Author: Santiago Tavera (page 1 of 5)

RE-EXCAVATIONS | Exhibition at CDEx

 

CDEx Centre de Diffusion et d’Expérimentation des étudiants de la maîtrise en arts visuels et médiatiquesUniversity of Quebec at Montreal
405 Ste-Catherine / St-Denis
J-Jasmin Pavilion, Room J-R930
Montreal, QC

Exhibition: August 4-12, 2018
Vernissage: August 3, 2018 at 4:00pm

Artists:
Shoji Kato
Paul Landon
Marjatta Oja
Pépite & Josèphe – Expédition
Kévin Pinvidic

Re-excavation reflects on archaeological methods of unearthing and digging up. With this exhibition project it is the urban landscape that is re-dug up. The present and past city is reconsidered, what has been found repurposed for its future. Urban space is uncovered, expanded and upturned, interpreted as an abstract diagram, as material residue, as rumours of past usages and activities, as oral accounts and lived experience.

In 2017 Marjatta Oja, Shoji Kato and Paul Landon developed new works for the exhibition Excavations at the Saariaho Järvenpää gallery in Helsinki. These works were drawn from reflections on Helsinki’s Viiskulma neighbourhood where the gallery is located, an area characterised by a five-corner intersection. This year’s exhibition project Re-excavations is built on new, site-specific, works by Kato, Landon and Oja as well as on new works by Expédition (Pépite & Josèphe) and Kévin Pinvidic. All of these works respond to material and structural characteristics of downtown Montréal.

Shoji Kato is a Helsinki-based artist who works in drawing, painting, photography and installation. His intricate works reflect on geologies as both material conditions and forms of collective memory. Kato has exhibited extensively in Europe and Asia and he recently completed a Doctorate in Fine Arts at The Finnish Academy of Fine Arts.

Paul Landon lives and works in Montreal. His installation and media-based visual art practice looks at modern architecture and urban planning as sites inscribed with the potential of psychological trauma and social unease. Landon is a professor in the École des arts visuels et médiatiques of UQÀM and he recently completed a Doctorate in Fine Arts at The Finnish Academy of Fine Arts.

Marjatta Oja is a Helsinki based artist working in video, painting and installation. Her ‘situation sculptures’ render dialogues and conversations into archirectural moving image projections. Oja recently completed a Doctor of Fine Arts at The Finnish Academy of Fine Arts where she teaches video.

Expédition is an artist duo based in Montréal. Their practice rooted in painting and printmaking is based on walking in the city, collecting residue and remnants and repurposing these. Pépite Biron-Chalifour is completing a BFA in Photography at Concordia University. Josèphe Landreville is a student in the Maitrise des arts visuels et médiatiques programme at UQÀM.

Kévin Pinvidic is a Montreal based visual artist. His work takes the form of three-dimensional drawing; it draws on his wandering in the city and on the archiving of found discarded elements. Pinvidic is a student in the Maitrise des arts visuels et médiatiques programme at UQÀM.

 

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THEREBEFORE AND HEREAFTER | John Latour – Solo Exhibition


Exhibition:
July 21 – August 18, 2018

Opening event: Saturday July 21st, from 3pm to 6pm
Artist in attendance

Location
Pierre-François Ouellette art contemporain
65 George Street
Toronto, Ontario, Canada
M5A 4L8

More Information
http://www.pfoac.com/Toronto/JL_2018_EN.html

 

ABOUT THE SHOW

Pierre-François Ouellette art contemporain is pleased to present Therebefore and Hereafter, a solo exhibition of work by Montreal artist John Latour.

An ongoing theme in Latour’s work is the idea of “the past”, and how our experience of it is mediated through objects, images and texts. More recently, the artist has looked to the history of spirit communications as a metaphor for dialoguing with the past.

The focal point of Therebefore and Hereafter is the artist’s Psychic cabinet (2010) an interactive installation based on the tradition of spirit cabinets – enclosed spaces created from furniture and curtains that were used by mediums of the late 19th and early 20th centuries to focus their psychic powers before or during séances. The presentation of Psychic cabinet in downtown Toronto draws attention to the city’s long and sometimes complicated history with spirit communications. Toronto was the locus of at least three Spiritualist organizations at the turn of the 20th century (the Canadian Spiritualist Association, the Spiritualist National Union of Canada and the Toronto Spiritualist Association); although as Stan McMullin notes in his Anatomy of a Seance, mediums in Toronto (and elsewhere) at that time could be – and were prosecuted through the Canadian Criminal Code under the Witchcraft section of the Vagrancy Act.[1]

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ANDY WARHOL FOUNDATION AWARDS $295,000 IN CURATORIAL RESEARCH FELLOWSHIPS

We are happy to announce that Haema Sivanesan, curator at the Art Gallery of Greater Victoria is among the  6 fellowship recipients of the Curatorial Research Fellowship awarded by The Andy Warhol Foundation for the Visual Arts, which is awarding a total of $295,000 to six curatorial research fellows to encourage new scholarship in the field of contemporary art. Recipients will receive grants of up to $50,000 to support travel, archival research, interviews, and other activities.

