May 18, 2020

Where is Clarington?

After the pandemic, it may be that visual art exhibitions no longer principally take place in urban centers.

To get to the Visual Art Center of Clarington, for example, take the 401 past Ajax, Whitby and Oshawa. Continue all the way to Bowmanville. Make a left.

At present, the Visual Art Center of Clarington is closed, until further notice. All planned activities and exhibitions are canceled or postponed, except for the digital incarnation of an art piece by Cole Swanson titled The Hissing Folly.

Documentation from the phragmites harvest at Thickson’s Woods Land Trust, 2019. Photo by Jamie McMillan

An online video beautifully documents the construction of the mysterious “Hissing Folly.” (A “folly,” in architecture, by the way, is defined as “a costly ornamental building with no practical purpose.”) Cole Swanson’s folly, built within the gallery space, is made of phragmites thatched over a wooden frame.

Phragmites are an invasive species. They came to Ontario from somewhere in Europe in the 1920s. They are huge plants, over five meters tall, which form dense thickets of vegetation, crowding out native species such as wild rice, cattails, and native wetland orchids. Cole Swanson partnered with Central Lake Ontario Conservation Authority to collect and remove the phragmites from the Thickson’s Woods Land Trust of Durham Region in an operation involving chain saws.

The video, which shows the harvesting of the towering reeds, features a lovely sighing, rustling sound which emanates from the phragmites as the breeze whistles through them. That same hissing sound is reproduced on speakers within the installation.

The completed folly, pictured below, has a serene simplicity and attests to the long history of thatched structures. They go back 5000 years.

The Hissing Folly by Cole Swanson

Interior of the Hissing Folly by Cole Swanson

Phragmites are a disaster for Ontario’s wetlands and Cole Swanson seems to find this a fitting metaphor for the whole shit show of colonialism as he gamely wades into a “dense thicket” of ideologies. I really like this artist’s confidence! He does not pretend to have a solution to problems caused by invasive species in Ontario’s wetlands or by “the colonial, consumer, and cultural systems” which conveyed them here. He spends his energy collaborating with various stakeholders in the region and stirring things up to create this thought provoking art piece.

Covering the crops… In 1880’s Sussex, England. Photo from Thatching Info.com

Devil’s Colony

I happened to see another art piece by Cole Swanson, at Hamilton Artists Inc., last year. The Devil’s Colony is described by the artist as a “cross-disciplinary exhibition that examines the sociocultural, material, and scientific relationships between humans and an often-reviled colonial species, double-crested cormorants.”

Prior to being enlightened by Cole Swanson’s art piece I was totally down for reviling these appalling birds. For example, on a sultry summer afternoon last August we rented a kayak and paddled down the Humber river. At one point, we entered gang territory, and by this I mean we were surrounded by thousands of cormorants, perched on dead trees — trees they killed! — on either side of the river. They literally growled, in menacing unity, as we rushed by.

Photo courtesy of Muskokablog.com

What is with these birds?

In his show in Hamilton, Cole Swanson replicated a bird blind. He also showed films of the huge numbers of double-crested cormorants nesting in Tommy Thompson park, on Leslie spit. For this exhibition he worked with the Toronto and Region Conservation Authority and under the mentorship of an environmental biologist from York University. I really like the way this artist works with scientists to explore the way various plant and animal species, including humans, continually alter the natural world. Cole Swanson seems to be able to do this without judgement or didactic scolding.

The cormorants make bulky nests full of sticks and other materials, like rope, deflated balloons, fishnets, plastic debris, parts of dead birds (yes). Cormorants love the colour blue (like me) and Cole Swanson documented the blue festooned nests of the Devil birds, as part of his exhibition in Hamilton.

Nest Samples is a photographic archive of nests containing human-made waste products selected by the cormorants at Leslie Spit. They evince the material and colour preferences of the birds while providing a glimpse into the after-life of commonplace materials. – Cole Swanson
The Blind is an installation artwork that recreates the scientific observation blind within which environmental researchers are able to observe the world’s largest colony of double-crested cormorants at Toronto’s Tommy Thompson Park. – by Cole Swanson

Cormorant populations suffered greatly from exposure to DDT in the 20th century and their numbers were decimated. Over the last few decades the birds have made a comeback. So much so that they are now viewed as destructive to sport fishing stocks. Some scientists, however, insist the birds actually protect native fish stocks, since they feed on invasive fish species whose presence is harmful to human interest. People loath these creatures, so much so, that they are now threatened by massive culling efforts.

