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

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 2015 at Gallery TPW.

Special thanks to the Gallery TPW for hosting this salon.

The Origin of the Work of Art


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

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

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”


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

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.


Braiding Theory

Tuesday, 19 January 2016
Leonard & Bina Ellen Gallery (1455 boul. de Maisonneuve Ouest, Montréal)
7 PM

As part of the Reading Exercises exhibition curated by Katrie Chagnon, the three founding members of No Reading After the Internet—Amy Kazymerchyk, Alex Muir and cheyanne turions—will lead a special salon that departs from the #ReadTheTRCReport project entitled Braiding Theory. Braiding Theory is a pedagogical framework coined by Lakota artist Dana Claxton that exercises attention and care in reading, interpretation and synthesis.

Excerpts will be drawn from Erica Violet Lee’s “‘Indigenizing the Academy’ without Indigenous people: who can teach our stories?” published on her website Moontime Warrior, Val Napoleon’s “Thinking About Indigenous Legal Orders” published by the National Centre for First Nations Governance and Zoe Todd’s “Rethinking Aesthetics and Ontology through Indigenous Law: On the work of Val Napoleon and Loretta Todd” published by C Magazine.

Erica Violet Lee is a Cree undergraduate student of philosophy at the University of Saskatchewan. She is an Indigenous feminist, and writes at Since speaking at the first Idle No More teach-in in 2012, Erica has been recognized as an international youth leader with the movement.

Val Napoleon is the Law Foundation Professor of Aboriginal Justice and Governance at the Faculty of Law, University of Victoria. She is from north east British Columbia (Treaty 8) and a member of Saulteau First Nation. She is also an adopted member of the Gitanyow (Gitksan) House of Luuxhon, Ganada (Frog) Clan. Val worked as a community activist and consultant in northwestern BC for over 25 years, specializing in health, education, and justice issues. Her dissertation on Gitksan law and legal theory was awarded the UVIC Governor General’s Gold Medal for best dissertation in 2009.Val’s current research focuses on indigenous legal traditions, indigenous legal theory, indigenous feminism, citizenship, self-determination, and governance.

Zoe Todd (Métis) is from Amiskwaciwâskahikan (Edmonton) in the Treaty Six Area of Alberta, Canada. She writes about Indigeneity, art, architecture, decolonization and healing in urban contexts. She also studies human-animal relations, colonialism and environmental change in northern Canada. Her art practice incorporates writing, spoken word, beading, drawing and film to tell stories about being Métis in the Prairies. She is a lecturer in Anthropology at Carleton University, a PhD Candidate in Social Anthropology at the University of Aberdeen, and she was a 2011 Pierre Elliott Trudeau Foundation Scholar.

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Braiding Theory at the Leonard & Bina Ellen Gallery. Photo credit: Jean-Louis René.


Reading Exercises

Image taken from

Image taken from “Honouring the Truth,Reconciling for the Future: Summary of the Final Report of the Truth and Reconciliation Commission of Canada.”

Reading Exercises
Leonard & Bina Ellen Art Gallery (1455 boul. de Maisonneuve Ouest, Montréal)
19 November 2015–23 January 2016
Tuesday–Friday: 12:00-18:00
Saturday: 12:00-17:00

Curated by Katrie Chagnon
Featuring Fiona Banner, Simon Bertrand, Clayton Cubitt, Ricardo Cuevas, Brendan Fernandes, Gary Hill, Bouchra Khalili, Ève K. Tremblay, Nicoline van Harskamp and #ReadTheTRCReport, an initiative by Erica Violet Lee, Joseph Murdoch-Flowers, and Zoe Todd, presented in collaboration with No Reading After the Internet, a project by Amy Kazymerchyk, Alexander Muir, and cheyanne turions

This winter, in collaboration with #ReadTheTRCReport, No Reading After the Internet will be participating in Reading Exercises, an exhibition organized by Katrie Chagnon at Montréal’s Leonard & Bina Ellen Art Gallery. Whereas No Reading would usually work with an artist to read aloud and discuss texts that had informed their practice, here, instead, we took the opportunity of the exhibition to put No Reading in dialogue with another project that is also concerned with the embodied politic of reading aloud.