For more information please visit Artforum: https://www.artforum.com/news/andy-warhol-foundation-awards-295-000-in-curatorial-research-fellowships-76007

FOREST BREATH – A PORTRAIT IN PROGRESS with Leila Sujir

AGGV_10290_Offsite_Insight_forest breath JUNE 17

 

Date: SUNDAY, AUGUST 12, 2018 | 2–4PM

Location: PORT RENFREW ELEMENTARY SCHOOL 6633 DEERING ROAD

Join artist Leila Sujir for a video screening of Forest Breath: A Portrait In Progress, a 3D stereoscopic video installation filmed with an IMAX rig with two Sony F65 8k cameras in the south Walbran. Experience this innovative work in development, meet the artist, and contribute insights towards a broader understanding of these unique forests.

Reblog: Four of FotoFest’s Dazzling Displays Focus on Indian Portraiture

Photo: Leila Sujir combines video of lost-looking but regal peacocks with floating animations in her stereoscopic 3D video projection, “Peacocks Dream.”

Four of FotoFest’s dazzling displays focus on Indian portraiture

 India, so vast and complex in its history and cultural influence, makes a head-spinning subject for the FotoFest 2018 Biennial.

Technically, as director Steven Evans explained, “It’s not really about India. It’s about these artists of Indian origin and what their concerns are.”

Through that lens, he and curator Sunil Gupta also are showing that India is not a monolithic place. “It’s got 140 official languages, with 600 languages spoken; multiple religions and ethnicities; concerns of philosophy, language, indigenous people, environment and a new queer sensibility emerging,” Evans said.

Viewers may be dazzled, or dazed, by the busy mix of images that unfold across four venues.

A few categories emerge through what appears to be a scattershot organization: Documentary work and portraiture (especially self-portraiture that employs elaborate impersonations to explore identity) are especially strong.

Most of the 47 featured artists live and work in India. That context matters.

Gupta contrasts India’s contemporary photography scene with that of China, which has 60 schools, a thriving publishing industry and numerous art fairs. In India, art photography is still the activity of the English-speaking elite, he said.

FotoFest’s abundance of documentary photography from numerous regions reflects artists’ familiarity with India’s documentary filmmaking tradition, he said. “It’s not because they know Walker Evans.”

But they do know technology. Like others around the world, India’s contemporary artists have embraced new technology because it’s accessible, cheap to produce and gives them “a certain kind of global credibility,” Gupta said.

About a third of this biennial features new media installations — the most ever — although it doesn’t feel that way because the rooms devoted to projected work are sprinkled across the venues.

Four installations — three by female artists — have stayed with me for their evocative storytelling. There’s one more week to see those at the three locations near Fotofest headquarters; Asia Society Texas Center’s smaller portion is up through late July.

‘Peacocks Dream’

During the opening reception in March, Leila Sujir’s “Peacocks Dream” turned an alcove of the Silver Street Studios building into a spectacle. I fell into its spell on a quieter day, when the nearly 16-minute stereoscopic 3-D (SD3) video, or anaglyph, was projected onto just one wall and I could don 3-D glasses, sit on a bench and hear the audio component.

Regal peacocks amble through a garden of mazes at what appears to be an ancient estate in England, looking out of place with their exotic, brilliant plumage, as viewers hear the measured reading of letters between family members who are worlds apart. Sujir layers funny animated peacocks, floating paisley designs and a fanciful border onto the photography, touches of levity that balance the melancholy tone.

She lives in Montreal. The letters are from her family’s archive, written from her paternal grandfather in Mangalore, India, to her father, who died young, in his mid-30s, in a plane crash in Canada. For years, she feared that her father’s story would become her own because his journeys placed him in precarious positions, too far away from home. Her narrative is abstract enough that “Peacocks Dream” expresses a universal sense of disorientation and loss.

SD3 dates from the mid-1800s but has evolved. Anaglyphs combine superimposed imagery and colored filters. Sujir has experimented with projection mapping, which places SD3 video space into the built environment — to create installations — for more than a decade. She appreciates the “haptic sense of space” it creates to help convey themes of migration that have intrigued her for 30 years. “SD3 video spaces are elastic and dream-like places, ephemeral, yet capable of extending a sensation of volume, physicality, and presence to the viewer,” she writes.

Watching “Peacocks Dream” made me wish I could see Sujir’s entire “Elastic City Spacey” series.

