The A Word

…all things I talk about on this week’s show, and you can listen to it here. As promised, I’ve posted the image with information for the EYOJG events that are upcoming.

I give you a few images of one of Kai Chan’s works, looking all sexy and beautiful and engaging. This work, Aurora, is at the Mendel right now.

The current exhibition at AKA Gallery, Dustin Wilson / FUTUROLOGIST, may initially deceive you into thinking that you’ve stepped into a project that was rejected by the Western Development Museum. The drawings, videos and the helpful handout with its accompanying list of symbols and definitions belie the wry humour at play. But like all “comedians”, Wilson is illuminating some essential truths (just as Margaret Atwood did in Oryx and Crake), about our potential future(s), our contemporary attitudes and the essential relationship between those two things.

The site of contested [future] narratives for Wilson is his native New Brunswick (he and I had an entertaining – and depressing – discussion about how a number of places in Canada are either never included in the national narratives, or are present solely as outside misinterpretations – he must be a trapper, eh, and I must be a farmer. Or he must be a craft artist who works in fur, and I must paint stripes….). This provincial focus allows a specificity for the Futurologist that is Wilson’s persona with this work, as in his talk at AKA he spoke in a dry, tongue in cheek manner of the “messages” he recieves from the future, and his attempts to decipher and decode them for us all. His words (which I commented previously could be grafted onto a number of sites in Canada, and beyond) speak of  “dissecting issues of rural identity in the current era of rapid social, economic and physical change, [Wilson] draws a line from the unfortunate outcomes that result from short-term, reactionary thinking and connects this with the current global issues of climate change, migration and mass extinction which humanity will inevitably be forced to contend with.”

A number of the images Wilson presents indicate that they take place in C.E. 2300, or further in the future. Some of the inhabitants of New Brunswick at this juncture in time have changed – genetic engineering is alluded to, sometimes fostered by unknown outsiders (perhaps government, perhaps private industries) – to be more hairy, to better tolerate the environment, perhaps all to be better “workers”.  A personal favourite is the genetic offshoot of mer people, who were bred to do work in one of the waterways, but discovered they could survive on their own on fish and other forage, abandoning any oppressive “invisible hand” of the market. Or, to quote Wilson’s illustrated guide, they “don’t work here anymore”: change is rarely predictable, and not often interested in conforming to expectations.

Other images depict the poorer, indigenous inhabitants “bootlegging” some of the technologies, while evolving wildlife disrupts other imposed notions of order (characters described solely as “blue suits” seem to have a role as faceless enforcers of some military / industrial / ‘we’re from the gov’t and here to help you” complex). At his talk at the University, several people spoke of Atwood’s foray in SF with Oryx and Crake, and Year of the Flood: both speak to how the best laid plans go awry when we consider only what we can do, and not whether we should – or, less philosophically, using pigs to grow brain tissue doesn’t work so well when the world ends due to a manufactured virus, and the “pigoons” make a play to be the dominant life form, and that cerebral tissue helps them move up the food chain….

The installation in the gallery proper is minimal, but the aircraft wire used to display the drawings, graphs and other pseudo scientific “research” is aesthetically engaging: and works well on a conceptual level, suggesting the images can be moved or re arranged, as better to fit the research of this Futurologist. To refer to his talk at the university again, Wilson spoke of the changes we (as a species) have made to our environment, and how he is “hopeful” about the future in a “geological” sense, suggesting that his focus on New Brunswick indicates that history – or the future – both happen most relevantly on a local scale, and that we may wish to trust local, immediate experience over that which is remote, that need not live – or die – with the consequences (did I mention the pigoons already?).

At its core, this is genuine research: just as Atwood once commented that her works weren’t fantasy as they were firmly grounded in what we are doing, experiencing and deciding now. Can’t you picture a future where workers willing to be “augmented” will be given the rare jobs in areas that are not part of the governing class’ electorate? Or where it’s required to have this, just as its now required to have a cell phone, FB profile and so many other aspects of technology that in their invasiveness deny that this stuff was supposed to make a shorter work week, and more freedom? Just wait: the gov’t wants to read it’s employees email now, but soon, they’ll just want to modify your DNA so you can have 12 fingers and type like a superhuman…but Wilson, in FUTUROLOGIST, suggests that the best laid plans will not be so smooth. After all, life happens, and evolution happens, and maybe that 12-fingered employee will start a dissident paper that leads to a revolution. One can only hope that in the future posited by Wilson there are more of the “mer people”, and lesser of the “blue suits”. But that might be our responsibility….

