Interim Measures

Interim Measures image

“Untitled,” Brady Cranfield and Jamie Hilder (2012).

Saturday, 19 September 2015
8-11 (233 Spadina Avenue)
3 PM

Artists and curator in attendance.

As part of Interim Measures, an exhibition curated by Denise Ryner and featuring the work of Chris Lee, Brady Cranfield and Jamie Hilder, this salon will feature texts selected by the artists and curator that explore the visible and invisible relationships that link financial deregulation and commodity money systems to conventions of value, production and presentation in art. Excerpts will be drawn from Andrea Fraser “L’1%, C’est moi,” Terry Atkinson’s “Vogl’s Combo,” and Emlio Moreno’s “Other Issues: Currency Delimiting Sovereignty.”

The exhibition’s title, Interim Measures, refers to corrective actions or policies enacted in governance and finance in response to a crisis with the expectation of an eventual return to a desired norm. However it is often the case that temporary situations evolve to become the status quo.

The most recent global financial crisis in 2008 has encouraged artists and curators to critically address the functions of capital and finance through their work. However these examinations often establish a disjuncture between the work of the artist and the economic structures they aim to represent. Through soundwork, printed matter and performance, artists Chris Lee, Brady Cranfield and Jamie Hilder activate their investigations of economist-derived aesthetics and speculative value. The artists in Interim Measures challenge assumptions of the extraterritoriality of the spaces of art and cultural production to the fluctuations of speculative finance and cognitive capitalism.

Chris Lee (Toronto) is a graphic designer and educator based in Toronto and Buffalo. He is a graduate of the Graphic Design Master’s program at the Sandberg Institute (Amsterdam). While at the Sandberg, his work focused on speculative visualizations of (alternative) currencies, and their attendant institutions and ephemera. He has also facilitated several workshops in Scotland, the Netherlands, and Croatia, and has written essays on the relationship between graphic design and currency. Chris is also currently a member of the programming committee at Gendai Gallery (Toronto), serves on the editorial board of Scapegoat Journal (Toronto) and is an Associate Professor of Graphic Design at the University at Buffalo SUNY. He recently co-edited with Maiko Tanaka the Gendai Gallery publication Model Minority (2014) with contributions by Angad Bhalla, Tings Chak, Alvis Choi, Christine Choy, Richard J.F. Day, Jacqueline Hoang Nguyen, Jinhan Ko / Instant Coffee, Will Kwan, Mona Oikawa, Liz Park, Gordon Pon, Kerri Sakamoto, Min Sook Lee, Vincent Tao, Dan S. Wang and Ryan Wong.

Jamie Hilder (Vancouver) is an artist, writer and critic. He has had solo exhibitions at Artspeak, Charles H. Scott Gallery and most recently at 221A in collaboration with Brady Cranfield. Hilder completed his doctoral dissertation on the International Concrete Poetry Movement at the University of British Columbia in 2010. From 2011-2013 he was a post-doctoral researcher in the Graduate School of Education and Information Sciences at UCLA and is currently an instructor at the Emily Carr University of Art and Design. He has also exhibited and published work in the United States and Europe.

Brady Cranfield (Vancouver) is a sound and visual artist, musician and writer. He received his MA in Communications and MFA from Simon Fraser University. He has also collaborated with artist and curator Kathy Slade on multiple audio projects such as 12 Sun Songs (2009) and 10 Riot Songs (2011). His recent exhibition Due To Injuries… at 221A with Jamie Hilder was also published as an artist book of the same name which includes contributions by Franco Berardi, Jaleh Mansoor, Enda Brophy, Cecily Nicholson and Steve Collis. Cranfield also teaches intermittently at Emily Carr University of Art and Design and is the co-proprietor of Selectors Records shop and performance venue in Vancouver.

Denise Ryner (Vancouver) is a curator, writer and arts worker. She received her MA in Art History at the University of British Columbia. Her recent exhibitions include Public Objects, Private Frames which is currently showing at the Canadian Heritage regional office in Toronto and Location/Dislocation (2011) at the Jackman Humanities Institute. She has worked in numerous galleries in Toronto including Art Metropole and the Justina M. Barnicke Gallery. Currently she works at the Vancouver Art Gallery, is an instructor at the Emily Carr University of Art and Design, and works at the Audain Gallery where she recently programmed a series of walks called Rain or Shine Saturdays.

Special thanks to the Liaison of Independent Filmmakers of Toronto for their ongoing support of this project and to 8-11 for hosting this salon.

Documentation courtesy of Tucker McLachlan.

Documentation courtesy of Tucker McLachlan.

