Tag: Public Spaces

Colloque Cybercorporéités: Subjectivités Nomades en Contexte Numérique

IMAGE: Generativity 2016, Installation: Nanda D’Agostino Corps collectif: Isabelle Choinière. Crédit Photo: Brian Foulkes

 

Thursday 27 September 2018, 09:30 –  Saturday 29 September 2018, 17:00

DR-200, Pavillon Athanase-David, UQAM, 1430 rue Saint-Denis, Montréal

Organization:

 

On Friday September 28, 2018 as part of the Colloque Cybercorporéités: Subjectivités Nomades en Contexte Numérique, Elastic Spaces’ Leila Sujir and Paul Landon will be presenting their research Elastic spaces: archaeologies and practices of image, space and body The talk will take place from 10:30am to 11:00 am as part of the “De la relation au corps interface vers une expérience de cybercorporéité” séance.

Présentation du colloque

Ce colloque bilingue présente des réflexions sur la reconfiguration des identités et la transformation des expériences subjectives à l’ère du numérique. Abondamment documentée et commentée depuis le milieu des années quatre-vingt-dix, la série d’innovations techniques qui a fait que nous vivons maintenant à l’ère du numérique a eu pour conséquence un important changement de paradigme quant aux régimes de corporéité de nos sociétés. La corporéité étant un mode d’être, c’est un état de corps qui ne peut plus être référé à sa seule réalité biologique. À l’ère du numérique, elle devient une réalité en transformation, mobile, instable, faite de réseaux d’intensités et de forces, contraignant le corps à se reconfigurer, à se réorganiser et à devenir autre dans son contact avec la technologie.

Le programme du colloque se déroule autour de quatre axes transdisciplinaires en interrelation. Le corps figure  désigne la représentation et mise en scène du corps et de sa relation aux technologies numériques dans les fictions littéraires, les arts médiatiques et arts vivants. Le corps interface interroge la relation du corps avec les dispositifs interactifs ainsi qu’avec les environnements immersifs, et pose la question du rôle que le corps en mutation joue en tant qu’interface lorsqu’il est en contact sensori-perceptuel avec la technologie. Le corps savoir désigne la valeur épistémologique et critique des matérialités numériques et prend sa source dans l’idée que les outils du Web participatif et sémantique transforment les pratiques de la recherche. Le corps sensible et somatique interroge des enjeux émergents, tant au niveau pratique que théorique, dans le contexte des nouvelles scènes performatives contemporaines intégrant la technologie. D’ordre multisensoriel et multimodal, ces pratiques exigent des chercheurs une réévaluation de cette relation du corps sensible/somatique à la technologie.

For more information on the Colloquium check out the link below:

http://oic.uqam.ca/en/evenements/colloque-cybercorporeites-subjectivites-nomades-en-contexte-numerique

GALA 2018

GALA  – July 23–30, 2018

This July 23- 30th Concordia University is pleased to host both a conference and an International Graduate Summer School in partnership with GALA.

The Global Academy of Liberal Arts (GALA) is a select international community of institutions, faculties, programmes, and research centres that seeks to develop new kinds of research and teaching collaboration, to support enhanced international mobility among staff and students, and to reimagine liberal arts education for the twenty-first century.

This event will be featuring three of our Elastic Spaces members, Anthony Head, Gary Sangster, and Leila Sujir.

Schedule:

July 27

11:00 – 12:30 – Sensations, Spaces, and Spectacles: Shaping Experience for Audiences, Now and in the Future – Gary Sangster (Bath Spa)

13:30 – 15:00 -Co-Creation and the Public Role of Liberal Arts:  Workshop developing a single piece of digital media, and an associated description or reflection, intended to make their research accessible to public audiences and highlight an important social issue – Anthony Head and Leila Sujir

For more information check out the link below:

gala2018@concordia.ca

http://www.concordia.ca/artsci/academics/summer/GALA2018/GALA-Conference.html

 

Reblog: Into The Woods

CanadianArt: Into the Woods

Kelly Richardson, The Erudition (2010). Installation view at NGCA UK. 3 screens, 48 feet x 9 feet; HD video with sounds, 20 minute loop. Courtesy of the artist and Birch Contemporary. Photo: Colin Davison. 

“Supernatural: Art, Technology and the Forest” at the Art Gallery of Greater Victoria seems less intended to provide directives than to register tensions. Curator Haema Sivanesan indicates gestures of connection without becoming explicitly political, while upholding a sense of reverence that accommodates moments of both open-endedness and opacity.