Photo by Peter Wallack, from Great Lakes Echo

The show in Hamilton included photos, video and a life-size sculptural representation of a bizarre creature formed from non-biodegradable materials gathered by the cormorants.

Spit Spectre (sculpture), human and cormorant-foraged materials, textiles, PVC, and earth by Cole Swanson

What is it about this sculpture that makes me uneasy? Oh yeah…

May 6, 2020

Is the global pandemic a good time to restart this blog?

Random wandering through art galleries and museums in real-life is only a memory now, since Covid-19 brought down the hammer. Previously– before the global pandemic –I had not bothered with the digital realm as a primary source for looking at art. I saw it as a secondary, less interesting, impoverished facsimile of the real thing, and, as a vast back-up archive for research, speculation, discussion and documentation. And now? Digital art is ascendant, the only game in town, so I’m looking at it.

Artists, galleries and art institutions are all trying to come up with ways to maintain their audience, offer up a virtual version of themselves for consumption, and survive. What seems to work, in the digital sphere, not surprisingly, is work that is originally made using the right tools: digital tools.

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Conversely, trying to contort a real-life exhibition into a digital show, is often disappointing. For example, the various stake-holders in the highly anticipated (all Judd, all the time) show of Donald Judd’s work, which opened on March 11 at the Museum of Modern Art (MOMA) and is scheduled to run through this summer in New York, are trying to come up with some way of realizing their labor. The Judd exhibition involved 12 years of planning and negotiations and was to occur not just at MOMA, but also at the Judd Foundation, the DIA Foundation and several of the biggest galleries in the city. There was a lot of excitement about seeing so many extraordinary objects by Donald Judd together, for once!

Donald Judd. Untitled. 1991. Enameled
aluminum. 59” x 24’ 7 14” x 65” (150 x 750
x 165 cm). The Museum of Modern Art,
New York.

Now, with the galleries closed, the MOMA website invites visitors to view photos of the work, listen to talks about the work, see a video of the curator of the show as she walks us through it, hear interviews with Judd’s children, and, so on and so forth. But none of that is particularly interesting, compared to what it would have been like to see the show.

Online Exhibition of Brad Necyk’s Beyond Here Lies Nothing

Joshua Tree and All of Everything by Brad Necyk. Created with Gary James Joynes

I stumbled across the ARTsPLACE Gallery Online Exhibition of Brad Necyk’s Beyond Here Lies Nothing through the Akimbo listing service.

ARTsPLACE is a gallery and arts center, operated by the Annapolis Region Community Arts Council. It is located in Annapolis Royal, in Nova Scotia, a town with a current population of 491. The town was originally founded (as Port Royal) in 1605, by Samuel de Champlain, and it has had a turbulent history, fraught with assaults, sieges and expulsions.

The artist, Brad Necyk, is from Alberta. He looks just like any guy you might see loading up his SUV with groceries in the Costco parking lot; kids in the back seat, wife scrolling through her phone. A few minutes into a conversation with Brad Necyk, however, would probably dispel those first impression notions of suburban normalcy. This is a man with very dark preoccupations, a precarious grip on his own mental health, and a past of endured pain, illness and trauma that is truly shocking.

Alberta #3, video by Brad Necyk

The first video I watched was Alberta #3.

Details about his multiple surgeries, recollections of a madness experience “coarse and twisted,” references to the genetic matter nested within him and to his awareness of genetic strands stretching across a geologic time scale, reflections on illness as a “very ancient space we all inhabit”, yearnings for a connection to grandparents and great grandparents as a way to understand himself and his children, fears around his bi-polar diagnosis and the statistical probability that he will suicide, painful scenes from his marriage, and many other intense topics, are recounted with a flat, perfunctory Alberta delivery.

I found this work quite riveting, fearless and very original, and I spent some time watching this video and others in the exhibition.

The early work of Brad Necyk — like Alberta #3 — is so raw and autobiographical that it was a relief to watch something very recent and completely different. I had the feeling that Brad Necyk could not take working with all that intensity. He needed a respite and so he moved into meditation. I really like looking at his waterfall pieces. They are just as powerful and mesmerizing as the earlier work but in a different way.