#ReadTheTRCReport is a citizen’s initiative generated by Zoe Todd, Erica Violet Lee and Joseph Murdoch-Flowers. This project was developed as a means of making the entire Executive Summary of the Report of the Truth and Reconciliation Commission of Canada available online in video format. The report acts as a testament to the “cultural genocide”1 perpetrated by the Canadian state and Canadians upon Indigenous communities, notably by means of the residential school system. The document is meant to shed light on our complex collective history and “to lay the foundation for the important question of reconciliation.”2

In reaction to the publication of the report in June 2015, Métis activist, writer and teacher Chelsea Vowel, launched a call on her blog, âpihtawikosisân, for people to read the document in order to educate themselves on the permanent damages caused by Canada’s colonial history and to critically engage with the TRC’s findings. The video reading project initiated by Todd, Lee and Murdoch-Flowers, serves as a direct response to Vowel’s call, as well as a means to increase the report’s accessibility, to grant it life and to honour residential school survivors. Using social media (Twitter, Facebook, e-mail, et cetera), the trio has invited individuals from throughout Canada and elsewhere (Indigenous and non-Indigenous), to record themselves reading through one of 140 sections of the report, and to share their videos on YouTube. Accessible by searching #ReadTheTRCReport, the videos are integrated within a playlist containing the complete English version of the document.

A productive political exercise, this project is rooted within the current Canadian understanding of the existing relations with Indigenous communities. It testifies to the possibility—or rather the necessity—for each of us to exercise agency through the act of reading.  

The dialogue between these two projects will be presented through a series of public readings and discussions that examine the process, structure and form of the report, histories of oral and textual testimony, and the role of literacy in political engagement, scheduled to take place in January 2016.

Within this context, No Reading and #ReadTheTRCReport will think out-loud and collectively about the politics of reading aloud, of political action more generally, and will consider what our projects can learn from each other. Visitors will be invited to contribute to the production of the yet to be undertaken French video edition of the #ReadTheTRCReport.

The exhibition opens on 18 November 2015, and we hope to see you in January, when folks from both projects gather together in Montréal to think + talk + celebrate + share.

1. Truth and Reconciliation Commission of Canada, Honouring the Truth, Reconciling for the Future. Summary of the Final Report of the Truth and Reconciliation Commission of Canada, 2015, 1. Online : (accessed October 29, 2015)

2. Ibid., VI.

witness / témoin nichola feldman-kiss

nicola feldman-kiss,

nichola feldman-kiss, “after Africa \ a yard of ashes,” 2011-2012.

Friday, 23 October 2015
Ottawa Art Gallery (Arts Court, 2 Daly Avenue, Ottawa)
7 PM

Reflecting on the recurrent themes emerging in her survey exhibition witness, which is currently on display at the Ottawa Art Gallery, this salon will feature texts selected by nichola feldman-kiss that have contextually informed the works in the exhibition.

Excerpts will be drawn from Maggie Nelson’s The Art of Cruelty, whose reflections on brutal honesty position cruelty as a careful force, and William Steig’s Rotten Island, which the artist credits (among a few others) for teaching her to read out loud.

witness is a comprehensive survey that celebrates the last 15 years of the Toronto-based artist’s creative practice. A powerful examination of the living postcolonial body, this provocative collection of installations entangles the personal and the political to understand how the body becomes in relation to discourses of Otherness. Through a self-conscious autobiographical lens, feldman-kiss explores her own body and psyche as political sites of resistance through which to complicate the aesthetics and interpretations of self-portraiture. The works in witness tell the stories of cultural, experiential and historical conflict. Asking us to turn our gaze outwards, the most recent works in this exhibition offers witness to Sudanese conflict specifically, and more generally provides evidence of global exploitation and oppression. Throughout witness, the works pose the body as an offering to bridge the chasm between us and them, reflecting on the means of traversing between here and there.

nichola feldman-kiss is a Canadian, German, Jamaican artist exploring relational interpretations of body and embodiment, identity and autobiography, witness and traumatic memory. Visit her website here.

Special thanks to the Ottawa Art Gallery for hosting this salon.