No Person’s Land

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Thursday, 15 February 2018
6 PM
The Showroom (63 Penfold Street, Marylebone, London UK)
Free, all welcome

As part of No Person’s Land, a residency project coordinated by DAM Projects, this salon will be facilitated by Seecum Cheung, Amanprit Sandhu and cheyanne turions. No Person’s Land uses joint research to enact how alternative structures might be formed between peers based on shared commitments and support; mapping a terrain between practice, thinking and being. In this spirit, this iteration of No Reading features three texts, chosen collaboratively, that explicitly frame the power relations and social assumptions that otherwise invisibly structure cultural work. Excerpts will be drawn from the following texts: WHEREAS by Layli Long Soldier (2017), which dissects the language of settler occupation through prose poetry; Saving Solidarity: Feminism and Nationalism in the Third World by Rafia Zakaria (2016), which addresses two audiences directly—western feminists and feminists in the global south in essayistic form; and The Unwomanly Face of War by Svetlana Alexievich (1985), which chronicles the experiences of the Soviet women who fought on the front lines of the Second World War, stories that have remained absent from official narratives.

Excerpts will be handed out at the salon and no pre-reading is required.

Seecum Cheung is a visual artist based between London and Rotterdam. Working primarily with moving images, her current work is an ongoing series of films based upon interviews and encounters with leading specialists in the field of right-wing radicalism, human rights organizations and activist refugee groups. Her films include coverage of the 2017 Dutch elections (The Dutch Window, 2017) with writer, musician, broadcaster and curator Morgan Quaintance, and extensive interviews on the rise of the far-right in Germany with political journalist Richard Cooke with SBS Public Broadcasters (Interview with Lennart, 2016). Recent exhibitions include solo presentations at Syndkt Gallery, Brussels, and Grand Union, Birmingham (both 2017). She is a recipient of the Anni and Heinrich Sussmann Award 2015/16.

Amanprit Sandhu is an independent curator based in London. She is a co-founder of DAM PROJECTS, a curatorial collective founded with Daniella Rose King and Morgan Quaintance in 2014. The collective use temporary exhibitions and events to support emerging, underexposed and unorthodox artists, art scenes, discourses and debates. She currently sits on the board of Arts Catalyst.

cheyanne turions is a curator, cultural worker and writer currently based in Canada. From the farmlands of Treaty 8, she is of settler and Indigenous ancestry. Her work positions exhibitions and criticism as social gestures, where she responds to artistic practices by linking aesthetics and politics through discourse. From 2008–2017, she was the director of No Reading After the Internet. She is a founding member of EMILIA–AMALIA, an exploratory working group that employs practices of citation, annotation, and autobiography as modes of activating feminist praxis. Currently, turions is the Director of Education and Public Programs at the Vancouver Art Gallery and on the Board of Directors at 221A.

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Every sound is a small action and broke world

Monday, 12 December 2016
6 PM
8-11 (233 Spadina Avenue)
Free

As part of Every sound is a small action and broke world, an exhibition by Christopher Willes currently on view at 8-11, this salon keeps with an inquiry into the various genealogies of sound that the exhibition elaborates and will feature texts by experimental music icons Maryanne Amacher and Pauline Oliveros.

Christopher Willes in attendance.

Every sound is a small action and broke world explores a sensorial delineation between the intra-noise of political conflict and music’s capacity to make something else audible. Borrowing its title from a line in the poem “Other dimensions in music, ghostcatching,” by Fred Moten, actions in the exhibition initiate from the forcefulness of sound—its vibrational persistence, and its material in-betweenness in relation to objects, the body, space and language. Informed by the compositional language of American experimental music, the exhibition includes several long-duration sound works that complicate attention, material memory and the concert as a mode of display.

Readings have been selected in consultation with artist Christopher Willes.

In a 2001 presentation as part of a panel on John Cage’s influence—which will be read aloud at the salon—Maryanne Amacher meditates on the future of music. More specifically, she writes about the possibility that the conditions of reception will become more a part of the music maker’s concern: “Music will be filled with extraordinary surprises … Music can tell us about the sensation of thinking.” For Amacher, and those who follow after her significant impact on experimental music practices, Cage’s effect was to open up not only a question of what is music, but how are we listening. In her visionary futurist tone, she speaks about the origins of music, its effect on the brain and cognitive approaches to composition that open new possibilities to experiencing music over long durations and through surprising sensations. She explains, “Expansive memory will allow composers to create sonic worlds that may last many hours yet include long periods of silence … Music will now take on a totally new dimension, similar to our experiences of time.”