Jewels by Brad Necyk

There are so many fascinating ideas in this show. The idea of genetic lineage, for example, really got to me and seemed to dovetail into an event that occurred a few months ago. I happened to chat with someone at an event whose favourite pastime is ancestry tracing. I gave her a few facts about my Manitoba family and the next day she sent me the photo below. The little girl in the center is apparently my grandmother, Flora Taylor. She stands beside her father, John “Johnny Boy” Taylor and the rest of the family is arrayed around her. Is it just me or does “Johnny Boy” look more than a little bit like Freddy Mercury…?

Cluster XI Digital Edition

The 11th Cluster New Music and Arts Festival, usually held in Winnipeg in late February/early March, was cancelled shortly after the pandemic struck. But then, the organizers saw the writing on the wall, pulled themselves together and decided to push on. This year’s Cluster was resurrected and opened on May 1st as the Cluster XI Digital Edition.

(Full disclosure: I participated in Cluster X and my nephew, Eliot Britton, is one of the curators. Also, I love the vibe of being in Winnipeg in February; it is extreme in so many ways.)

Although I do miss the reality of Winnipeg and actually being there, I think this Cluster digital edition is definitely a success. Cluster excels at getting the mix of art works exactly right, in real-life and digitally. It is never too slick , there is a feeling of newness, experimentation and “becoming”and there are always at least a few stunning events.

The piece called Quigital, for example, put together by a collective of artists known as Made by Mandate, is so weird that it took me a while to realize it was not an advertisement for an unlikely Cluster sponsor.

Quigital Intro Video with Susan Solomon

The Quigital call tree, just one component of this sprawling art work, is really masterful. That familiar feeling that we are endlessly mined for our thoughts and opinions by corporate interests with an earnest offer of “points”, goes off-the-rails absurdist in the call tree. (Somehow, hearing the news today about the cancellation of the Sidewalk Labs project, which involved creating a futuristic data-gathering city on the Toronto Waterfront, relates to the Quigital call tree. Data mining hits a wall! )

I spent nearly an hour listening to “The Joy Channel”, a collaboration between sound artists Emmanuel Madan and Anna Friz. The whole Mad Max-y type narrative is a little bit cliched at this point, as per below:

In the year 2146, after nearly 150 years of business as usual (government corruption and privatization, toxic resource extraction and industrial practices, bad weather, civil uprising, earthquakes and pandemic), approximately 40 million people remain in New North America.

Anna Friz describing the “Joy Channel”

But the sound is great. Particularly when it becomes entirely abstract, the dialogue fades out and the listener is left with sheets of ambient, shimmery sound, switching and clicks and soft hisses to get lost in.

There are some straight-up musical groups like Slow Spirit in the Cluster mix. “Sound baths”, “High-rising melodic arcs”, “frolicking” and “defiant” are some of the words and phrases on the Cluster site used to describe the gorgeous Slow Spirit sound. On their Facebook page the band members list their influences: Joni Mitchell, Land Of Talk, Dirty Projectors, Radiohead, Feist, Parquet Courts, Sufjan Stevens, Sam Amidon, Me’Shell Ndegeocello, Wilco, Patrick Watson, Deerhunter, Lhasa, Big Thief, Neko Case, Aidan Knight, Unknown Mortal Orchestra, Plants and Animals, Elliott Smith, Stevie Wonder.

Photo of Slow Spirit band members

The manipulated wildlife sounds by Brendon Ehinger are based on a banged-up cassette tape found in Riding Mountain park, South Asian hip hop by Shamik is a joyful escape from the dreary pandemic world; Bad Wave achieves emotional depth in a cross-country duet of piano and voice, and there is much more to peruse in the Cluster XI Digital Edition, during its run until the 31st of May, including images by Luke Nickel, which through Machine Learning software, compress ten years of pictures from Cluster Festivals past.

3ladies-blur by Luke Nickel

April 7, 2019

Koffler Gallery – Nevet Yitzhak

On the eve of the Israeli election, where the polls are projecting “King Bibi”, it seems like a good idea to check out Israeli artist Nevet Yitzhak and her exhibition, titled WarCraft, at the Koffler Gallery.

Detail of WarCraft video installation by Nevet Yitzhak

When I arrive, Nevet Yitzhak is speaking about her work to a rapt audience of a few dozen. The gallery lights are off, the only illumination of the event comes from the huge, animated digital projections on three sides of the space.

