A Word 09.10.2015 Anna Szaflarski and A Man’s Job

This week’s episode of the A Word is, on the surface, a very specific one to St. Catharines, while being a conversation between two people whom have connections to “here” but yet also are not from “here”…

First, let us all enjoy that I’m the NAC Member of the Moment for October, and you can read about that at the preceding link. Much praise to the community here, which has been exceptionally warm and welcoming. Many thanks to NAC and many others here who have made me feel very much at home.

Something else to consider in terms of your visual arts world in STC this Thanksgiving weekend are the plethora of events and exhibitions coming up at Rodman Hall. Here’s some information about Spare Parts,  which Stuart Reid talked about on the show a few week ago, and Donna Szőke’s exhibition which opens this weekend. I’ll be doing some follow up in the next few days to see about having her come on the A Word.

If you pick up this month’s edition of The Sound, you can also see some thoughts of mine on her upcoming show, Bill Burns’ exhibition which opens later this month, and some impressions of Shifting Perspectives. It’s not yet online, so you’ll need to pick up a print copy. When its up, I’ll share them.

But let’s return to Anna Szaflarski’s trio of installation / intervention works being presented through NAC that open this Thanksgiving weekend (a fitting analogy, perhaps, that fits in with the latter part of our conversation about “family” ) titled A Man’s Job. They’re located at NAC (354 St. Paul Street), the NAC Flea Market Gallery (46 Turner Crescent) and at the Golden Pheasant (244 Ontario Street).

Let me steal the words of the gallery :

At each newsbox location poster editions of A Man’s Job by Anna will be available for pick-up. The poster is comprised of a chronological collection of newspaper headlines tracking the relationship between the employees and the auto industry in Niagara that spans over sixty years (1940-2011). As Anna explains,

“I was researching in the library archives for another project, but quickly noticed the frequency of headlines pertaining to GM; unions, lay-offs, which rotated from hopeful to pessimistic with regularity like the wheels of a mill…Together the fluid back and forth begins to lose all meaning; an eventual entropic disintegration.”

You can listen to us here. An image of the poster is below linked to a larger version.

There is also a further piece of writing, that Szaflarski presents as part of her Letters to the Editor series where her writings are paired with another person’s response to the same subject. You can either pick up this at the news boxes too, or read her – and Stephen Remus’ essay – here.

This was very much the basis of many of the points in our talk, and I really enjoyed Stephen’s excellent contribution here, and if you have a sense of the history of this place and its relationship with manufacturing (especially in a familial or more personal way), you will, as well.

You may find me at the Golden Pheasant later on doing research on public reaction to this very interesting example of art in the public realm.

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A Word Niagara 11.09.15 Elizabeth Chitty & Confluence Field Trips

Chitty.header Chitty.screengrabThis week’s episode of the A Word is a conversation between myself and Elizabeth Chitty about her project Confluence Field Trips. This is an ongoing project that will inhabit multiple forms as it progresses from the “walks” to the image / audio contributions to the exhibition.

Elizabeth and I talk about this, and about the ideas that inform it, and as promised, here’s a variety of links that will both provide information that may make you want to get involved and that will help you to do so.

Here’s the page Score, with instructions on how to participate in Confluences, and here’s where you can book a Field Trip, which Elizabeth mentioned on the show. There’s also the Traditional Territory page, for further information. As well, Elizabeth mentioned Richard Pierpoint on the air, and here’s some engaging information about him.

Listen to this week’s episode of the A Word Niagara here.

Since this is going up on a Friday, there’s two other things I want to mention. Firstly, there’s an exhibition that has a reception this Saturday night at NAC, but is up right now for you to see. Just Like A Buggy Whip : New Paintings by Kevin Richardson (the latest thing in obsolescence) is in the front space, and there will be music by Attic Daddy. The show runs until the 18th.

Secondly, Shifting Practices, a Department of Visual Arts Alumni Exhibition, curated by Emma German, is open now and has a reception on the 18th, from 5 – 11 PM. This exhibition is in the Visual Arts Gallery, also listed as 15 Artists’ Common. Shifting Practices  will include work by Sarah Beattie, Candace Couse, Alicia Kuntze, Ben Mosher, Carrie Perreault and Bruce Thompson.
A schedule of artist talks to accompany the exhibition are also posted:
Carrie Perreault & Alicia Kuntze Sept. 21, 3:30pm-4:30pm, Foundation Studio (MW 151), 15 Artists’ Common.
Ben Mosher & Bruce Thompson Sept. 23, 3:30pm-4:30pm, Foundation Studio (MW 151), & site tour, 15 Artists’ Common.
Candace Couse & Sarah Beattie Sept. 25, 3:30pm-4:30pm, Foundation Studio (MW 151), 15 Artists’ Common.
I’ll be checking out that show and perhaps offering some thoughts about it, as well as touching base on some other ideas / concerns that intersect with this exhibition and the larger cultural narrative here.

