Young Collectors' Show

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Published on : 2014-07-03 01:00:00


Walnut Contemporary presents

Young Collectors' Show

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Julie Gladstone, Ice Storm, 2014, oil, acrylic and spray paint on panel, 18 x 18 in.

July 3 to July 26, 2014

Opening reception:
Thursday, July 3
6 to 9 pm

Walnut Contemporary is pleased to present its first Young Collectors’ Show, featuring works by emerging and established artists, all priced under $1,000.

The exhibition will open up the walls of the gallery, bringing art lovers and artists together. Panel discussions will provide a platform for direct engagement and those who purchase an artwork will be invited to visit an artist in their studio, creating a bridge between the gallery, studio, and the home. Visitors will also have the chance to support their favourite works by voting for the Viewers’ Choice Award.

Comprised of sixteen artists, the exhibition features work that similarly crosses boundaries, blurring the lines between different art forms. Kal Mansur’s acrylic constructions unite painting and sculpture while Jonathan Hiltz incorporates photos of iconic musicians into his original painted compositions. Collage, drawing, wax, and mixed media also materialize, all at a price that will make it easier for art lovers to become art collectors.

Chosen artists by name:

David Blatherwick • Justin Blayney • David Brown • Marc Cooper • Julie Gladstone • Julia Harris • Janet Hendershot • Jonathan Hiltz • Erin Loree • Kal Mansur • Brooke Opatowski • Anna Pantcheva • Silvija Saplys
Ilene Sova • Chris Walsh • Tim Watts


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Walnut Contemporary
201 Niagara St
Toronto, ON M5V 1C9
416-271-6599

Gallery hours:
Wednesday to Saturday
11 am to 5:30 pm (or by appointment)

walnutcontemporary.com
twitter.com/WalnutContemp
facebook.com/WalnutContemporary

Contact:
Jordana Franklin - Artistic Director
416-271-6599
jordana@walnutcontemporary.com
 

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Lee Henderson: The Museum of One Thing After Another

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Published on : 2014-07-03 01:00:00


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"The Emptiness (Skull, after Warhol)" - video still (b/w HD, silent, seamless loop)


THE MUSEUM OF ONE THING AFTER ANOTHER
Lee Henderson

July 3-27, 2014
Opening Reception: Thursday, July 3
7 PM-late


Images die. But why do we make mortal images, if we also claim to make images for purposes of longevity, memorialization, or immortalization?

Images are not unsettling because they are mortal; they are unsettling because they sit next to the immortal. Ghost stories arise not from a dream of immortality—that we could carry on as individuals upon our release from a substantive body—but that we might, while living, be able to recall what was, in an experientially present way. The ghost story is an appeal to temporal inconsequence; it is a recollection made metaphysical rather than merely mental. Through ghost stories, we beg for the past to revisit us; we beg the ability to re-member and re-call. It therefore follows that the horror associated with the ghost story is so not because it reminds us of our own corporeal mortality but rather because, having brought the past into the present, we cannot help but find it a gross distortion, a flickering half-image of what we had optimistically once thought of as a real, factual history.

Photographic images do this, too, but photographs are better behaved than ghosts. They are less dramatic, less prickly, less evasive; more solid, more present, and therefore more subtly insidious… Our recordings and archives are the zombies that walk among us. And they horrify us. Because, deep down, nobody really wants to live forever.

Bio

Having studied art in Canada and Berlin, Henderson furthers his time- and lens-based artistic practice while teaching Media Art, Computer Science, and Photography at the post-secondary level (currently at OCADU and Ryerson University). He continues to show in Canada and abroad--recent and upcoming exhibitions and screenings include Zero Film Festival Los Angeles, The Rooms, The Dunlop Art Gallery, Trinity Square Video, and YYZ. Through installation, video, performance and photography he negotiates the persistence of collective histories and the brevity of individual lives.



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1172 Queen St. West
Toronto, ON  M6J 1J5
416-913-7116

gallerywest.info
noattainment.com
 

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Data Cuisine, food as data expression

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Published on : 2014-07-02 13:08:02

Data Cuisine goes against everything i've learnt as a child: Don't play with food! Don't mix meals with political discussions! In these workshops, participants experiment with the representation of data using culinary means. I suspect they are even allowed to put their elbows on the table.

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The workshop invites participants to translate local data into culinary creations, turning arid numbers into sensually 'experienceable' matter.

Participants chose their topics, investigate related data, shop for comestible ingredients and under the guidance of chefs, they learn how to create dishes that will not only be delicious but also act as entry points to discussions about local issues that range from emigration to criminality, suicide rate, unemployment, sexuality or science funding.

There's been two editions so far. The first one was the Open Data Cooking Workshop in Helsinki. And the latest was a Data Cuisine Workshop that took place last month in Barcelona.

I had a quick online chat with the creators of the workshops, data visualizer Moritz Stefaner and curator Susanne Jaschko from prozessagenten, process by art and design.

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Samuel Boucher & Jahn Schlosser, Emigration Fish

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Antonija Kuzmanic, Requiem for Science

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Rossana Moroni preparing a Suicide Cocktail

Hi Susanne and Moritz! Seen from the outside, the idea is somewhat simple: just take some data and assemble them on a plate instead of a graph, use culinary ingredients instead of lines and block of colours. Yet, i suspect the process must be more complex than that. What are the challenges participants encounter when trying to turn numbers into dishes?