The projections look like very large rugs. They are flat, patterned expanses, with light coloured strips of fringe running down both vertical ends. The projections share the flattened, stylized look of traditional rugs from the Middle East. And they have the same warm palette of reds, ochers and yellows. But traditional subject matter, that of animals, plants and various domestic scenes, has been replaced with something new. In fact they are “war rugs,” – reminiscent of those that emerged during the Afghani conflicts – displaying the implements of contemporary warfare, like choppers, tanks and AK-47s.

Detail from digital video animation by Nevet Yitzhak

And the rugs move. In a rather slow, desultory manner, bombers cruise here and there, missiles are dispatched and explode, helicopters meet dramatic ends and fires continually burn. The slowness and repetition gives the scene a routine, humdrum feel.

Detail of animated digital video by Nevet Yitzhak

Meanwhile in the gallery, the artist is describing her family background, which is Yemeni, Kurdish Iraqi and Syrian. She tells the audience about the Arabic Jewish communities within Israel and their attempts to maintain their cultural identities, and, about her sense of self as an Arabic Jew growing up in a state of continual conflict, where Arabs are the enemy. She tells the audience that she has no hope, her generation has no hope, and, that this artwork is not a metaphor. This artwork reflects reality.

She also talks about Afghani war rugs and how they inspired her. But in this respect Nevet Yitzhak emphasizes the fact that, unlike the Afghani rug producers, she is a citizen of the aggressor state, and, her audience is mainly an Israeli audience.

Afghan war rug from 2002

Q & A Period arrives: Someone in the audience suggested that the artist’s work celebrates war. “It is the opposite of Picasso’s Guernica, ” the person complains, “It does not show suffering.”

Detail of Guernica by Pablo Picasso

Nevet Yitzhak responds to the question as follows: She repeats she is an Israeli citizen. She can not show the victims of Israeli aggression, because that is not who she is.

In an aside, the artist mentions that textiles are always political. I never really thought about that before, but, yes, remember the Pussy Hat? It is now a cultural artifact, frequently disparaged.

Pussy Hat is now decried as racist and trans-phobic

Exhibiting concurrently with Nevet Yitzhak’s show is a work by Shaista Latif. Shaista Latif’s video work, called “Learning the Language of my Enemies” (I have to go back and see it!) was created as “an intervention and an attempt at empathetic critique” of the work in the main gallery.

Still from two channel video piece by Shaista Latif

Shaista Latif has a very charming, bubbly personality and she jumps into the rather tense Q & A session with a declaration of herself as working class, Afghani-Canadian and Queer. She somehow gets the assembled group to agree with her that when you are in Toronto it is very important that you identify where you are coming from, what your point of view is and who you are speaking for.

Nevet Yitzhak’s English is a little shaky and in fact, she has a translator with her. Someone in the audience asks her if her work is political. She talks to the interpreter for a few seconds, and then she replies: “Everything in Israel is political.”

Map of Israel and surroundings


April 5, 2019

InterAccess

“Film Path / Camera Path with under-titles” by Daniel Young & Christian Giroux

The multi-media sculpture, by Daniel Young and Christian Giroux, on display at InterAccess is a dazzling feat of mechanical production wrapped around an idea. A film loop whips rapidly through a complex roller-coaster-like construction, in the center of which a giant, antique film projector is fed. The machine projects the depiction of the path the film takes through the sculpture. It’s a dizzying, hectic journey, and, watching the film – the ultimate, self-absorbed travelogue – is weirdly tension inducing and hypnotic at the same time.

Sculpture by Daniel Young and Christian Giroux

The piece, shown in the darkened gallery at InterAccess, is composed of big tangled loops of tubular steel. The loops, which create a kind of knot, are lined with brackets to hold the moving film. Even though the steel structure is still, there is a lot of intense movement going on as the film zooms around. In fact, the racket of the whirling film is so frenetic the whole thing feels like it could fly apart at any moment.

Rear view of sculpture by Daniel Young and Christian Giroux

Below the screen, sits a electronic text box slowly revealing rather opaque phrases. The script is displayed in a tingly blue LED, which casts the room in a dreamy light.

Details of Sculpture by Daniel Young and Christian Giroux

And what about the text box?

I was told that the artists invited thirteen individuals to contribute “under-titles” for the piece. A pamphlet containing all thirteen texts is available in the gallery. I knew of a few of the writers, but not many.