Here is this week’s radio show, and some images that interrelate: but you can listen to the show here, and I’d point out that I’m posting it a bit earlier than usual as Frank Shebageget will be speaking at the U of S this Thursday (tomorrow).

His work is posted above, and Frank has one of my most favourite exhibitions in the history of AKA Gallery…a space with many tongues……and in that wonderful sexy aesthetic way, I also give you an image of Kai Chan, who opens at the Mendel this Friday, as well.

There is also a worthwhile exhibition that just opened at the Saskatchewan Craft Council, and the invitation is posted below for you as well. There’s some excellent work in this show. I’m also posting up a bit early, as I talk about it on this week’s show, the poster for INHABIT, a project by the MFA students at the U of S, that is happening in the Snelgrove right now but that will end with an Open Studio night next week. The poster is below, as well, with all the information you need.

Just a note of correction to my previous “bold” commentary on We The Artists: I’ll begin with the positive.

Besides the people I praised, I should also add Adam Naismith: and I received an email from Toryn Adams, who asserts that I am incorrect in saying that the Dean of Fine Arts and Humanities was not there. As I was there until 9 PM, and the event ran until 11 PM, I will take Ms. Adams’s word that an appearance was made – as she is employed as a “research assistant” in the Arts and Science Office, I’m sure she would know.

Attended this extravaganza that students from the Visual, Musical and Dramatic Arts at the University of Saskatchewan made happen last night, and was impressed: not so much by the art works (some were good, some were not) but by the spirit and energy that made it happen. Kudos are in order to those responsible, and as always, respect and thanks have to be given to individuals who see the need for something to happen, and make it happen.

However, I have a few questions: and none of them are directed at WTA, or its organizers or participants. My questions are about those who weren’t there – such as the Dean of Fine Arts and Humanities, or the plethora of fat, lazy tenured faculty who seem content to let the Clarion project die as it may involve some work on their part, or it may interfere with their sabbaticals or other external manifestations of their incompetence and institutional laziness: how does it feel to have the students show you up, and set a bar that you aren’t likely to even try to beat (will it be another 14 odd years before another Faculty show from the tenured profs of the visual arts area – actually, that may be a blessing in disguise….)? I temper my congratulations to the students who organized this with my contempt for the faculty whose absence is literal, and metaphorical.

It is time to revisit what tenure means, and more importantly, what it does not : but when the Dean sounds like a used car salesman who doesn’t even believe his own lines, perhaps the best thing to do is be grateful that ilk is not there to take credit for things they haven’t done, and won’t be doing anytime soon….and it’s not like the tenured parasites and plump bureaucrats make it to events on campus, so what did we expect?

Enough: when our current government, either provincial or local asks the university why they should fund people who do nothing, my satisfaction and schadenfreude will be tempered by sadness at the fact that the students at the University of Saskatchewan in Fine Arts are engaged, hard working, demanding and diligent, and deserve far, far better than what they’re getting…..and they deserve to be congratulated for stepping up and making things happen, and reminding many of us their relevance. These excellent students are why I miss teaching, sometimes…if not those I was compelled to tolerate and abet.

And a large thank you and props to Emma Anderson, Mitch Bonokoski and Toryn Adams. Well done.

…which is one of my favourite songs by the Talking Heads, and I play it this week, as it seems appropriate when talking about Emmanuel Licha’s work at PAVED which opens this Friday. This week’s radio show can be heard here. Enjoy.

And the Canadian Romantic will be making an appearance at AKA Gallery this Thursday night, at 7 PM.

…or you can advertise it like neon in the winter night.

This in response to this letter in the Star Phoenix. The debate tires me, and as I am no longer at the University of Saskatchewan I treasure that my interaction with ignorant people has dwindled significantly. But sometimes it’s necessary to get your hands dirty….

This may or may not run in the Star Phoenix, as I sent it off: but I don’t need them to make a point, and here it is.

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Like most people on the Anti – RAGS side (as they can’t honestly be called Pro Mendel, despite their revisionist fantasies about the failed renovation plan), Dave Geary plays loose with the facts, and makes a number of ignorant assumptions that he passes off as “truth”. Although I’m tired of this debate and the refusal of individuals to inform themselves, I’ll step into the fray again (since the Star Phoenix has called me a “Civic Art Star”, perhaps I should….god help me).