SJ: It might sound simple, but cooking and data visualisation or representation are two very different disciplines. Food is sensual, tangible, ephemeral, emotional and social. Data is not like this at all. This dialectics is the starting point of the Data Cuisine workshop and for someone who has never done it, it is already a challenge to think both together and to play with the various qualities of food such as its cultural connotations, colour, taste, shape, nutrition and the range of techniques to prepare food such as melting, freezing, boiling, baking, foaming...Not to speak of the various ways one can present and consume food.

Actually there are so many possibilities to explore on both ends, the data and the food, that most participants end-up with something relatively simple, because they are overwhelmed by the complexity. A translation of data into a visual edible diagram is relatively easy, but that's not what we are striking for, but for creations that work and communicate on both levels, visually and as regards taste.

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One of the questions the workshop asks is "Have you ever tried to imagine how a fish soup tastes whose recipe is based on publicly available local fishing data?"

So does data affect taste and how? For example, do you have to make concession and be a bit less respectful of data to ensure that a dish is delicious?

MS: Generally, when it comes to tasting precise quantities and differences, of course, our taste organs are more limited than our visual system. It is simply much harder to determine what is "twice as sweet" as opposed to as twice as long line in a graphic. Then again, taste is a much more emotional and temporally complex experience that just looking at a dot on a screen. So, the mechanisms to encode information might be more fuzzy, but potentially much deeper.

Depending on the theme, there could also be a case to be made for dishes that don't taste all that well (like, e.g., the noise visualization through salt).

In the end, our goal is to create eating experiences that teach you something about the data, and taste is one dimension you can vary, but there is also temperature, texture, amounts, the plating, all the cultural connotations different dishes and ingredients have ... all this plays together in creating a successful dish. Here, precision of data readability is not of primary concern, but rather, the overall personal experience, and the dishes' concept.

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Can any data be turned into something edible? Or did participants find themselves in front of data that when cooked together could only lead to unpleasant flavors?

SJ: We ask the participants to work with local data, ideally open data, and with the experience from the two workshops shows that most people tend to pick data that reveal social and economic problems. This is not really surprising as we encourage people to pick a topic that they feel close to, that motivates them to work on, and to turn it into some kind of food experience. Creating a dish that tastes terrible is sometimes the best way to communicate a negative development or a problematic situation. Good examples for this are the 'Suicide Cocktail' that looks at the relation of alcohol consumption and suicide rates in Finland and 'Unemployed Pan con Tomate!' that visualises the drastic increase of unemployment among young people. We tell participants that they should decide early on, if they want to be that radical or if they want to try something that is more subtle and comparably more difficult to produce.

You work with chefs in each of these workshops. How do they intervene? What exactly is their role in each workshop?

SJ: The chefs are very important, when it comes to creating the dishes. In most cases, a 'data' dish is created by either remixing, altering or re-interpreting existing recipes. The group of participants is usually very heterogeneous and have different professional backgrounds. However, they all have an interest in cooking or at least in doing something with food, but some are knowledgeable than others. The chefs bring the real cooking expertise to the table. Usually our participants quickly develop ideas what they want to do and which dishes they want to create, and then it's the chef who -- with his or her experience and creativity -- pushes them to open up their mind, to try something new and unusual, such as trying out other techniques or ingredients. When we are in the kitchen, the chef is in high demand, not only for the preparation of dishes, but also for their final presentation on the plate.

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So far you've organized 2 Data Cuisine workshops. One in Helsinki and one in Barcelona. These are two very different kind of countries in terms of cuisine. Do you feel that participants approached the idea of mixing data and food differently? Because i somehow feel that a lot of personal culture and subjectivity enters into account when dealing with food.

SJ: In Helsinki less of the dishes were local, maybe also due the fact that a lot of Helsinki workshop participants were either immigrants or just visiting. I remember that Moritz and I were wondering what constitutes Finnish cuisine before we had our first meeting with Antti Nurka, the Finnish chef. And it was particularly interesting to see how the shortage of vegetables that grow in Finland and the variety of local mushrooms, berries and fish influence the Finnish menu. But other than that I couldn't discover much differences in the general approach of the participants, maybe because the people who join the workshop are usually food-aficionados.

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Domestic Data Streamers, In & Out

I think what i like about this workshop is that it breaks a taboo for me. I grew up being told that you don't mix politics and food, that you can't talk about sensitive or potentially divisive topics while having a meal. Yet, many of the projects were directly related to politics and social issues. Besides, one of the objectives of the workshops is precisely to merge food with data in order to "gain unexpected insights into both media and learn about their inner constructions and relations". So what have you learn so far about these constructions and relations?

MS: From a data visualization point of view, I found it really interesting to watch how deeply people meditate on very simple data points, when they think about turning them into food experiences. In a way, this is a very needed counterpoint to the current trend of consuming lots of data in a very quick and superficial way. As Jer Thorp said, "we are so used to flying at 10,000 feet that we forget what it is like to be on the ground" and both the preparation and consumption of the data dishes providesa very earthy, grounded way to connect with statistical information and the human stories behind the numbers.

From a food point of view, knowing how expressive food is as a medium, it is surprising to me by now, how little the intellectual side is stimulated in high-end cuisine. It is surely nice to just enjoy interesting tastes in good company, but it can also be quite enriching if there is a whole extra conceptual and intellectual dimension to the dining experience. I think this side has been quite neglected in the history of cuisine and we are hoping to provoke a few reactions in -- and hopefully some inspiration to -- the traditional cooking scene.