Details of sculpture by Daniel Young and Christian Giroux

The writings tend to be poetic and/or philosophical. Here is a particularly lovely piece written by Erin Moure:

It was a harsh and brutal climb across the wastelands and we were unprotected from ideas that lashed us left and right each day till tears streamed down our girlish faces. The air crackled. Ice pans heaved up in the river and we had to cross in wet shoes over the abyss of orange contradiction that grabbed us by the throat until we could no longer utter human sound. Language left us. Sound left us. There was a human track across the ditch full of coarse reeds and small animals trembling where the ice dissolved into such torrents we could not cross O vertigo…tanto queremos vivir neste mundo di frio… incorruptas nas ondas onde non haixustia nin palabrina ni corpo

Erin Moure

I googled a few of the contributors to see if there might be some common denominator. What turned up was lots of impressive accomplishments and associations with prestigious institutions. It’s harder to find out much, if anything, about some of the contributors, particularly the poets.

John Barlow –Poet

Ina Blom – Writer and Academic

Eric Cazdyn – Critic and cultural theorist

Geoffrey Farmer – Sculptor

Agnieszka Gratza – Writer

Daniel Hambleton – Mathematician and designer

Erin Moure – Poet and translator

Bridget Moser – Video and performance artist

Judy Radul – Multidisciplinary artist, writer and educator

Patricia Reed – Artist and writer

Reza Negarestani –  Philosopher and writer

Mohammed Salemy – Artist, critic and curator

Michael Snow – Artist

March 29, 2019

It can be tricky to find the right building in the maze of U of T. Look for Sidney Smith Commons and you will find your way to the Trans-Disciplinary and Trans-National Festival of Art & Science Exhibition. This year’s theme: Evolve, Mutate, Transform!

What better time to follow the lead of those in the Art & Science Salon and opt to “reflect on the condition of co-habitation and co-existence of human and non-humans in this world (and beyond?) and pose questions about transformation; forced or elective mutation and survival; agency and decision making; conservation and intervention.”

Detail of “Mud (Lake Ontario)” by Nicole Clouston

The exhibition is on a relatively modest scale. For example, the flourishing colonies of microbial life displayed by Nicole Clouston, in her piece called “Mud (Lake Ontario)” fit into a few feet of eye-level vitrine. The contained ideas, however, are big, highly original and delightful to observe.

“My work with mud arose out of a desire to engage with microbial life,”

is how Nicole Clouston describes the origins of her project, which involves harvesting mud from the lake bed and nourishing it with sunlight and nutrients until the living colonies are visible. Looking through Nicole Clouston’s on-line book, Lake Ontario Portrait, gave me an optimistic sense of the irrepressible life-force all around us.

Detail of Mud (Lake Ontario) by Nicole Clouston

No subject is too large for the trans-disciplinary crowd. Jenifer Wightman, for example, addresses our prevailing creation myth — including the tree, the snake, the apple, and, Adam and Eve — in her piece, Addendum (to the Gutenberg Bible).

The piece consists of a single page letterpress broadside, which updates the story of Genesis, using contemporary scientific images and references.

“Addendum (to the Gutenberg Bible)” by Jenifer Wightman

In 2014 this artist pulled 180 editions of the print (shown above) in the style and dimensions of the 42-line Gutenberg bible. That same year, she began hand-delivering editions of the “Addendum” to the 49 libraries and institutions of the world which hold these priceless artifacts, i.e. the world’s last remaining Gutenberg bibles.

One of the shimmering, ethereal “multi-species portraits” by Gunes-Helene Isitan is on display in the exhibition. Gunes-Helene Isitan refers to these portraits, which include the microorganisms from her subjects faces, as “Hybridities.”

“Zania-Microorganisms Hybrid” by Gunes-Helene Isitan

The artist regards the notion that a human is a “unified and autonomous entity” as stemming from “a modernist conception of ‘human exceptionalism.'” In fact, she points out, we are all made up of 50% microbial cells!

And microbial cells can be beautiful. When I googled “microbial” I was surprised to be shown this page from Zazzle (which is a global shopping platform) and given the opportunity to buy DNA MICROBIAL MISCROSCOPIC CELL STRAND LEGGINGS. 92.00 CAD

Suzanne Anker showed several small black sculptures. They have the appearance of some obscure, minute insect life, or maybe they reference Rorschach blot tests. Were they made with a 3D printer? They have an appealing weighty, mysterious quality.

