to us about how it worked and what it was, while, most of the people sat around and waited to see the performance. One of the noticeable reaction that we got was the group of people who sat down and asked each other "What is that?" pointing to our machine. People were talking about our project and they were surprised about it being in the center of what was usually very quiet park. We were satisfied about the test in Gordon Square because a lot people showed a lot of interest. It was nice to see people enjoying what we were doing.

Eizo Ishikawa and Tamon Sawangdee, CRAF, 2014

Eizo Ishikawa and Tamon Sawangdee, CRAF, 2014

Eizo Ishikawa and Tamon Sawangdee, CRAF, 2014

Example of Print Out Invitations to be folded by the machine


Is there any reason why you selected the colours red white and blue for the ribbons hanging from the machine?

Our theme for CRAF was #FLYFORPEACE, it is a civilian service. Our concerns, are about the political, socio-economical and cultural sustainability aspect of the community. We chose the colour red, white and blue for our prototype because we wanted to give it an appearance of stability, freedom, with a touch of revolution and justice. We wanted our machine to be amicable but not too whimsical, though, at the same time representing the topics of the conversations that we were trying to create. At that time, our machine was representing the Scottish Independence Referendum, if our machine was to perform to represent another message, the colours of the ribbons could change to match that theme.

How does it work? How does the paper get fold into airplanes?

If you tweet to the machines twitter account @aerocraf. The printer would print the message onto the paper plane. When the paper comes out of the printer, it gets fed into the paper plane folding machine, that's when the folding starts to happen. There are 3 steps of folding. The paper travels through the machine by the use of rollers controlled by motors, chains and sprockets. The machine folds the paper in to a plane by folding the tip of the paper plane first, and then the side wings, the centre of the plane gets fold half until it comes out of the machine. Then, it is ready to launch!

View from CRAF looking down over the park

And does the machine send the planes in random directions?

The machine can rotate 180 degrees. The rotational movement can vary depending on the site and installation strategies. The print outs and the instructions of how to use the machine comes out in random directions when there are many people. We want the paper planes to be received by the citizens, so, ideally it would have a behavior that looks for people and decide its projectile direction.

What was the biggest challenge you encountered while developing the work?

One of the biggest challenge while developing the work was how to get people to realise that the paper planes that we were flying was containing a message. In order for our project to work smoothly, we needed to get people from the public to work with us. We had a lot of trouble trying to get people to behave accordingly to how we expected, which was to pick up our papers and investigate them and respond our paper planes. Different people in different places would react differently, we had to do many experiments to find our way of delivering the paper airplanes, its flying ability, and what it looks like and how the messages communicate to the people. We also had to design our installation strategy and opening performance to grab the interest from the crowd.


Paper Plane Manufacturing Line Embedded into Aluminium Folded Plane Structure

The text of the catalogue says "CRAF can be a network of communication platforms along the city by having machine carriers traveling along the existing bike routes of London." Could you explain how that would work?

CRAF was created to be a communication platform that was initially inspired from the contemporary social crisis and the expressions of dissent happening around our world. We wanted it to be able to serve as a novel communication tactic that people can use to express themselves freely about their ideologies or simply talk to each other via the aid of social media in the hope that it would create a stronger and more culturally sustainable community.

When we were developing CRAF, we were looking for strategies to disseminate our messages and get people involved with the performances. We studied street performances and theatrical machines. We got inspired by how they were able to attract or engage people into live events. Because of that, the idea of using bicycles as a mode for transporting our machines came to our minds -- however, we were not limited to just bicycles but tend to see CRAF working rather more of something like a vehicle or a machine integrated within a vehicle. Our machines were designed to be able to travel around and interact with people or get people to interact with each other along its path. In that sense, we think that CRAF can be developed into a system of multiple machines that can be moved or carried around the city.

Making use of social media and the rapid spread of its content via the internet and social networks, we wanted CRAF to become an agency that can be installed into different nodes like the public spaces of London. The communication network coming out from CRAF is imagined to work similar to that of online social network from social media. Instead of only having people interacting in the online space, we wanted to bring people from the online communities out to enjoy the physical environment. When CRAF physicalised online messages into public space, we can have a real human to human interaction. In a way, CRAF is meant to encourage physical social networks happening from the systems machines traveling and sending out messages around its routes.

What is next for CRAF? Are you planning other performances?

At the moment we haven't been planning any performances.

Eizo is back in Japan and I am now in Thailand. We are both doing different things.
Maybe it can be adapted into something suitable for Bangkok or Tokyo. We'll see.

Thanks Tamon!

Also from the same Bartlett course: The Eye Catcher and Furl: Soft Pneumatic Pavilion.

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Dagmar Dahle | Mary Kavanagh | Annie Martin | David Miller: senselikeblueplace

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Published on : 2014-11-22 00:00:00


s e n s e l i k e b l u e p l a c e

senselikeblueplace is an artist-initiated exhibition that examines our individual studio production in relation to one another’s, exploring what we feel is a shared sensibility. Through exchanges that have unfolded over months and even years, the exhibition presents works by the four of us in conversation.

Even as we imagine being part of global culture, and with social media defining conceptions of community, we continue to occupy proximities of place that are forceful and intimate, that shape knowledge and knowledge production, and that become important conditions of our individual and collective experiences over time. These conditions, while not determining the work, influence and affect our practices and production.

The Trianon Gallery, a well-known local venue that falls just outside of the entrenched public and private gallery sectors, is an appropriate place for the exhibition. The building in which the Trianon Gallery resides is situated in downtown Lethbridge on the corner of 1st Avenue and 5th Street, has a long history of hosting community events and functions, and stands as a signifying site of local culture.

An essay by Erín Moure accompanies the exhibition.

Trianon Gallery, 104 5th Street South, Lethbridge, AB, Canada, 403 381-8888
November 22, 2014 – January 31, 2015 | Exhibition Dates
November 22, 2014, 7pm | Opening Reception
November 28, 2014, 12pm | Talk/tour with artists in attendance (Art NOW, University of Lethbridge)
January 16, 2015, 12pm | Talk/tour with writer, Erín Moure (Art NOW, University of Lethbridge)


s e n s e l i k e b l u e p l a c e
Dagmar Dahle  |  Mary Kavanagh  |  Annie Martin  |  David Miller

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Group Exhibition: Opening the Vault

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Published on : 2014-11-22 00:00:00

Opening the Vault
On view until February 1, 2015

Osheen Harruthoonyan, The Road, 2011, sepia, gold selenium toned gelatin silver print, 38 x 28 inches

Opening the Vault surveys the breadth of intriguing works by Lonsdale Gallery’s represented and invited artists that have contributed to the gallery’s strong history. Looking forward to the compelling line up of exhibitions in the year ahead, Opening the Vault serves as the foundation upon which we will build.

This exhibition is a selection of works on paper, paintings and photographs. Artists include Gareth Bate, Jamie Bradbury, Jim Hake, Osheen Harruthoonyan, William Mokrynski, Liz Pead, Howard Podeswa, Jim Reid, Nora Sturges and Pedie Wolfond.

Jim Reid, New Hampshire I, 2014, watercolour & pastel on paper, 17 x 21 inches

Lonsdale Gallery Online

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