A powerful introduction to the show, Kelly Richardson’s three-screen video installation The Erudition (2010) presents a nocturnal hoodoo landscape haunted by twitching holographic trees. This film-negative aesthetic, recalling the spectral landscapes of Peter Doig, evokes both intimacy and unease: a state of being not-at-home at home.

Contrasting with The Erudition’s atmospheric ambiguity are geographically specific works in which forest composes both site and archive.

Ian Wallace’s Clayoquot Protest series (1993–95) presents large photographs of the historic protest, featuring acrylic-print insets of woodgrain cross-sections.

A nearby monitor screens Bones of the Forest (1995) by Heather Frise and Velcrow Ripper; this documentary features First Nations Elders, alternative loggers and corporate apologists, spliced together in a nod to punk’s DIY ethos.

Leila Sujir, Forest Breath, 2018. Stereographic 3D video Projection; 5 minute loop. Cinematographer: Christian Kroitor.

Leila Sujir’s Forest Breath (2016–ongoing), a differing vision of collective texture, is a stereoscopic video installation proffering live feed as porous tableau: tactile gaps in the matrix of limb, vine, twig and mulch mingle to the drone of overlapping sine waves. (Sujir’s live feeds have often featured Vancouver Island’s Walbran Valley, which is slated for clear-cutting.)

This contrast—between document as frame and forest as continuum—continues in the video How to climb a tree (2017) by photographer and video artist Sandra Semchuck and performance artist Ayumi Goto. Offering abstract homage to Squamish carver Robert Yelton, Goto moves through forested space in a dance aligned with Semchuk’s continuo of overtone singing.

Semchuck’s practice is also represented by a series of landscape photographs overlaid with text. The relentless density of Semchuk’s settings—all middle ground—and the ambiguity of the speaker or listener in the texts allow for an intersubjective approach that moves beyond genre.

Further gambits of perspective and identity take place in artist-anthropologist Trudi Lynn Smith’s work, Drift Camera (2015–ongoing). Halfway between a camera obscura and a wearable tent, this structure is suspended to form a cave-like recess from which a single viewer gazes out at driftwood that Smith dubs, “a fugitive forest.”

Trudi Lynn Smith, Breath Camera — prototype 1, 2015–ongoing. Documentation of the camera being used in field-based research into contested territories/burned landscapes, 2016. Darkcloth (velvet and cotton), hand-built camera (suede, bellows, optical lenses, screen material); dimensions variable. Courtesy of the artist.

Transformation via camera is at hand in two other photo series: Dan Siney’s Stump 1, 2, 3(2008) and Rodney Graham’s Study (5 Polaroids from Series: 75 Polaroids) (1976). Siney’s anthropomorphized stumps are the result of loggers cutting eye-like notches into trees for springboards before cutting. Blurrily monumental, they are accidental votives in a state of fertile decay. Graham’s pictures, likewise, make strange a kind of lark: a walk through the forest at night with a Polaroid camera. Tantalizingly hermetic, his images stage a provocative vanishing act.

Carol Sawyer’s Woodwork (2011) consists of seven short videos made from archival footage of the logging industry. The truncated videos develop a metanarrative: fragments of an epic depicting epic fragments.

Mike Andrew McLean’s series JR (2015–ongoing) documents the ongoing narrative of “ghost town” Jordan River, northwest of Victoria. In 2014, residents were told that the combination of a nearby dam and seismic activity meant the threat of sudden flood in the event of an earthquake, an apocalyptic prophecy that loomed large for the artist as he traversed these remnants of the town with his large-format camera. Notable is his use of scarce Kodak Aerochrome film, developed for military and surveying aerial photography, which tints organic material in hues of pink and crimson, summoning counterpoints as richly varied as Frederick Edwin Church, Walt Disney, Richard Mosse and Edward Burtynsky.

Kelly Richardson, The Erudition (2010). Installation view at NGCA UK. 3 screens, 48 feet x 9 feet; HD video with sounds, 20 minute loop. Courtesy of the artist and Birch Contemporary. Photo: Colin Davison. 

A defining non-feature of “Supernatural” is its absence-as-presence of Indigenous voices. With its focus on photo-based media, the story of the forest presented here is one of Cartesian colonial methodologies: capture, extraction, taxonomy and commodity. This point is underscored by the accompanying exhibitions in the gallery: “Form as Meaning,” a survey of Indigenous printmakers, and “Picturing the Giants,” a show of Emily Carr’s work in dialogue with pieces by contemporary First Nations artists like Sonny Assu and Lindsay Delaronde, among others.