Bik Van der Pol’s “Eminent Domain” at The Power Plant

Bik Van der Pol, Eminent Domain, 2015. Installation view: The Power Plant, Toronto, 2015. Photo: Toni Hafkenscheid

Bik Van der Pol, Eminent Domain, 2015. Installation view: The Power Plant, Toronto, 2015. Photo: Toni Hafkenscheid

Saturday, 22 August 2015
The Power Plant (231 Queens Quay West, Toronto)
4 PM

Facilitated by cheyanne turions

Reflecting the collaborative strategies at play in their current exhibition on view at The Power Plant entitled Eminent Domain, artists Bik Van der Pol have compiled selections from articles and essays that have been instrumental in developing the project. Readings will include excerpts from Bruno Latour’s Agency at the Time of the Anthropocene and Bernd Scherer’s The Monsters.

For their commissioned project at The Power Plant, Bik Van der Pol investigate the ways that human activity in the globalized age have had a direct effect on ecological systems. The exhibition title references the concept of “eminent domain,” a term coined by author Hugo Grotius in 1625. “Eminent domain” is understood as the power that the State may exercise over land within its territory, whereby the government or one of its agencies has the right to expropriate private property for public use through payment or compensation. By foregrounding this concept, Bik Van der Pol’s project alludes to the increasing privatization of previously public goods including territory, property and the public domain at large.

Through their practice, Bik Van der Pol aim to articulate and understand how art can produce a public sphere, and to create space for speculation and imagination. This includes forms of mediation through which publicness is not only defined but also created. Their working method is based on co-operation and research inquiries surrounding the activation of situations serving the creation of platforms for various kinds of communicative activities. Recent solo shows and projects include Ternitz, Austria (2014); 31st Bienal de São Paulo (2014); Witte de With Center for Contemporary Art, Rotterdam (2014); CAFAM Biennial, Beijing (2014); the Biennale of Mercosul, Porto Alegre (2013); Hoog Catherijne, Utrecht (2013); Between A Rock and A Hard Place in collaboration with Musagetes, Sudbury, ON (2011); The ENEL Award; MACRO, Rome (2010); and The Western Front, Vancouver (2010). Recent curatorial projects include Kunstfort Asperen, Acqouy (2011); and Plug In, Van Abbemuseum, Eindhoven (2009). They are currently the course directors of the School of Missing Studies at the Sandberg Institute in Amsterdam.

Special thanks to The Power Plant for hosting this salon, and thanks also to the Liaison of Independent Filmmakers of Toronto for their ongoing support of No Reading After the Internet (Toronto).

Eating Bodies: Towards a Consummate Consumption

food garbageNo Reading After the Internet is excited to be co-presenting the summer session of SCHOOL, an ongoing series of informal school-type seminars for people of any and all educational backgrounds organized by Jonathan Adjemian and Xenia Benivolski.

Eating Bodies: Towards a Consummate Consumption will be facilitated by Leila Timmins and cheyanne turions.

Readings will be sent out in advance of each session by email. We invite all styles of engagement with the texts—mastery is not expected, desired nor possible. Those interested are strongly encouraged to attend all four sessions if possible, but drop-ins are welcome too.

PWYC donations taken after each session, all of which go to thank the facilitators for their time.

If you are planning to attend, please email to ensure that you get readings and notifications. All are welcome.

What else is food, beyond nourishment? This summer session of SCHOOL will focus on the social and aesthetic aspects of food, where eating is considered as act with repercussions beyond the fulfillment of a basic need. Drawing on texts that operate outside of the sentimentality and machismo pervasive in much food writing, taste will be explored as something conditioned by class, gender, culture and history. Born of a desire to indulge and critically interrogate our tastes, especially as they resonate outward from our own plates, we hope to use food as symbol for human relations, exploring patterns of interaction between and within societies.

Over the course of four weeks, we will read a variety of texts—theoretical and comedic, historical and contemporary, fiction and not. Approaching SCHOOL as an experiment in informal education, please note that we are not experts in these texts, though our curiosity is voracious. Understandings of the texts will be performed collectively, and in addition to generally discussing each week’s theme, participants will be asked to share selections from the texts they find incendiary or spot-on. These observations will be used to guide our conversations.

Colonial Foodstuffs

12 July 2015, 4 PM

MOCCA (952 Queen Street West)

with guest Jonah Campbell

Reading Jonah Campbell’s “Notes Preliminary to Actually Thinking About an Anti-Colonial Food Writing” from Still Crapulent and Kyla Wazana Tompkins’s “‘She Made the Table a Snare to Them’: Sylvester Graham’s Imperial Dietics” from Racial Indigestion: Eating Bodies in the 19th Century

Session one,

Session one, “Colonial Foodstuffs,” hosted within Dean Baldwin’s “Queen West Yacht Club.” Photo documentation by Xenia Benivolski.