Alongside this reading, the salon will also feature a collective enactment of one of Pauline Oliveros’s Sonic Meditations. Oliveros had abandoned composition/performance practice as it is usually established for what she termed Sonic Explorations, which included everyone who wanted to participate. She attempted to erase the subject/object or performer/audience relationship by returning to ancient forms that preclude spectators. She was interested in communication among all forms of life, through Sonic Energy. She was especially interested in the healing power of Sonic Energy and its transmission within groups. All societies admit the power of music or sound. Sonic Meditations are an attempt to return the control of sound to the individual alone and within groups especially for humanitarian purposes—specifically healing.

Excerpts will be handed out at the salon and no pre-reading is required.

Every sound is a small action and broke world is on view until 03 January 2017 at 8-11.

Special thanks to the 8-11 for hosting this salon.

CHRISTOPHER WILLES is a Canadian artist and composer. He makes performances, music and exhibitions, and he writes about contemporary art. Select projects have been presented at the Art Gallery of Ontario, the Music Gallery, Intersite Visual Art Festival, The Rhubarb Festival and Open Ears Festival. He often works within experimental dance and theatre as a sound maker and dramaturge, including works with Public Recordings, Urbanvessel, Small Wooden Shoe, Dancemakers, Ellen Furey, Ame Henderson, Evan Webber and Adam Kinner. He studied music at the University of Toronto and received an MFA from Bard College. In 2016 he was awarded a Chalmers Art Fellowship and was a MacDowell Colony Fellow.

Common Aliens: Diaspora in Time

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Saturday, 03 December 2016
Studio XX (4001 rue Berri, espace 201, Montréal)
11:30 AM
Free

Organized by Atelier Céladon, common aliens: diaspora in time | étrangers communs: La disapora dans le temps is a curatorial project organized to work through the feeling of being in time in an unmappable terrain of bodies. In prioritizing the voices of Indigenous and people of colour, Atelier Céladon has assembled a program that centers the knowledge gained through lived temporalities in the practical effort to build up our networks of solidarity. Think what it can mean to prioritize occupying time over space, to find our portals in between time through glass bowls. Our bodies speak to each other. They sound the depths together, recognizing that there is no desire that is not collective and no desire that does not create.

No Reading After the Internet is excited to be part of the weekend’s programming and co-director cheyanne turions will host a salon that considers the ways identity is inhabited and deployed in the creation and contextualization of artworks. Together, we will read Hannah Black’s essay “The Identity Artist and the Identity Critic,” which was published in the Summer 2016 issue of Artforum, and Richard Hill’s essay “Is There an Indigenous Way to Write About Indigenous Art?,” which was published online by Canadian Art on 25 May 2016.

Texts will be handed out at the salon and no pre-reading is required.

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Image courtesy of Atelier Celadon.

Working Conditions

Juan Ortiz Apuy Measures of Distance II (North, South, East and West) After Heizer, 2014

Juan Ortiz-Apuy, “Measures of Distance II (North, South, East and West) (After Heizer),” 2014.

Tuesday, 02 August 2016
Gallery TPW (170 St. Helens Avenue)
7 PM
Free

As part of Working Conditions, an exhibition currently on view at Gallery TPW, this salon will expand upon the exhibition’s interrogation of power dynamics, blind spots and measures of success contained in cultural economies and ecosystems, investigating the invisible structures that are used to organize time, bodies and space.

Working Conditions brings together the work of artists questioning where they stand and what they stand amidst. Acknowledging that the studio exists at the intersection of many ecologies, the artists place themselves in relation to factors beyond their place of production. Their interactions negotiate complicities, rights and responsibilities while pushing at the blurry boundaries between art and life.

Readings have been selected in consultation with participating artists Kajsa Dahlberg and Juan Ortiz-Apuy, and curator Sam Cotter, and will include selections from Rebecca Solnit’s River of Shadows and Naomi Klein’s The Shock Doctrine. Excerpts will be handed out at the salon and no pre-reading is required.

Working Conditions is on view until 06 August 2016 at Gallery TPW.

Special thanks to the Gallery TPW for hosting this salon.

The Origin of the Work of Art

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Saturday, 30 April 2016
Justina M. Barnicke Gallery
2 PM
Free

As part of Rehearsal for Objects Lie on a Table, which is curated by Emelie Chhangur, this salon is hosted by Kevin Temple and Michael Maranda, who invite a collective reading of Martin Heidegger’s “The Origin of the Work of Art” in the context of object oriented ontology and Gertrude Stein’s Objects Lie on a Table. In “The Origin of the Work of Art,” Heidegger confronts the history of aesthetics for uncritically accepting the distinction between subjects and the objects of art. Heidegger, by contrast, locates aesthetic experience beneath the threshold of the subject/object distinction to uncover the ontology of the work of art.

Kevin Temple is a writer and critic. He is currently a PhD candidate in philosophy at The New School for Social Research, New York.

Michael Maranda is a Toronto-based artist and assistant curator at the AGYU.