Between these exhibition offerings, indigeneity is performed in varied guises, transposing itself and reorienting its audience, with the forest—home (for some) to formlessness, and at the very least, home to phenomena that elide photographic capture—as informal host.

John Luna is a poet, critic and visual artist whose practice includes painting and installation, and a teacher working in the areas of art and art history. He is based on Vancouver Island.

 

https://canadianart.ca/reviews/supernatural-art-technology-and-the-forest-aggv/

Reblog: Artists Explore the Forests and What Lies Ahead

Photo Credit: Jorge Zavagno

Artists Explore the Forests and What Lies Ahead

by Mike Devlin/ Times Colonist

May 17, 2018 06:00 AM

http://www.timescolonist.com/entertainment/visual-arts/artists-explore-the-forests-and-what-lies-ahead-1.23305227

EXHIBITION

What: Supernatural: Art, Technology and the Forest
Where: Art Gallery of Greater Victoria, 1040 Moss St.
When: Saturday through Sept. 3
Admission: $13 (adults), $11 (seniors and students), $2.50 (ages 6 to 17); children five and under are free
Information: 250-384-4171 or aggv.ca
Note: Admission on May 19 is free from 10 a.m. until 5 p.m.

The junction where technology meets the environment has become an uneasy meeting point in the modern era. A bygone phrase about ecological conservation — “Take nothing but pictures, leave nothing but footprints, kill nothing but time” — would suggest humankind’s need to dig deeper into the biosphere runs contrary to the ecosystem ethos. On the other hand, how do we learn about the environment without studying it?

That’s what a new exhibit at the Art Gallery of Greater Victoria is attempting to answer. Supernatural: Art, Technology and the Forest, which opens Saturday and runs through Sept. 3, is a multi-media presentation that uses videos, photos, and computer-generated images to examine the forests of B.C.

The goal is to better understand the forest and how human interaction with it will adjust, according to exhibit curator Haema Sivanesan.

“People have always lived with and alongside the forest,” Sivanesan said. “If we look at Indigenous histories and go back further than our modern idea of what the forest is, we’ve always had a relationship to forests and forest landscapes. Maybe this [exhibit] is trying to think through some of those bigger questions.”

There is an underlying sense of inspiration about the exhibit, one that can be encapsulated by 19th- century philosopher Henry David Theroux: “It’s not what you look at that matters, it’s what you see.”

Sivanesan loves what Supernatural: Art, Technology and the Forest offers in that regard. “It’s looking at how artists are using new technologies, and a lot of that is camera-based technology, whether it’s as simple as digital photography or 3D video. All of it has to do with a camera, in some way, and how they are using that to look at the forest in a new way.”

Eight Canadian artists (Mike Andrew McLean, Kelly Richardson, Carol Sawyer, Trudi Lynn Smith, Sandra Semchuk, Dan Siney, Leila Sujir and Ian Wallace) and one collaborative team (Ayumi Goto and Sandra Semchuk) are participating. Their art ranges in tone and medium, from Richardson’s computer-generated imagery with sound that takes up a whole room of the gallery to Sujir’s blackbox-style Imax 3D captures of the Walbran forest.

“It’s very compelling because it’s working between the two genres,” Sivanesan said of Montreal-based Sujir’s work. “We’ve all looked at photos from very famous photographers like Ansel Adams, who’ve taken pictures of national parks and forests we are very familiar with. Because of this new technology, it’s allowing artists to do different things and understand the forest in new ways.”

The contributions of Victoria artist Trudi Lynn Smith are of particular note. Her “Breath Camera,” a hand-built prototype housed in suede, presents what the viewer sees in tandem with what they feel while immersed in a camera-form cloak. Smith serves as a guide, shepherding the participant through a journey using only lenses from an old optician’s kit — to play with reality through what she calls “noticing.”

“It is meant to show how simple it was to build a camera and how difficult it is to take a photograph,” Sivanesan said of Smith’s installation. “It has more to do with making us think about how we look at the world. Everybody has a cellphone these days and it’s so easy to just snap a picture. This is talking about the complexities of that.”

mdevlin@timescolonist.com

© Copyright Times Colonist

 

 

 

Forest Breath – 2018

Photo:  Leila Sujir’s still from Forest Breath!, 3D stereographic video installation, 2018.