 

Happy Valentine’s Day…

…and, as I’ve said on Twitter, I won’t be going to see Fifty Shades of Grey but will re read Georges Bataille’s L’histoire de l’oeil. I like my smut to be really pervery (it’s a word).

Amazingly enough, I may be doing it alone, but I am open to a reading date, ahem. But I have a tradition of making and sending Valentine’s cards every year. A friend talks about it here. So, in light of that, here’s this year’s version. Feel free to share and share alike and the image links to a larger version.

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The seductive works of Yam Lau

Oftentimes, when confronted with art that is highly specific in its use of digital technology, there is a distancing, or an almost palpable space between the artwork and the viewer. This need not be a negative experience. If you happened to see Jennifer Steinkamp’s work in Ecotopia, recently at the College Gallery, it’s so artificial that it seems a world unto itself, inside the monitor. It was like an artificial environment, remote and untouchable, and very beautiful.

Yam Lau’s Inaugurations (Two Instances of Illuminations) at PAVED arts, however, seem to invite an intimacy with the viewer: this is despite the bare nature of the gallery and the antiseptic cleanliness of the installation. The larger projection, nearly wall sized, is not quite directly across from the smaller, white-boxed monitor. This mild misalignment allows you to engage with one work at a time, allowing you to interact with either “space” exclusively.

This is helpful, as both are scenes with voyeuristic overtones. The larger projection, on a loop, brings us to a scene of a young woman, seemingly unaware of our intrusive gaze. She seems upset, and her positioning – her back to us, but facing a mirror in her “room” – allows us to see her facial expressions while avoiding direct engagement with her. The sole audio in the space is rainfall, corresponding to the film of “rain” in the image, hinting that we’re outside, like someone who desperately needs to see this person, or this scene unfold, and will brave the elements. There’s no menace, no implication of stalking, in our looking. She sits, weeping, before rising to leave, seemingly no happier and just as oblivious to our gaze.

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This “ignorance” – not in a pejorative sense – of our presence is also occurring in the smaller work. The “boxing” of the monitor in a white structured frame is both effective in breaking that hideous “let’s put a television on a wall and pretend its art” laziness and quite lovely. It works in both a formalist manner of “hiding” the tech, but also in terms of continuing the “whiteness” of the space to privilege the scenes in the darkened gallery.

The smaller image rotates, featuring a transparent cube in an empty (gallery?) space, where a man and a woman seem to engage in private, domestic tasks, sometimes folding clothes, sometimes reading and undressing, as though we’re not even there. The scene is not entirely clear as to whether it’s a projection on the clear walls, or actual figures within it. The players don’t seem to interact with each other, and of course, don’t interact with us anymore than their singular counterpart in the other work. Which is really there, or if they’re ghosts or imaginings, from one to the other, is vague.

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I’m sure I could come to an appropriate, “factual” conclusion about this: but this would simply cramp the ethereal experience. I prefer to think that everyone is really “there”, the same way that I’m part of this scene, and my interaction with him or her is real, as well.

My suspicion regarding artist talks is well known, and I’d paraphrase someone whose cynicism makes me blush in commenting that artists should tell you what they ate while making the work, as everything else they say is just as (not) relevant. I’m not quite that dour: and Lau’s talk was one of the more engaged and enlightening in terms of his current work that I’ve seen. His past works have also played with notions of space, reflection, and the idea of seeing oneself and your environment in alternate ways. He joked that an earlier, almost dangerously fragile glasswork that incorporated the works of poet Paul Celan was his first projection, as it let light shine through it, to shadow Celan’s words on the wall.

Celan was a survivor of the concentration and death camps of World War II. His writings (specifically Todusfuge, or in English, Deathfugue) are both poignant and cutting, and like many camp survivors (Primo Levi, Jean Améry), he took his own life (I highly recommend, on a side note, the anthology Holocaust Poetry, edited by Hilda Schiff). There is an element of absence, and they hint at things lost and gone, in the works of Yam Lau: a presence and an absence, and the title of Inaugurations (Two Instances of Illumination) seems to suggest that brevity and intangible transience…