Robin Cameron’s “T-R-U-T-H”

Saturday, 02 June 2012
Art Metropole *NEW location* (1490 Dundas Street West)
2 PM
Free

Robin Cameron in attendance

In conjunction with Art Metropole’s exhibition of Robin Cameron’s T-R-U-T-H, a selection of texts will be read aloud and discussed with the artist within the context of her exhibition at Art Metropole’s new location, which Cameron will transform into a book.

Conceived as a book expanded into an exhibition space, T-R-U-T-H  is the culmination of obsessive research referencing many disparate sources, ranging from short stories to cinema, and from hoaxes to philosophy. A web of connections is created around a single topic: truth. These include short stories written by Lydia Davis, every film that Jean Pierre Leaude has starred in, a hoax about a temporary tattoo that contains LSD, and the interpretation of Lacan’s theories of lack. Book pages give the viewer insight into the individual works, each relating back to the overarching theme.  With each exhibition of the project, T-R-U-T-H is considered an edition of a book in the making–with each version arranged slightly differently than the last.

Selected texts will include Lydia Davis’s Foucault and Pencil, Michael Bracewell’s The Nineties and a general discussion of Jacques Lacan’s idea of lack.

Robin Cameron recently graduated from Columbia University, New York. Her work examines the unfolding narrative of her own life through various media, including books (such as The Book that Makes Itself, 2011), prints, sculpture and video. Her practice includes narrative, coded autobiographies, full disclosure and personal mythologies. It has been shown in Canada, Japan, Mexico, and the US. It is held in the collections of The MoMA Library, The New Museum’s Resource Center and The Whitney Museum of American Art.

No Reading After the Internet (Toronto) is supported by the Liaison of Independent Filmmakers of Toronto. Special thanks to Art Metropole for their support of this salon.

Image credit: Robin Cameron, edition for Art Metropole, 2012.

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Martha Rosler’s “The Artistic Mode of Revolution: from Gentrification to Occupation”

May’s Reading: “The Artistic Mode of Revolution: from Gentrification to Occupation” by Martha Rosler
Wednesday May 16 2012
VIVO Media Arts (1965 Main Street), Vancouver BC
7pm Salon Free
Facilitated by Randy Lee Cutler

The Artistic Mode of Revolution“, published on E-Flux this year, is a survey of the contemporary political landscape, as it relates to the denizens of the so-called ‘creative class’. It is a reconciliation of discussions pertaining to gentrification, precarity, and contemporary resistance movements. Whilst it contextualizes the discussion of ‘artists’ and/or ‘creatives’ against the historical instrumentalization of this class and its precursors within the broader designs of the governing elite, the essay is interested in taking up the prospect of agency–as against or in contrast to sheer complicity. It takes the time not only to question the capacity of the corporate state to deliver convincingly on its promises to an aesthete subset of the middle class, but to pose the possibility of ‘sincerity of identity’ (a substance rising to meet its attendant style) as something other than a negatively foregone conclusion for this professedly progressive class.

Martha Rosler was born in Brooklyn, New York. She took her B.A. from Brooklyn College in 1965 and her M.F.A. from University of California, San Diego in 1974. Rosler works in video, photo-text, installation, and performance, and writes criticism. She has lectured extensively nationally and internationally. Her work in the public sphere ranges from everyday life — often with an eye to women’s experience — and the media to architecture and the built environment. (excerpted from website: http://www.martharosler.net/)

Whether through performance art, experimental video, photographs, recipes, interventions in gallery windows, or creative andcritical writing, Randy Lee Cutler’s practice explores the aesthetics of appetite, sustenance and embodiment. She has authored numerous essays published in C Magazine, Pyramid Power, The Fillip Review, FUSE magazine, Vancouver Art & Economies, Uncanny: Experiments in Cyborg Culture, West Coast LINE, n.paradoxa, Backflash Magazine, Canadian Art and Yishu Journal of Contemporary Chinese Art on topics as diverse as digestion, truth-telling, orientalism, feminism, photography and social change. Originally from Montreal, she lives in Vancouver where she maintains an experimental relationship with pedagogy, gardening and reading.

No Reading After the Internet is a monthly opportunity to gather and read a text aloud in hopes that it might provoke theoretical illumination on particular art works, or the broader scape within which such work exists. This program departs from Cineworks’ Thought on Film series, conceived by Cheyanne Turions. Whilst still very interested in cinema, the focus of this incarnation is softened to accommodate the more broad (and ever expanding) scope of media art.

The idea of a reading group isn’t new. No Reading nonetheless poses itself as an experimental learning and discussion space. Simply put, we are suspicious of our own reading abilities, and the extent to which our readings are conversant with one another. No Reading means to offer a slow space within which to retrace oursteps in the hopes of discovering individual and collective ways through the realms of language and interpretation. The strategieswe have at our disposal are twofold: through the yoking of our discussion to a text; and inducing conversation, where possible, between text and specific, local, contemporaneous art discussions and happenings.

Participation in No Reading After the Internet is free and open to everyone, regardless of his or her familiarity with a text or its author. Texts will be handed out at the gathering. No pre-reading or research is required. Those who wish to access the text in advance can find it here.