Supernatural: Art, Technology and the Forest

Art Gallery of Greater Victoria exhibition

May 19, 2018 – September 3, 2018

Forest Breath (10 minutes, Stereoscopic 3D video installation, 2018) 

Forest Breath is a vertical slice of 8k stereoscopic 3D video of the forest. Shot in June 2016, the video records particular moments in the forests around Port Renfrew, primarily in the south Walbran, near Emerald Pool, as well as in the Red Creek Fir area in the traditional territories of the Pacheedaht people.

The resolution of the video allows viewers to stand in a forest of moving pixels. The video space has volume, a blur of colors, as it moves from one space of the forest to another. The space of the video, like the space of the forest, becomes a site of contemplation and research.

The Art Gallery of Greater Victoria in the city of Victoria contains spaces of forests. With the support of the gallery, I have placed the forest here, in the wall of one of the galleries. It is an archive of the time and space in June 2016 when I did a preliminary shoot for the project, Forest Breath.

Closeby to Victoria, along the coast, is Port Renfrew, surrounded by old growth forests; the town, I am being told and have observed, is reinventing itself, no longer depending on what was formerly a resource based economy.

These forests drew me as a space of research and a space of healing.

These west coast forests are also where my mother took me as a young twenty four year old, after a serious operation for cancer. I didn’t die, to my surprise. The forest was where I found wonder and learned how to be alive again.

My aunt Manorama Savur’s last major research project* which she talked extensively to me about was on the destruction of the bamboo forests of India and the resulting desertification as a result of the deforestation, two words which were and still are mysterious to me.

When I started the Forest Breath project, in June 2016, a  year  had almost passed since my mother had passed away, on my birthday, June 19; as a way of anticipating that strange collision, the  anniversary of her death and my birthday, I started this project in the forest.

*Manorama Savur, And the Bamboo Forests in the Indian Forests: What did the Pulp and Paper Industry do? Manohar Publishers, 2003.

Artist: Leila Sujir

Technical Director: Jorge Zavagno

Cinematographer: Chris Kroitor

Camera Assistant: Andréann Cossette-Viau

Production Assistant: Jackson Sujir

Assistant Editor: Daniela Ortiz Sanchez Renero

Sound Recording: Leila Sujir & Jorge Zavagno

Sound Editor: Philippe Battikha

STÉPHANE QUERREC- TO MAKE A BREAK, TO MAKE A CUT: MEDIA ART IN PUBLIC SPACE

On Wednesday, November 9th, 2016, The Elastic Spaces art lab invited visiting artist Stephane Querrec (a French artist based in Berlin) to talk about his artistic process at Concordia University with over 30 students, researchers and faculty members. Gathered in the 11th floor resource centre of Milieux Institute for Arts, Culture and Technology, Querrec shared his exploration of public spaces through the use of video, performance and text-based works. After discussing  his interest in pedestrian spaces to confront, challenge and invite viewers to become active participants in his work, Querrec invited the audience to engage in a conversation to discuss the possible challenges, ethical and technical constraints with these type of works. Querrec focused on his use of text to question the voice of the artist and the spectator, and how to place the work in a middle ground where the message is affected by the general public.

Stephane Querrec’s 5 week residency in Montreal culminated in the creation of his latest project, The Complaint, exhibited at the  Screen Mosaic at the Georges-Émile-Lapalme corridor at Place des Arts. This work opened to general public Thursday, November 10th, 2016 at 5pm.

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Visiting artist talk- Stéphane Querrec

The Elastic Spaces art lab is proud to present Stéphane Querrec, a visiting artist from Berlin who is making a work for the Screen Mosaic at the Georges-Émile-Lapalme corridor at Place des Arts, to be launched Thursday, November 10, 2016 at 5pm.

He will also be giving an artist talk:

Wednesday, November 9, 2016
4pm  to 6pm
@ Milieux Institute at Concordia University
Room: EV11.705 (11th floor resource centre)

He will talk about his process of working as an artist in the public pedestrian  space at the Place des Arts, addressing the challenges, the ethical and technical constraints,  and his responsibilities as an artist with this project.  This talk will be in English and it’s free and  open to the public.

This event should be of interest to media artists, researchers and students studying  media arts, site specific works, sculptural installation in public spaces and the engagement of viewers in public pedestrian spaces.

artisttalknov2016

© 2018 Elastic Spaces