Rehearsal for Objects Lie on a Table is on view until April 30 at the Art Museum at the University of Toronto.

Image credit: Diane Borsato, Tea Service (the conservators will wash the dishes), 2013. Museum action/intervention and archival photographs. Courtesy of the artist.

Special thanks to the Art Museum at the University of Toronto for hosting this salon and to the Liaison of Independent Filmmakers of Toronto for their ongoing support of this project.

Reading Alice Driver and Susan Buck-Morss as selected by Joni Murphy

Still from "Céline et Julie vont en bateau" (1974), directed by Jacques Rivette.

Still from “Céline et Julie vont en bateau” (1974), directed by Jacques Rivette.

Saturday, 23 April 2016
Art Metropole
4 PM
Free

Reflecting on themes emerging from her debut novel Double Teenage, which has just been published by BookThug, this salon will feature texts selected by Joni Murphy that have been instrumental in the development of her work.

Joni Murphy in attendance.

Exploring  ongoing patterns of violence against women (especially Indigenous women and women of colour) in relation to NAFTA and neoliberalism, Murphy investigates the matrix of violence wrought by western philosophical, economic, and cultural traditions. Excerpts will be drawn from Alice Driver’s “Why Targeted Violence Against Women in Juárez Is Not A Myth” and Susan Buck-Morss’s “The Flaneur, The Sandwichman and the Whore.”

Double Teenage tells the story of Celine and Julie, two girls coming of age in the 1990s in a desert town close to the US–Mexico border. Starting from their shared love of theatre, the girls move into a wider world that shimmers with intellectual and artistic possibility, but at the same time, is dense with threat. This unrelenting novel shines a spotlight on paradoxes of Western culture. It asks impossible questions about the media’s obsession with sexual violence as it twins with a social unwillingness to look at real pain. It asks what it feels like to be a girl, simultaneously a being and a thing, feeling in a marketplace. Double Teenage is a portrait of the recent past, seen through the cloudy lens of now, offering a way to see through violence into an emotionally alive place beyond the myriad traps of girlhood.

Participants are invited to attend a reading by Joni Murphy on Thursday, 21 April 21 2016 at BookThug’s Spring 2016 book launch featuring readings by Jacob Wren, Malcolm Sutton, Joni Murphy, Margaret Christakos, Adrienne Gruber, Jennifer Zilm, François Turcot, Stephen Thomas and Alessandro Porco. Details can be found here.

Joni Murphy is a writer and artist working between critical theory and fiction, writing, performance and sound. The quotidian workings of state violence, literary misprision, and subtle forms of resistance to neoliberalism are consistent themes in her varied creative output. Visit her website here.

Special thanks to Art Metropole for hosting this salon and to the Liaison of Independent Filmmakers of Toronto for their ongoing support of this project.

Walter Scott’s “Sequel to Guts”

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Thursday, 21 April 2016
Doris McCarthy Gallery at the University of Toronto Scarborough
7 PM
Free

This special edition of No Reading After the Internet will feature a new performance work by Walter Scott presented at the exhibition opening of How a Living Day is Made.

Sequel to Guts is a collage of new and existing writing, reconfigured to create original associations between the fictions and reality of the artist, the audience and the gallery environment. Against the backdrop of a new, site-specific mural, Scott will animate the forms and narratives of the drawing: as the written words are performed over the changing backgrounds, they will create associations with the images encountered along the way.

Curated by cheyanne turions, How a Living Day is Made is an exhibition about survival strategies that features the work of Aisha Sasha John, Rachelle Sawatsky and Walter Scott. Their practices open up places of affect, empathy and entanglement, staking a claim for the vibrancy of being recovered from the banal, systemic or heroic struggles of making a life in the world today.

Walter Scott is an interdisciplinary artist working across writing, illustration, performance and sculpture. In 2011, while living in Montreal, he began a comic book series, Wendy, exploring the narrative of a fictional young woman living in an urban centre who aspires to global success and art stardom but whose dreams are perpetually derailed. The position of the outsider and shape shifter are central to this body of work and the influence of feminist icons such as Elle Woods in Legally Blonde and artist, punk poet, experimental novelist and filmmaker Kathy Acker lingers. Recent exhibitions include Fictive Communities, Koganecho Bazaar, Yokohama, Japan 2014; Pre-Existing Work, Macaulay & Co. Fine Art, Vancouver 2015; and Stopping the Sun in Its Course, Francois Ghebaly Gallery, Los Angeles 2015.

This special edition of No Reading After the Internet is presented as part of the exhibition How a Living Day is Made, which is produced as part of the requirements for the MVS degree in Curatorial Studies at the University of Toronto.

Special thanks to the Doris McCarthy Gallery for hosting this performance and to the Liaison of Independent Filmmakers of Toronto for their ongoing support of this project.

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