What's next for Data Cuisine?

MS: We aim for a few more editions of the workshop, in order to understand the local differences better and continue to explore the medium. We might also vary the format in the future - one format we were considering is a high-end "data dinner", which would put less emphasis on the collaborative workshop process, but more the final outcome and dining experience. And I would like to learn more about the science of cooking and the technological advances in the area - this field is buzzing right now!

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Thanks Susanne and Moritz!

All images courtesy of Data Cuisine. More photos.

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NAISA Sound Channel July 2014 (Vol.9; Iss.7)

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Published on : 2014-07-02 01:00:00


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NAISA Sound Channel
Newsletter for July 2014 (Vol.9; Iss.7)
Produced by New Adventures in Sound Art
www.naisa.ca

1) Xerocks by Cecile Babiole, installation continues to July 13
2) NAISA Youth Summer Camp, July 7 - 11, 2014, $75
3) Sound Travels Intensive August 19 - 23, deadline to apply for scholarship July 4
4) Sound Travels Festival of Sound Art, July 7 - August 23
5) Soundhackers meetup July 24, 7 pm
6) Cross Waves series launches July 25 with Room Tone curated by Chantal Dumas
7) 8th annual Toronto International Electroacoustic Symposium, August 13-17

Feel free to forward this newsletter to friends and associates looking for new arts events.
Follow us on facebook www.facebook.com/NAISASoundArt
Follow us on twitter www.twitter.com/NAISASoundArt
Follow us on Youtube www.youtube.com/NAISATube
Follow us on SoundCloud www.soundcloud.com/NAISA

1) Xerocks by Cecile Babiole (also part of NXNE)
     June 5 - July 13, Thurs - Fri 1-4pm, Sat 10am-3pm, + special hours on July 13 TBA
     @ the NAISA Space, 601 Christie St #252, FREE

Xerocks is an interactive installation designed to turn two copying machines into musical instruments. Press a button on the machine and that will trigger a copying cycle, simultaneously generating a sequence of sounds. By (mis)appropriating and thereby alienating this familiar piece of office equipment, Xerocks ironically morphs an imaging apparatus into a sound production device. Xerocks is presented in partnership with the Consulate General of France in Toronto and is sponsored by Direct Office Solutions.

2) NAISA Youth Summer Camp
     July 7 - 11, 2014, $75, Mon - Fri 10am-3pm
     @ the NAISA Space, 601 Christie St #252, $75

Pre-registration required - go to http://naisa.ca/education/youth/
For more information go to https://naisa.ca/education/register/

This sound art camp is for youth aged 12-17 to create art entirely with Sound, Radio, Electronics, and/or Performance through exploration according to their own individual interest - through building a NAISAtron, a micro-transmitter, or working with basic recording and editing software. All equipment will be provided by NAISA and no experience is necessary. Note: this Sound Art Camp is available in both french and english. Please contact Nadene at naisa@naisa.ca. Limited spots available. Registration required.

3) 6th annual Sound Travels Intensive for Sound & Media Artists
     Deadline to apply for scholarships is July 4, 2014
     August 19 - 23 - July 13, $175, 9am - 7pm daily with an 8pm concert on August 23
     Guest speaker Pauline Oliveros
     @ the NAISA Space, 601 Christie St #252

Limited number of scholarships available. Deadline to apply July 4, 2014

For more information go to http://naisa.ca/education/intensives/
Pre-registration required - go to https://naisa.ca/education/register/, then choose the Sound Travels Intensive

The Sound Travels Intensive is an opportunity for artists from across Canada and around the world to create and present new work in Toronto, exchange ideas with others, and hone electroacoustic skills with the guidance of a diverse group of world-renowned instructors including world renown artist Pauline Oliveros, Emilie LeBel, Darren Copeland, Ian Jarvis. Five intense days of workshop sessions, private instruction and creative activity culminate in a public concert presentation at Toronto's Artscape Wychwood Barns. Participants must apply by July 4 at 12 noon Toronto time to be eligible for a limited number of scholarship.

4) 16th Annual Sound Travels Festival of Sound Art
     July 7 - August 23, 2014

The 16th annual Sound Travels Festival of Sound Art opens with a special Sound Art Summer Camp for youth (July 7 - 11) and ends with the annual Sound Travels Intensive (August 19 - 23) as well as installations, performances and the Toronto International Electroacoustic Symposium (TIES). Featured artists include Pauline Oliveros, Jean-François Laporte, Fernando Monsalve Godoy, WL Altman, and Emilie LeBel.

KEY FESTIVAL DATES

SOUND TRAVELS PERFORMANCES

World Listening Day Events
SOUNDwalk July 19 @ noon
Soundscape Performance July 19 @ 8 PM, $10
meet at NAISA Space for the SOUNDwalk, concert also in the NAISA Space

NAISA celebrates World Listening Day with a SOUNDwalk at noon and a performance of soundscape works in the evening at 8pm in the NAISA Space. The evening performance features guest artist Fernando Godoy Monsalve from Chile who will perform a live improvisation using materials he has collected in the Atacama desert. Also included are works by Hildegard Westerkamp, Adam Basanta, and Eldad Tsabary.