A few of the “facts” that Geary cites are anything but, and it’s necessary to point that out.

Firstly, his assertions that this is a closed door process is belied by my personal experience of being invited to a consultation on this: and this was made up of individuals from a number of galleries in the city, and organizations, all of whom have experience and knowledge of what it takes to make a gallery run on a day to day basis. I would add that I’ve been liberal in my statements that the Perehudoff “retrospective” was / is a waste of taxpayer money for the sake of regionalist pandering, and I am as open and blunt with my opinions of other endeavours by the Mendel when I deem it deserved. I’m also supportive, when I feel it’s merited – on a local, and on a national level.  But perhaps that’s why I was there: I pay attention to facts, and don’t sound like a broken record, and I remember the two fires that happened in the inadequate prep spaces, and I have worked – and continue to work – installing exhibitions both traditional and otherwise. In other words, unlike some critics, I am informed.

Facts are important here: I’d also assert that the “Save the Mendel” FB page (because FB is such a factual source) has died. Most individuals who express distaste for the plan are confusing their contempt for our Mayor with the facts, or are part of that tired breed who think we should fund suburban development but that culture is “worthless”. It’s a sad legacy (if these people get their way) that Fred Mendel’s gift will be allowed to rot in unsafe, insecure spaces so we can pretend that ignorant opinions have as much value as informed ones.  And it’s unfortunate that Geary is assuming he speaks for the arts community: he does not, and even the CARFAC issue that spoke to people on the issue was less than homogenous. One could argue that was a “loaded” issue, as it ran opinions by Geary and two others, and didn’t speak to anyone who works at any gallery in the city, commercial, public or private. And I would point out that PAVED arts, one of the better galleries in the city, just bequeathed their amazing collection of photographic works to the Mendel to ensure it would be cared for properly – so Geary should remember he speaks only for himself, and poorly at that.

But these are all facts: and they have no space in Geary’s opinion, as it would require him to change it. I myself consider our current mayor to be desperately in need of someone to wheel him away from the trough, and being a renter and someone who lives in the downtown and works in Riversdale, my contempt for the majority of our City Council is equalled by very few others: but I won’t sacrifice the gift and legacy of Fred Mendel on that altar.

Or, Saskatoon can do what it’s best known for in the rest of the country: abandon culture unless it’s Glen Scrimshaw, and be known as a place that looks backwards, instead of forward.

…which will mean something when you hear the show. A number of events are mentioned, from LUGO to FUTUROLOGIST to Rural Readymade. Listen to this week’s show here.

I think I may have referred to Rural Readymade as Prairie Readymade several times in the show  (what is it about shows Shauna McCabe curates that I can’t get the names right with them? An unforgivable slight, as she’s often presenting worthwhile and engaging projects….or I can claim I come up with alternate titles, as she accepts my mistakes with good humour…).

An image by Dustin Wilson, from FUTUROLOGIST

We Were Lovers, who will be performing at LUGO at the Mendel

This will be at the Gordon Snelgrove Gallery this Thursday, January 12th, at noon. I mention this now as some people may not hear this week’s A Word until Thursday night, and will miss the talk, and as I’ve demonstrated, I have no issue using the A Word as an event calendar – if you’re doing something worthwhile, and not karaoke. The next few weeks will see a number of events worth your time, from Emanuel Licha at PAVED to We The Artist at TCU place to Shauna McCabe’s Prairie Readymade, so mark these down in your datebook.

…and I feel fine. In fact, I feel better than fine, as I share an idea at the beginning of today’s show about how we should open “galleries” that are called “prisons”, and then the federal gov’t will have no issue with funding us, and we can always claim we have lots of gallery visitors…oops, I mean “prisoners”, and nevermind that nasty word ‘artist’, we have gaurds, or lobbyists…..they’re just “unreported” or nevermind facts, I had 10, 000 people come to see my latest show. Take this denial of facts and embrace of truthiness as opportunity, ladies and gentlemen: if they can do it, so can we.

Anyway, here’s this week’s show: besides ranting, I mention a number of things, from this event to this event to Prophetic Treasures by Lucy Fern, which has an opening reception on Saturday, Jan 7 (1pm-3pm) featuring live music by Aboriginal Music Award winner Becky Thomson, food and beverages and there will be free admission.

I’ve also posted below the invite images for an exhibition by three emerging local artists at Esteem for the Home gallery: this exhibition is up for the month, but you’ll want to check this out.