19 July 2015, 4 PM

8-11 (233 Spadina Avenue)

Reading Kingsley Amis’s “The Hangover” from Everyday Drinking; M.F.K. Fisher’s “G is for Gluttony” from An Alphabet for Gourmets and “How to be Cheerful Through Starving” from How to Cook a Wolf; and Walter Benjamin’s “Fresh Figs” from his Selected Writings: Part 1 1927-1930.

Session two,

Session two, “Gluttony,” hosted in 8-11’s backyard. Photo documentation by Gabby Moser.

Session two,

Session two, “Gluttony,” hosted in 8-11’s backyard. Photo documentation by Leila Timmins.

Cannibalistic Feminisms

26 July 2015, 4 PM

MOCCA (952 Queen Street West)

Reading Jonah Campbell’s “On Nigella Lawson, Impossible Witnessing, and the Reification of Analysis” from Still Crapulent; excerpts from F.T. Marinetti/Fillia’s The Futurist Cookbook; and excerpts from Three Banquets for a Queen, edited by Charlotte Birnbaum; as well as watching Candice Lin’s Tales from the Kitchen: Beggar’s Revenge Chicken.

Impromptu post-salon BBQ of frog legs and celery, courtesy of Dean Baldwin. Image courtesy of Leila Timmins.

Impromptu post-salon BBQ of frog legs and celery, courtesy of Dean Baldwin. Photo documentation by Leila Timmins.

Art-food and Taste-making

02 August 2015, 4 PM

8-11 (233 Spadina Avenue)

with guest Danielle St-Amour

Reading Martha Rosler’s The Art of Cooking: A Dialogue Between Julia Child and Craig ClaiborneHelen Rosner’s “Christina Tosi Climbs to the Top of Cool Girl Mountain With ‘Milk Bar Life’” from Eater, Carolyn Korsmeyer’s “The Meaning of Taste and the Taste of Meaning” from Making Sense of Taste and Carol Goodden’s “FOOD and the City” from Collapse VII.

Drinking onion wine in 8-11's backyard. Photo documentation by Xenia Benivolski .

Drinking onion wine in 8-11’s backyard. Photo documentation by Xenia Benivolski .


LEILA TIMMINS is a writer and curator based in Toronto. She is the Head of Exhibitions at Gallery 44 and currently sits on the Board of C Magazine and the Education Programming Committee at the Art Gallery of Ontario.

CHEYANNE TURIONS is an independent, Toronto-based curator and writer. She sits on the Board of Directors for Kunstverein Toronto, the Editorial Advisory Committee for C Magazine and the Advisory Board for the newly federated institution comprising the Justina M. Barnicke Gallery and University of Toronto Art Centre. She is the director of No Reading After the Internet (Toronto).

Thanks to MOCCA and 8-11 for their support of this session of SCHOOL and thanks also to the Liaison of Independent Filmmakers of Toronto for their ongoing support of No Reading After the Internet (Toronto).

Mia Feuer’s “Synthetic Seasons” at the Esker Foundation

Mia Feuer's "Boreal," 2013 (detail). Photo: Sue Wrbican.

Mia Feuer’s “Boreal,” 2013 (detail). Photo: Sue Wrbican.

Tuesday, 23 June 2015
Esker Foundation
444-1011 9 Ave SE, Calgary
6:30 PM
Free, but advance registration is suggested.

Facilitated by cheyanne turions.

Departing from the possible futures of oil production and consumption that are invoked in Mia Feuer’s solo exhibition at the Esker Foundation, Synthetic Seasons, the artist has compiled selections from articles and essays that have been instrumental in developing the project. The salon will feature excerpts from Lucy Lippard’s Undermining and Esther Leslie’s Synthetic Worlds.

Feuer is interested in the post-natural landscape, visible sites where human interaction—be it personal, social, political, or financial—has altered or is in the process of rapidly changing the land, and thus our relationship to it. Her work makes connections between our intense material dependency and the accelerated environmental impact this creates. Collapsed Soviet coalmines find common ground with bombed out buildings in the Suez Canal; trees feathered and tarred in the Athabasca Oil Sands sail alongside crystal blue glacial tongues of the Arctic Circle. Synthetic chandeliers of industrial waste mix and float among the black wings of ravens, a sky that pours down stinking pitch, an inky rink at the end of the world. Feuer stands at the centre of the storm, creating brilliant and ambitious work that calls attention to these damaged sites, but also surprisingly finds beauty and hope amidst the crushing mess.

Born in Winnipeg, Mia Feuer received a BFA from the University of Winnipeg in 2004 and an MFA in 2009 from the Department of Sculpture + Extended Media at Virginia Commonwealth University, Richmond. The artist currently lives and works in Oakland where she is Assistant Professor in Sculpture at the California College of the Arts.

Special thanks to the Esker Foundation for hosting this salon.

Theorizing the Spoken Word

This rumination on the relation between text and voice is excerpted from Chus Pato’s Secession (2009), from the chapter entitled “This I Folds and Unfolds Until a Last Fold Which is a Dream,” as translated by Erín Moure.