Sound Art in the Market, Performances by WL Altman
Aug 9 @ 10am - The Stop's Farmer's Market, FREE

Toronto International Electroacoustic Symposium Concerts
Aug 13 & 14 @ 8:00 PM
Aug 14 & 15 @ 2:00 PM
Wychwood Theatre, 601 Christie Street #176, $15/10

Instrumental ReDo Concert
performances by junctQín and Jean-François Laporte
World premieres by Emilie LeBel, WL Altman and Jean-François Laporte
Aug 15, 2013 @ 8:00 PM
Wychwood Theatre, 601 Christie Street #176, $15/10

Concert of works by Pauline Oliveros
Aug 16, 2013 @ 8:00 PM
Wychwood Theatre, 601 Christie Street #176, $15/10

Sound Travels Intensive Concert
Aug 23 @ 8:00 PM
NAISA Space, 601 Christie Street #252

SOUND TRAVELS INSTALLATION

Atacama: 22º 54' 24" S, 68º 12' 25" W
A sound installation by Fernando Godoy Monsalve
July 19 to August 16
Thurs 1-4 pm; Fri 1-4 pm; Saturday 10am-3 pm
NAISA Space, 601 Christie Street #252

Atacama is a sound installation that maps the locations of soundscape recordings taken while the artist travelled to the Atacama Desert and provides an opportunity for the listener to experience the soundscapes at personal listening stations.

5) Soundhackers Meetup
     July 24, 2014, 7 - 9 PM
     @ the NAISA Space, 601 Christie St #252, FREE

Soundhackers is a free monthly meet up co-presented by NAISA, dedicated to exploring techniques in sound art and music technology. The July edition will continue to feature a mix of artist presentations alongside hands-on tutorials. The agenda will be announced shortly on the meetup web-site, so please RSVP at www.meetup.com/soundhackers to be notified when it's available.

6) Cross Waves Sound Art series
     Room Tone curated by Chantal Dumas launches with a concert July 25, 2014, 8 PM
     @ the NAISA Space, 601 Christie St #252, $10

Cross Waves is a Canadian Sound Art series that includes performances and internet radio programs curated by eight media artists representing different regional and cultural perspectives in Canada. The series will take place between July 2014 and June 2015. The content will be contextualized by the curators through commentaries and essays and will draw attention to Sound Artists from across Canada. The first in the series is Room Tone and is curated by Chantal Dumas. Dumas' series will launch on July 25th with a concert featuring pieces by audio artists Magali Babin, Mario Gauthier, MartinTétreault, Nancy Tobin with a live performance by Alexandre St-Onge.

7) 8th annual Toronto International Electroacoustic Symposium August 13 - 17, 2014
     Wychwood Theatre, 601 Christie Street #176
     http://naisa.ca/symposia/toronto-electroacoustic-symposium/
     $70 / $40 (students)
     https://naisa.ca/ties-registration/

New Adventures in Sound Art (NAISA) and the Canadian Electroacoustic Community (CEC) are pleased to announce the 8th edition of the Toronto International Electroacoustic Symposium (TIES) with Pauline Oliveros as the keynote speaker. TIES has become a consistently creative and cohesive point of contact between diverse international electroacoustic (EA) communities. The 2014 symposium is the eighth annual iteration of this important opportunity for exchange between diverse EA communities.

New Adventures in Sound Art is a non-profit organization that presents performances and installations spanning the entire spectrum of sound art. NAISA is partially funded by the Department of Canadian Heritage, the Toronto Arts Council, the Ontario Arts Council, the Canada Council for the Arts and the SOCAN Foundation.

Inquiries & general information:
Nadene Thériault-Copeland
Executive Director
New Adventures in Sound Art
Artscape Wychwood Barns, 601 Christie St #252, Toronto, ON M6G 4C7
416 652 5115; naisa@naisa.ca
 

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Sounds From Dangerous Places: Sonic Journalism

Feed : we make money not art
Published on : 2014-07-01 12:37:54

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Peter Cusack, Bibi Heybat Oilfield, Baku, Azerbaijan

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Ferris wheel in Chernobyl exclusion zone. Photo Peter Cusack

Peter Cusack is a field recordist, musician and researcher who has traveled to areas of major environmental devastation, nuclear sites, big landfill dumps, edges of military zones and other potentially dangerous places. He has been to the Chernobyl Exclusion Zone; the Caspian Oil Fields in Azerbaijan; 'London Gateway' the new port on the River Thames where massive dredging severely damages the underwater environment; the Aral Sea, Kazakhstan, which is now being partially restored after virtually disappearing due to catastrophic water misuse.

While most of these locations have been extensively discussed in articles and documented in images, we don't know what a day in any of these places sounds like. With his field recordings, however, Cusack gives us an idea of what a radiometer with a cuckoo in the background in Pripyat sounds like. Or what it is like to hear the wind whistling by the Sizewell nuclear power stations. These recording belong to a practice that the artist calls sonic journalism. The discipline is an audio complement and companion to images and language. Using field recordings and careful listening, sonic journalism provides valuable insights into the atmosphere of a particular site.

You can listen to some of the field recordings online (Sounds from Chernobyl + Caspian Oil and UK Sites.) Some are very moving. All made me want to contact Peter Cusack and ask him a few questions:

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Hi Peter! The public is now used to seeing images of dangerous places. Focusing on sound recordings from these same places, however, is less banal. What can sound communicate that an image cannot convey?