Sculpture by Suzanne Anker

On her website Suzanne Anker’s creative interests are described as follows: “Concerned with genetics, climate change, species extinction and toxic degradation, she calls attention to the beauty of life and the “necessity for enlightened thinking about nature’s ‘tangled bank’.”

Possibly the artists in this exhibition represent the vanguard of change in how humans think about the biological world; the “tangled bank” not simply as a resource to master and exploit, but as a sentient partner and ally.

Biosphere 2

Back in 1991, it was not that way. “Biospherics” – the study of closed systems that recreate Earth’s environment – found some deep pocketed adherents and Biosphere 2 was built, in the Arizona desert, near a town called Oracle. I am trying to imagine the hubris of deciding to build a closed system replicating all the complexity of Biosphere 1.

Biosphere 2 was an epic failure.

Elaine Whitaker filled a vitrine with vaguely organic shapes entangled with human by-products.

“Intertwined” by Elaine Whitaker

The piece, called “Intertwined” seems to suggest that organic life forms are responding rapidly to human intervention. Or maybe not rapidly enough.

Marta de Menezes included a video in the exhibition. In this video, the artist and her partner, Luis, undergo skin grafts from one another. The grafts are summarily rejected as anti-bodies are created. How does the body identify itself and it’s non-self?

Still from video “Anti-Marta: Self and Non-Self” by Marta de Menezes

Despite the rather shocking gore – the bloody operation is witnessed in the tape – the artwork is charged with philosophical suggestions that will take some time to unravel.

Meanwhile, Marta and Luis are recovering nicely.

January 24, 2019

Mickalene Thomas: Femmes Noires

My attitude toward our southern neighbour swings wildly, from: “That hell hole,” to “We have so much to learn from the USA!”  The work of Mickalene Thomas, and her show at the Art Gallery of Ontario (AGO) titled Femmes Noires, makes me truly appreciate the USA and the driving, pure, singular force of innovation that springs up fairly frequently in that turbulent and mesmerizing country.

Mickalene Thomas, Le Dejeuner sur l’herbe: Les trois femmes noires (detail)

“Visibility, empowerment, celebration.” That is a quote from Mickalene Thomas, talking about what she wants people to take away from her AGO show.  She succeeds.  It is an exultant display, uplifting to visit.  So many images of queenly, glittering, sumptuous women.  I guess it takes a gay, black woman to shrug off deference to a male art world and let glitter and sequins reign.

Shinique: Now I know by Mickalene Thomas (detail)

The paintings shown in the Femmes Noires exhibition – collages of oil paint, photographs, and other materials – often refer to revered works by male artists from the past, like Picasso, Manet or Ingres. The women that emerge in these paintings have a deep sense of themselves: Their gaze is frank, self-contained, self-knowing and profoundly calm in the center of riotous color and pattern.

Une Odalisque by Jean Auguste Dominque Ingres

The painting titled “Shinique: Now I Know” references the Neo-classical touchstone “Une Odalisque.” This painting, by Ingres, above, was widely reviled when it was first shown. Critics pointed to the elongated curved creature in the painting as anatomically impossible. And yet this picture has endured, sits in the Louvre to this day, and is included in every Art History survey around the world.  Apparently, it had more than anatomical correctness going on.

Guerilla Girls at the Victoria and Albert Museum, London

People respond deeply to Ingres’ painting.  What is it that makes people decide to redo it, or use it in provocative sloganeering, as per the Gorilla Girls famous poster above.  Maybe there is something essentially irritating about “Une Odalisque” itself, that paradigm of “Orientalism.”

Installation shot of Femmes Noires at the AGO

The Femmes Noires show is big! There are two massive galleries where the visitor can lounge in a living room environment — with potted plants, comfortable chairs and cushions — browse novels or other works about the black experience, and watch media (some random snippets are included below:)

It seemed like there was a bit of a disconnect from the present. We see Whitney, Eartha, Pam, Diana and so many other fabulous black women icons from the past but where are today’s powerful black women?  In fact Mickalene Thomas has collaborated with Solange, Beyonce (The Queen!!!) and other contemporary black superstars but that work just doesn’t happen to be included in this exhibition.