Writing evokes, evokes the voice that in humans is that of an animal that learned language, various languages, all of them articulated. As for the voice (to read aloud, present a poem), nothing brings it closer to the text; a text is complete in its writing, and writing is an absence, a forgetting. This dismemory (the forgetting of winter, of the bird snare, of angels running when they meet the gaze) of the voice that speaks or reads the poem is what makes writing possible. These are letters, the rough draft; but precisely for this reason, because this base is where letters emerge, writing is the sole possibility of remembering the voice, the voice that in humans is the voice of an animal that learns interminable ABC that calls out constantly through the voice, through the lost moment in which someone articulates a voice in speech. Afterward, a silence exists to speak the world, then all speak, then time and history and grammar arrive.

Impermanent Collections, Temporary Occupations, and Other Gatherings


Saturday, 09 May 2015
Rodman Hall Art Centre
2 PM

Maggie Groat in attendance.

As part of Impermanent Collections, Temporary Occupations, and Other Gatherings, a solo exhibition of the work of Maggie Groat at the Rodman Hall Arts Centre, she will be selecting texts from the Rodman Hall library, working with the material of the institution itself to engender a critical reflection on the shifting terrain of its existence.

Groat’s interdisciplinary practice often challenges assumptions, standards and routines to propose new ways of thinking. In this exhibition, she reflects on the shifting territory of Rodman Hall and the surrounding area by researching the geographic, natural, and art histories of the site. Treating the exhibition period as a self-directed residency, Groat will work on site, inserting her presence into the day-to-day and exerting her systems of classification on the existing order of the gallery. Working to integrate indigenous practices, she will cull objects from the grounds, permanent collection, archives, and offices for a series of temporary installations in the Project Space, bringing into focus things that have previously existed on the margins. Both playful and hopeful, Groat’s work insightfully addresses issues of power and displacement.

Maggie Groat is a visual artist working in a variety of media including collage, sculpture, artists’ books, site-specific interventions, and field studies. Forming an ongoing research-based practice, Groat’s work explores studies for possible futures, salvage practices, and relationships and reconnections to place and ancient knowledge systems, from an Indigenous perspective. Through reconfiguring and recontextualizing found materials, she assembles collages, sculptures and tools that enable moments of envisioning and the potential for action. Maggie studied visual art and philosophy at York University before attending The University of Guelph, where she received an MFA degree in 2010. She is represented by Erin Stump Projects in Toronto.

Special thanks to the Liaison of Independent Filmmakers of Toronto for their ongoing support of this project and to Rodman Hall Arts Centre for hosting this salon.

Andrea Fraser’s “Performance or Enactment” as selected by Martha Wilson

Photo credit: Martha Wilson as Barbara Bush by Dennis W. Ho.

Photo credit: Martha Wilson as Barbara Bush by Dennis W. Ho.

Thursday, 16 April 2015 Urbanspace Gallery (Ground floor, 401 Richmond Street West) 3PM Free

As part of the 28th annual Images Festival, this salon will feature Andrea Fraser’s essay “Performance or Enactment” as selected by Martha Wilson.

Martha Wilson in attendance.

As part of the 2015 Images Festival, Wilson will be participating in performance artist Jess Dobkin’s How Many Performance Artists Does it Take to Change a Light Bulb (For Martha Wilson). Taking a direct cue from Wilson’s video The History of Performance Art According to Me, Martha Wilson (2005), Dobkin takes on the complex and riddled history of performance art, defining its terms and conditions, while acknowledging the slippery temperament of her task. This new work will be an attempt to overwhelm the definitions and intersections of performance, documentation, the archive, and image reproduction to investigate the nature of performance itself. As a preface to the performance, which is centred upon enacting a lightbulb joke about performance art, Fraser’s text foregrounds discussion of re-performance of historical works.

Fraser’s essay “Performance or Enactment” can be accessed here. However, please note that it is not necessary to pre-read the text.

MARTHA WILSON is a pioneering feminist artist and gallery director, who over the past four decades created innovative photographic and video works that explore her female subjectivity.  She has been described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.”  In 1976 she founded Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artist books, temporary installation, performance art, as well as online works.  She is represented by P.P.O.W Gallery in New York; and has received fellowships for performance art from the National Endowment for the Arts and the New York Foundation for the Arts; Bessie and Obie awards for commitment to artists’ freedom of expression; a Yoko Ono Lennon Courage Award for the Arts; a Richard Massey Foundation-White Box Arts and Humanities Award; and in 2013 received an Honorary Doctor of Fine Arts degree from the Nova Scotia College of Art and Design University.

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

Courtesy of the Images Festival.

Courtesy of the Images Festival.

Courtesy of the Images Festival.

Courtesy of the Images Festival.