Field recordings are very good at communicating the atmosphere of places. They also give a good sense of space (distance, position, how things are moving) and timing of any events happening. I think this is important because it gives a sense of what it might be like to actually be there and allows you to think about what you might feel, or how you might react if present. I don't really agree that images are more banal (some recordings are also). It depends on the image. For me a better impression is given when images, sounds and language are working together. Most reportage uses images and language but not the sounds, which means we are usually missing the aural information. This is a pity because it can be very informative and expressive.

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Peter Cusack, Ship's Graveyard, Aral Sea, Kazakhstan

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Bibi Heybat oilfield. Photo Peter Cusack

Some of the sounds you collected are seducing and fascinating. The ones you recorded in the Chernobyl exclusion zone are particularly charming, even the Cuckoo and radiometer has some poetry in it. So how do you suggest the sense of danger to the listener?

Yes, sometimes they are a complete contrast to a sense of danger. However they are part of the the larger whole. Most dangerous places are very complex. For me it's important to suggest the complexity and the contradictions that are present. That way one gets a more complete picture, e.g it may seem a contradiction that the Chernobyl exclusion zone is now a wonderful nature reserve. That is definitely to be contrasted with state of human health there.

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Shoes in the Chernobyl exclusion zone. Photo Peter Cusack

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Photo Peter Cusack

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Photo Peter Cusack

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Photo Peter Cusack

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View of Pripyat. Photo Peter Cusack

Is it easier to get access to these locations as a sound artist than as a photographer? I imagine that people in charge of a military site or a particularly environment-damaging oil field will be wary of a photographer but might underestimate the strength of a sound recording. Do you find that you face the same resistance and restriction when you record ambient sound than when you take photos?

The only place where i had access to a place where photographers cannot not go was the Jaguar car factory in Liverpool, where they are paranoid about industrial espionage from rival car manufacturers. At Chernobyl they give anyone access if you can pay the entry fees.

In places where you don't get permission it depends on how obvious you are. Large microphones are as visible as large cameras. I often use small equipment which is not easy to see. However, it's true that security guards don't know about recording equipment compared to cameras.

The UK now is very security conscious. I've been stopped at places for recording and for just standing in the wrong place not recording or photographing.
These days it helps to know the law regarding recording of any kind.

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Bradwell, UK. Photo Peter Cusack

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Lakenheath runway. Photo Peter Cusack

The first recordings of the series dedicated to the oil industry were made in 2004 at the Bibi Heybat oil field, in Azerbaijan. Why did you start there? Was it a conscious decision to start in that location or did you find yourself there for another reason and the idea emerged then to start a new body of work?

i was in Azerbaijan for a holiday. i did not know the oil fields were there, so it was a very lucky accident from which the project grew.

You see Sounds from Dangerous Places as a form of 'Sonic Journalism'. Yet, you are a sound artist, so what makes your work an artwork rather than merely a 'sound reportage'?

My interest is to document places as best i can (audio recording, photography plus any other kind of material or research) so that anyone listening/reading can get an idea of the place itself and the relevant issues. this material gets used for a variety of purposes - sound art, cds, radio, education, talks, installations. whether it is art, documentary or journalism is not so important to me.

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Oil field. Photo Peter Cusack

Are there dangerous places you wish you could go to or sounds you wish you could capture, only they are out of reach for some reason?

Yes, many. most military areas are completely impossible to get into. So are a lots of industrial sites, nuclear power stations, etc. Sometimes official tours are organised but usually these are useless for recording, which takes time to do properly without other people talking or getting in the way all the time. However it's sometimes possible to make interesting and valuable recordings from outside the fences.

Other places are really, and personally, dangerous like war zones. My project concentrates on environmentally dangerous place. War zones are not part of this and i've no wish to get killed.

After this exploration of the energy industry, you are planning to explore global water issues. Can you tell us a bit more about this project? Your website states that the work will include the dam projects in Turkey. Why do these dams strike you as representative of the global water problems? Where else will the project take you?

The Aral Sea in Kazakhstan. the aral sea was once the 4th largest lake in the world. today it has almost dried up because the water flowing into it is diverted into major irrigation schemes far up stream. The disappearance of the sea has been disastrous for the local climate and huge fishing industry that once supplied the Soviet Union with 25% of its fresh water fish.

The Kazakhs are now trying to restore a small part of the sea with support from the world bank. This has been quite successful and the fishing industry has re-started bring the economy back to some of the fishing villages. the wildlife has returned and so has the climate. I have travelled there twice so far - very interesting.

Thanks Peter!

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Check out the CDs and accompanying book that bring together extensive field recordings, photos and writing from the work in Chernobyl, Caspian oil, and UK sites.

Sounds From Dangerous Places is part of HLYSNAN: The Notion and Politics of Listening at the Casino de Luxembourg until 7.9.2014.

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From Soviet dial-less phone to post-surveillance art. Things i've seen in London this month

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Published on : 2014-06-30 13:42:10

I see far more exhibitions than i can blog (i could but i'm fairly lazy, you see.) So this morning, i went through all the photos i took in London galleries and museum in June and threw them hastily in this almost laconic post in case you're in town and bored. Being bored in London seems to be my latest obsession but that's another story.

Here we go...

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Home-made apparatus to test if a detector would work on Mars, c. 1960s. Object no. 2012-125 © Science Museum, James Lovelock

The ever fabulous Science Museum has a small show about the work of scientist and inventor James Lovelock. I spotted this apparatus to test if a detector would work on Mars. Lovelock built it in his home lab in the 1960s while working on NASA's Viking Mission to Mars. It is made with an ordinary kitchen jar and lid. The detector was sealed inside the jar and air was removed via the valve on the left to replicate Martian atmospheric pressure.