portrait-of-solange-thinking-about-you-by-mickalene-thomas-2013-color-photograph-and-paper-collage-on-archival-board--2a4c1af070127b96
Portrait of Solange Knowles by Mickalene Thomas

I was feeling pretty good about my former homeland by the time I left the Mickalene Thomas exhibition at the AGO.  What an exciting place of invention and possibility!  All the fraught recriminations and anger that characterize this contentious era in the USA don’t really come up at Femmes Noires.  It’s like an invitation to a new world.

mickalene-thomas

Portrait of Maya #10 by Mickalene Thomas

 

September 15, 2019

Loner Culture at Inter/Access

To be a loner today is to raise suspicions.  We know now that Alek Minassian, Adam Lanza, Dylan Klebold, Elliot Roger, and many others, stayed in their rooms, alone, until rage and frustration drove them out, in a frenzy, to commit mayhem.

Loner Culture, the exhibition currently on display at Inter/Access is about something else.  It’s about trying to connect.  It’s social.  And weirdly, to be social, is to exclude one group in favour of another.  That’s the human way!  Sometimes the exclusion piece means solitary confinement in a pink bedroom.  But it’s temporary — a brief, high-drama interlude, an emotional eddy on the river towards self-actualization.

The exhibition re-creates vestiges of the long lost bedrooms where the tender, new self was honed and tested.

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Above: Installation at Loner Culture

I chatted with one of the artist’s in the show, Suzanne Kite, through her live link on the Discord Platform.  She described how in her late teens and early twenties she traveled hours on connecting buses to make the scene.  In her case, the scene was an all ages DNB Happy Core Trance House DJ event in some off-the-beaten track warehouse in a remote corner of sprawling LA.  That is dedication!  That is really wanting to be there!  Needing to get it absolutely right and knowing that the others at this event are just like you!

By the way, if you do not know — like me– the difference between DNB (Drums and Base) and Happy Core you can watch a tutorial above:

Suzanne Kite identifies herself as a Oglala Lakota performance artist.  When the movie Pocahontas came out in 1995 Suzanne Kite’s parents bought her absolutely every conceivable Pocahontas tie-in item.

According to Wikipedia:

… promotional tie-ins included Burger King distributing 55 million toy replicas of the film’s characters with kids’ meals, Payless Shoes selling a line of moccasins, and Mattel peddling a Barbie-like Pocahontas doll.[93]

Payless!  Obviously Indigenous youngsters, especially girls, were starved for dolls, toys and anything else Mattel and Payless could come up with that somehow related to them.  Suzanne Kite has carefully saved these items.  They are displayed on the walls of the gallery overlaid with projections of posters from her youthfully intrepid music life.

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Detail of installation by Suzanne Kite titled “Better Off Alone”

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Installation view of Suzanne Kite artwork “Better Off Alone”

Typing on the keyboard filled the large space at Inter/Access with Suzanne Kite’s favourite music from that era:

Video of interactive installation by Suzanne Kite

With all the memorializing of the past bedrooms of origin it is hard to keep the decades straight.  Patti Smith, Michael Jackson, Lydia Lunch and B52s must mean late seventies or early eighties.  But no, nostalgia has already kicked in.  This is a moment in the early 2000s where icons from twenty years prior are revered.

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Above: Installation detail from Loner Culture exhibition, re-creating a bedroom from the 2000s.

Both Thirza Jean Cuthand and Fallon Simard presented bedroom-ish settings and both featured monitors.

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Installation by Fallon Simard

In Fallon Simard’s piece the utterly bland dresser, standing alone in the rather cavernous, grey space, has a bleak feeling.  It is free of knickknacks and/or personal items of any kind, something that might indicate an era or anchor a sensibility. Instead there is a cold sense of isolation and detachment. The monitor displays anti-homophobic/transphobic internet memes with vague, delicate, pastel backgrounds.

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Art work by Fallon Simard

A camera is clipped to top of the  monitor in the Fallon Simard piece.  Are we observing or being observed? 

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Installation by Thirza Jean Cuthand

Thirza Jean Cuthand provides a heap of cushions and head phones to kick back and watch videos.   The tapes by Thirza Cuthand have a graceful poetic sensibility throughout.  The artist is fearless: sex, insecurity, fear, sex, mental illness, rage, grief, sex, youth, race, sex.  All the topics that are endlessly pondered in bedrooms around the world are covered here in an inventive and original voice.