 

To read the full article click here

Reverberations of a Topological Daydream at Forest City Gallery

REVERBERATIONS OF A TOPOLOGICAL DAYDREAM

A solo exhibition by Santiago Tavera
March 2, 2018 to April 13, 2018
Opening reception: Friday, March 2, 7:00pm – 9:00pm

Reverberations of a Topological Daydream is a multimedia architectural installation that presents a virtual space in constant translation between physical and digital experiences. Multiple video projections and 3D graphic animations immerse the gallery space, taking viewers into the vastness of a virtual suburban galaxy. Within this constructed digital environment, plexiglass and vinyl structures are used as reflective screens and visual filters, which are activated through the light of the projected image. Memories and sensations are translated around the space through the repetitions and echoes of images and sounds, creating a perceptual topology of virtual reverberations. Topology, as a mathematical term, refers to the exploration of how shapes preserve their permanence in change, by only bending, twisting and stretching, without ever breaking and losing their original self.

This multimedia exhibition presents digital architectural houses as sites of refuge, where memories and illusions emerge, and where perception collides with that of the immediate future and the re-constructed past. Interlacing the role of an outside observer with the one that inhabits an interior site, viewers virtually journey through a familiar place. Viewers inhabit the exhibition space, while virtual spaces are consequently inhabiting them. Reverberations of a Topological Daydream, aims to illustrate the impact digital culture has on how we form our identity within multiple realms. Digital media allows subjects to constantly navigate between perception, memory, physicality and the virtual. Individuals find themselves in a never-ending process of constructing and re-constructing their sense of being, and in turn their sense of belonging. Dislocation, familiar to those who have experienced cultural displacement, has become more apparent as subjects now live as virtual immigrants within the realm of the digital. In cyberspace, subjects and objects exist as images that are constantly moving from one screen to the next, a virtual dislocation similar to the one of a migrant body. Within a state of dislocation, as the displacement of the conscious mind, the body experiences a double sense of place with multiple perceptions and memories. There is a simultaneous sense of being physically here and virtually there, while belonging everywhere and nowhere.

 

Workshop: Experimental Collectivities, Collaborations, and (Dis)embodied Digital Experiences

Experimental Collectivities, Collaborations, and (Dis)embodied Digital Experiences

Hemispheric Institute GSI Convergence 2017 – Unsettling the Americas: Radical Hospitalities and Intimate Geographies
Artscape Youngplace, Toronto, Ontario.
October 5-8, 2017

This workshop was organized by Santiago Tavera in collaboration with New York based artist and performer, Candace Thompson.

The workshop generated a social collaboration between participants working towards conflict resolutions between collective and subjective narratives, our histories, and our illusions of the future. Using collaboratively created ritual we established an experimental environment for embodied and disembodied media making. The use of digital media presents the potential to simulate a state of disembodiment (elasticity, translation…), allowing for the alteration of participants’ senses, while pushing the boundaries of their perceptual thresholds and understanding of space, selves, and others. Questions of location and displacement, migration and transience, cultural heirlooms, trauma, and personal narratives—both real and imagined—can be brought to bear in creating work which integrates audio and video recording techniques, live-feed cameras, analog technologies, projection mapping, AR, installation, and performance.

For more information on this workshop click here

ISEA2017 & The International Image Festival of Manizales

Anthony Head (Bath, UK) and Santiago Tavera (Montreal, QC) attended one of the world’s most prominent international arts and technology events, the International Symposium on Electronic Art (ISEA). This years ISEA aligned with the XVI International Image Festival of Manizales in Colombia from the 11th to the 18th of June. Head and Tavera organized an experimental and interactive workshop titled, Projected Narratives of Being and Belonging, in collaboration with Colombian and Canadian artist, Laura Acosta.

The workshop invited interdisciplinary artists to collaborate on an multiple video projection installation in La Universidad de Caldas. Over 20 participants combined fictional and personal narratives of belonging or displacement along with video experimentation. The workshop brought together scholars and artists to an interdisciplinary discussion and showcase of creative productions applying new technologies in art. This year’s conference theme, Bio-creation and Peace, encouraged participants to reflect on the contributions and alternatives that art, design and technology provide for social development, biodiversity and the establishment of peaceful relationships between diverse communities. The workshop Projected Narratives of Being and Belonging generated social collaboration between participants in order to work towards conflict resolutions between heritage surfaces and subjective narratives, past histories and illusions of the future, and finally, effects of war and visions of peace. 

Furthermore Tavera had the opportunity to give an artist talk on his creative-research, Translational Spaces which will also be published in the upcoming ISEA 2017 special issues in the Virtual Creativity Journal, Intellect Books later this year.

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http://www.isea2017.info/

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