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Check out the Exponential Horn while you're in the building.

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Paul Granjon, Biting Machine

Speaking of wild inventions. I caught the very last day of the Paul Granjon exhibition at Watermans. It was called Is Technology Eating My Brain? and it was very very funny. It's not every day that i laugh my face off all alone in an art gallery. The show was the result of the artist's residency in the art center. He had a couple of works in the gallery (including a magnificently visitor-unfriendly Biting Machine), the rest were works made by participants of Granjon's Wrekshop. They included a slicing photo booth and a geranium survival kit.

I spent far too long watching the videos of Granjon's fancy inventions and performances:


The antigravitational vehicle for cats

I watched this one three times:


Kicked by Furman

And I now need this book: Hand-Made Machines [Includes DVD]

The show's already closed alas! but here's a few images. And a video.

The Victoria and Albert museum was showing the short listed artists and the winner of the Prix Pictet. The theme was Consumption in all its disastrous relationship to environmental sustainability.

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Abraham Oghobase, Untitled

Abraham Oghobase photographed hand scribbled texts advertising the various informal services offered by people living in Lagos, a city of over ten million inhabitants and the commercial capital of Nigeria.

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Michael Schmidt, Lebensmittel

In Lebensmittel, Michael Schmidt portrayed the mechanized, industrialized food system of contemporary Western culture. From pigs standing skin to skin in a factory farm to piles of discarded food. Seeing the images one next to the other up on the wall was both shaming and mesmerizing. No wonder the series won the prize.

The exhibition closed a couple of weeks ago.

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Suzanne Treister, Post-Surveillance Art (POST-SURVEILLANCE ART POSTER/WORLD OPEN DAY), 2014

Suzanne Treister was investigating the rise of mass intelligence and data collection long before it became fashionable to do so.

Talking in the context of her Post-Surveillance Art series, she said that: "What has altered for me post Snowden, is not an awareness and negotiation of a changed condition, but the knowledge that now almost everybody else knows something which was clear as day if you did a bit of research, and it's great to no longer be called a conspiracy theorist."
 
The show closed a few days ago at Maggs Gallery. It was both dramatic and surprisingly humourous.

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I have no time for design products, except when they come with a Soviet aura. The GRAD: Gallery for Russian Arts and Design is showing all kinds of plastic toys, a dial-less Telephone, red velvet flags, retro futuristic vacuum cleaners, etc.

Work and Play Behind the Iron Curtain is at the GRAD: Gallery for Russian Arts and Design until 24 August.

I also visited The Human Factor: The Figure in Contemporary Sculpture during the press view. I can't say that was the show of my life. AT ALL! But there were a couple of works i was glad to see again....

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Maurizio Cattelan, Him, 2001

and discover:

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Katharina Fritsch St Katharina and 2nd Photo, 2007

The Human Factor: The Figure in Contemporary Sculpture is at the Hayward until 7 September.

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GUN Architects, Rainforest

Gun Architects's rainforest-inspired pavilion at Bedford Square for the 2014 London Festival of Architecture.

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Ri Hyang Yon, 21, dancer in the Arirang Games, during a practice session in the car park, May Day Stadium, Pyongyang (Copyright: Nick Danziger)

Photojournalist Nick Danziger visited North Korea in 2013. He recorded the everyday life in the DPRK and was given rare access to cities outside Pyongyang. The story behind each photo is probably more interesting than the photos themselves. The subjects are doing very ordinary things (getting their hair done at the hairdresser, sunbathing by the sea with their kids, etc.) only it does look like the photos were taken in the past.

According to the British Council the exhibition is "the first cultural engagement of its kind" between the UK and the Democratic People's Republic of Korea. The Guardian adds that it opened in London with no advance publicity, for fear that the dire relations between North Korea and the west might sink the first cultural project of its kind.

Above the Line: People and Places in the DPRK (North Korea) is open at the British Council HQ in London until 25 July.

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I spotted this one in the street.

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Arts Collaboratory - Grants for Art Projects

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Published on : 2014-06-30 03:52:16
For projects by arts organizations in Africa, Asia, Latin America, Middle East that stimulate social innovation. Deadline: 31 July 2014

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Jenn E. Norton: Dredging a Wake

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Published on : 2014-06-28 01:00:00


Art Gallery of Hamilton
Jenn E. Norton: Dredging a Wake
June 28, 2014 to January 4, 2015
Reception: Sunday, November 2, 2014

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Dredging a Wake includes three installation works made up of video art, projection and sculpture. Each piece invites immersion, whether through the physical space of the installation or the projections that surround the viewer. At the heart of the exhibition is the notion that information is increasingly unwieldy, as we have stored our important data, documents and images on so many different media throughout the past century. From filing cabinets to cloud computing, we have been saving our precious materials in immaterial ways. Playful yet ominous, the artworks refer to a dark abyss, referencing cyclones, sinkholes and black holes, as metaphors for the unknowns of changing archival processes.

Precipice is a circular room that visitors can enter to become surrounded by projections of swirling water and a virtual swimmer, who navigates a vitreous chasm, seemingly in search of something. Doline is a sculptural installation of office fixtures that seem to be submerged in the floor, and slowly rotate to the soundtrack of people remembering their dreams about falling (sound piece by Delia Derbyshire and Barry Bermange). Doldrums uses 3D glasses, multiple projections and mirrors to duplicate an image of the viewer, furthering a sense of disorientation while reiterating the role we all play in this era of the digital abyss.

Jenn E. Norton is an early career artist based in Guelph, and this is her first major exhibition in a public gallery. This piece was commissioned within the Interactive Digital Media Incubator program at the Art Gallery of Hamilton, which was made possible with the generous support of the Government of Ontario through the Ministry of Tourism, Culture and Sport and the Museums and Technology Fund.

Curated by Melissa Bennett, AGH Curator of Contemporary Art


VISITOR INFORMATION

The Art Gallery of Hamilton is located at 123 King Street West, downtown Hamilton, Ontario, L8P 4S8.

Museum Hours
Tuesday & Wednesday, 11 a.m.-6 p.m.; Thursday, 11 a.m.-8 p.m.; Friday, 11 a.m.-6 p.m.;
Saturday-Sunday, 12 noon-5 p.m.

Admission
AGH Members: Free; Adults, $10; Students/Seniors, $8; Children (6-17), $4; under 5 years, Free.
Friday Free Night: Free admission on the first Friday of the month.

[T] 905.527.6610
[E] info@artgalleryofhamilton.com

Image credit:
still from Precipice (2014)
interactive video installation


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David Thauberger: Road Trips & Other Diversions

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Published on : 2014-06-28 01:00:00


Save the Date! Upcoming Programs at the Art Gallery of Windsor

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David Thauberger, Rainbow Danceland, 1979; acrylic, glitter on canvas; 128.3 x 177.8 cm.
Collection of the Glenbow Museum, Calgary.

PUBLIC PROGRAMS at the AGW

July 12, 2 pm
Join AGW Director Catharine Mastin for a walk-through exhibition tour of David Thauberger: Road Trips & Other Diversions, where she will highlight key works and concepts in the artist’s practice.

September 12, 7–10 pm
Join us for Fridays Live! a closing reception to celebrate the retrospective exhibition David Thauberger: Road Trips & Other Diversions and catalogue launch, featuring essays by Sandra Fraser, Timothy Long, Peter White, Andrew Kear, Patricia Bovey and Ted Fraser. The artist and curators will be in attendance.

September 13, 2–4 pm
Panel Discussion: Thinking Place, Thinking Region in a Globalized Environment
Join David Thauberger, the exhibition curators and writers for a lively discussion about the role of place in Thauberger’s art, and explore their views on why region and place matter in an increasingly globalized world.


Summer Exhibitions

David Thauberger: Road Trips & Other Diversions
June 28 – September 21, 2014

Join us to celebrate Road Trips & Other Diversions, the first comprehensive overview of the Canadian artist David Thauberger. The exhibition features paintings, prints and ceramics gathered from public and private collections across Canada. The installation examines key themes and working processes, developed throughout Thauberger’s more than 40 years as a maker and thinker.

Regina-based David Thauberger’s practice is characterized by his conviction that the local is as important as the global. Clusters of work by other artists, from Thauberger’s own collection, are included as contextual interpretive material and as a demonstration of his creative thought processes through collecting.

Road Trips & Other Diversions is accompanied by a documentary film, website: www.thauberger-roadtrips.ca, app, and related programming, and a publication launch will be held in Windsor on the weekend of September 12–13, 2014. This exhibition is curated by Sandra Fraser, Mendel Art Gallery, and Timothy Long, MacKenzie Art Gallery.

Organized and circulated by the Mendel Art Gallery, Saskatoon and the MacKenzie Art Gallery, Regina. This project is funded in part by the Museums Assistance Program at Canadian Heritage. Presented in Windsor with the support of The Chandisherry Foundation and The Morris and Beverly Baker Foundation.

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WE WON'T COMPETE
Until September 21, 2014

With Abstract Random, Sonja Ahlers, Eleanor Bond, Allyson Clay, Erika DeFreitas, Servulo Esmeraldo, Andrew Harwood, Jesi The Elder, Hannah Jickling, Margaret Lawrence, Rita Letendre, Johnson Ngo, Bodo Pfeifer, Adee Roberson, Arthur Secunda, Fiona Smyth

WE CAN’T COMPETE / WE WON’T COMPETE
WE CAN’T KEEP UP / WE WON’T KEEP DOWN

The statements of the exhibition title are an acknowledgement of the dilemmas of feminist and queer cultural participation and describe the all-too-familiar push/pull of working across discourses and converging dialogues. All of the art in this exhibition incorporates abstraction — of visual codes, relationships and bodies relative to space. When we looked through the AGW collection, we discovered the same obvious holes that most collections have. There are very few pieces by artists of colour/feminist and/or queer. But as feminist curatorial scholars have noted, art history is full of holes and fissures.

The way through this is to use absences as an opportunity to create a presence. An online publication is forthcoming with this exhibition.

Deirdre Logue and Allyson Mitchell, founding members of FAG


For more information contact Nicole McCabe at nmccabe@agw.ca or 519-977-0013 ext. 134.

Art Gallery of Windsor, 401 Riverside Drive West, Windsor, ON N9A 7J1 www.agw.ca

Please subscribe to: get connected to receive AGW program updates!

The AGW would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario and the Canada Council for the Arts.


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Pedro Reyes | Vasco Araújo | Akram Zaatari

Feed : Akimbo exhibitions feed
Published on : 2014-06-28 01:00:00


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The Power Plant Contemporary Art Gallery opens three provoking and exciting exhibitions by international artists Pedro Reyes, Vasco Araújo and Akram Zaatari, united in the way they uniquely question and explore ideas about ourselves, others and the world
Opening with a FREE party on Friday, 27 June, 2014


PEDRO REYES: SANATORIUM
28 June – 1 September 2014
Opening Party: Friday, 27 June, 8 – 11 PM

Making its Canadian premiere at The Power Plant, Sanatorium is an artwork by Mexican artist Pedro Reyes. It is a transient clinic that provides visitors with brief, unexpected therapy sessions in an effort to cure ills associated with urban living. First presented by the Guggenheim, New York in 2011, Sanatorium has since traveled to venues including Whitechapel Gallery, London (2013) and dOCUMENTA (13), Kassel (2012). For its iteration at The Power Plant, Reyes offers a new therapy entitled The Extraction of the Cop in the Head, an exercise devised to curb self-censorship in the face of oppressive situations. The procedures for each session are always prepared by Reyes and carried out by volunteer participants who are trained by the artist. It is through this involvement of non-professionals that Reyes challenges the notion of hierarchy, in the process transforming the gallery into a site for democratized psychological processes.
This exhibition is curated by Gaëtane Verna. More info

Enjoy the exclusive opportunity to see Pedro Reyes talk about his work and his practice on
25 June at 7:30 PM. Tickets and more info

LEAD DONOR: JACK WEINBAUM FAMILY FOUNDATION
DONOR: CONSULATE GENERAL OF MEXICO, TORONTO
SUPPORT DONORS: ELENA & JORGE SONI AND MARLA & LARRY WASSER

VASCO ARAÚJO: UNDER THE INFLUENCE OF PSYCHE
28 June – 1 September 2014
Opening Party: Friday, 27 June, 8 – 11 PM

This exhibition of new and recent work by Portuguese artist Vasco Araújo explores the artist’s ongoing interest in the human condition. Working across media, Araújo draws upon Western traditions in opera, dance, theatre, and literature in order to introduce divergent readings on such cultural histories. In so doing, Araújo wrests and confronts these historical references in order to question both contemporary notions of representation and the writing and canonization of history. He offers instead a body of work that suggests that history, rather than closed or finished narrative, has the ability to be renewed and reread. The exhibition is comprised of six works including the Canadian premiere of Araújo’s newest video Retrato (2014), a special commission by The Power Plant that appropriates portraits by 20th-century painter and writer Eduardo Malta.
This exhibition is curated by Julia Paoli. More info

LEAD DONOR: JACK WEINBAUM FAMILY FOUNDATION

AKRAM ZAATARI: THE END OF TIME
28 June – 1 September 2014
Opening Party: Friday, 27 June, 8 – 11 PM

Akram Zaatari examines how individual experiences are deeply intertwined with specific cultural and political histories. A founding member of the Arab Image Foundation, Zaatari has worked to collect more than 600,000 photographs from the Middle East, North Africa and the Arab diaspora. He then recontextualizes these archival documents in order to propose new scripts for how we catalogue both individual experience and communicate specific cultural and political histories. For his exhibition at The Power Plant, Zaatari explores questions of memory, time and radical preservation through his installation Time Capsule Simulation (2013) and his video The End of Time (2013), an allegory of the birth and disappearance of desire, enacted by three men caught in a successive cycle of beginnings and endings. Together, the works highlight human connection to preservation: of life, love and desire.
This exhibition is curated by Valerie Velardo. More info

LEAD DONOR: JACK WEINBAUM FAMILY FOUNDATION



Associated Events

ARTIST TALK: Pedro Reyes
Wednesday, 25 June, 7:30 PM
Studio Theatre, Harbourfront Centre
FREE Members, $12 Non-Members
Join us when Pedro Reyes will talk about this iteration of Sanatorium within the context of his larger practice, all in advance of the opening of the exhibition. Tickets and more info

FREE Opening Party
Friday, 27 June, 8 – 11 PM
Be one of the first in the city to see the new exhibitions and meet the artists.
Join us on our lakeside patio under the stars. A cash bar will be available all evening.

SUNDAY SCENE: Vicky Moufawad-Paul
Sunday, 29 June, 2 PM / FREE
Vicky Maufawad-Paul is a Toronto-based curator and the Artistic Director at A Space Gallery. Join us when she leads a tour of the exhibition Akram Zaatari: The End of Time.

More information about all programs and events



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ALL YEAR, ALL FREE: BMO Financial Group
Power Players: BMO Financial Group, Manulife Financial, Rogers, and TD Bank
Primary Education Sponsor: CIBC
2014 Power Kids Sponsor: Hal Jackman Foundation
Major Supporters: Canada Council for the Arts, Ontario Arts Council, and Toronto Arts Council


GALLERY ADMISSION:
ALL YEAR, ALL FREE presented by BMO Financial Group

GALLERY HOURS:
Tuesday - Sunday 10 AM – 6 PM
Thursday 10 AM – 8 PM
Open holiday Mondays

Media Contact: Robin Boyko, +1.416.973.4927, rboyko@thepowerplant.org

The Power Plant
231 Queens Quay West
Toronto, ON Canada M5J 2G8
+1.416.973.4949
thepowerplant.org

Image: Pedro Reyes, installation view of Sanatorium as part of The Spirit of Utopia, 2013. Courtesy Whitechapel Gallery, London. Photo: Patrick Lears.
 

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