Saturday, December 3, 2016

Saving Face > Saving the Facade



Unable to maintain its earthquake-unfriendly May Wah Hotel (home to over 100 elderly residents, most of them women), the Shon Yee Benevolent Association had no choice but to put the building up for sale. Asking price: 11.5 million dollars.

The Vancouver Chinatown Association was interested, and secured a loan from the provincial government to purchase the building towards its preservation as housing and as a cultural artifact. However, when the VCA learned that 5 million dollars in structural upgrades was required (I assume this is what the provincial loan was to offset), it reduced its offer to 8 million and the Shon Yee Benevolent Association said no.

For more on the story it might help to look back in time to comments made by Shon Yee Benevolent Association past president Mike Jang and realtor Erik Kwok in this June 20, 2016 CBC report.

Friday, December 2, 2016

Simultaneous Visions (1912)



Reverse high-angle view of Carrall Street from Hastings Street by Umberto Boccioni.

Thursday, December 1, 2016

Faster Than Futurism? Than Fascism? But Without the Violence?



"The speed with which the neoliberal system wipes out memory is incredible," writes Tariq Ali in the December 2016 issue of Artforum. This is particularly frightening from a system as slow as that which Jeff Dersken has characterized as a "long moment."

Image above: Althea Thauberger, Carrall Street (Powell Street), 2008-2009. Digital c-print. An image from WE Vancouver. (Courtesy of Artspeak Gallery/ Vancouver Art Gallery)

Wednesday, November 30, 2016

Openings and Closings



Awful nightmare last night that had Burrard Inlet filled with leaky oil tankers as limousines sped from the airport towards the opening of a Robert Motherwell retrospective at the new Vancouver Art Gallery.


Tuesday, November 29, 2016

"Body Listening to Digital Equipment" (2011)




Pauline Oliveros explains her philosophy of "deep listening."

Below, "Rattlesnake Mountain" from her album Accordion and Voice (1982):

Monday, November 28, 2016

CCS 506



When we were young we were told that Modernism should not be confused with Modernity or Modernization, that it is its own thing  -- discrete, autonomous.




 As we grew older we learned that Modernism is not unrelated to the political economic ambitions of Modernity and Modernization   -- that if Modernity is a system of beliefs and Modernization the means by which these beliefs are disseminated, then Modernism is Modernity’s PR department.


 Although the term Post-Modernism emerged after the Second World War, it did not enter the lexicon until the late-1970s, and many were unclear as to what it meant.


 For some, Post-Modernism meant multiple Modernisms -- the contemporary art of “non-Western” peoples. This notion of Post-Modernism implies a critique of Modernism’s positivist, (Western) imperial impulses -- the idea that artists (and markets) advance their mediums (performance art, capitalism) as new technologies present themselves, which are in turn commodified.


 For those indisposed to self-reflexivity, Post-Modernism is an attitude -- a cut-and-paste decorative kitsch where inclusivity is reduced to an assemblage of glib, free-floating signifiers that further alienate those who enter its buildings or stand before its art.

But whether it be Modernism or Post-Modernism, one thing is clear: both are unsustainable. And if this planet is to be spared, something has to give.


 In an effort to extricate myself from this unsustainability I have sought alternatives as to how I might proceed in what remains of my time on this shivering planet, and beyond. The question is, How far back do I go to begin (again)?



 After some thought I have decided that whatever changes I need to make, they must begin not in the way I think but through a reorientation of my entire body. It was Ghandi who said, “You must be the change you want to see in the world,” but many more have said it too.


 In welcoming members of UBCO’s Summer Indigenous Intensive to the Okanagan Valley, elder Richard Armstrong introduced us to Syilx cosmology -- the four kingdoms and how they enter his people at ground level during puberty rituals.


Around that time visiting artist Fahreen HaQ, whose exhibition opened at the Alternator, invited visitors to lie on a long white linen tablecloth on the pavement outside the gallery and commune with her before she served us dinner. Like the Syilx puberty ritual, information entered us at ground level, but in ways that made the familiar seem fresh.


 Also around that time visiting artist Carmen Papalia invited a group of us to join him, quite literally, on his Blind Field Shuttle, where we walk behind him, hands on the shoulders of those before us, as he taps out a path through a city he is unfamiliar with.


Together, these three events provided the sensoria I need to re-orient myself. But how to proceed from theseplaces -- this place? By what method could I engage in this world towards making more -- and less -- of it?


 A method through which this engagement could begin includes Luce Irigaray’s notion of “self-limitation,” which involves divesting the Self of those totalizing narcissistic tendencies that are associated with grand theories like capitalism, Marxism and Modernism. According to Irigaray, this is the only way to form a relationship with the Other.


 Another idea of Irigaray’s contests the commonly held notion of transcendence as a “vertical” system (towards one’s god). For Irigaray, transcendence exists on the “horizontal” plane between the Self and the Other. The god, in this instance, is that intersubjective meeting place that occurs on the horizontal plane.


With eyes and ears refreshed, I am now in the midst of a world whose reds carry a temperature, whose notes enter not only my ears but my sternum, whose words I can taste and whose gestures I can smell.



Call me Geppetto, but it is hoped that my exploration of this world of images and gestures, of injuries and celebrations, of fear and love will manifest in a book designed as much to be a puppet guidebook as a human companion. A book to walk with that includes the work of others. A collaborative book that, through blank pages like the one that follows this one, carries room for the reader-as-writer.


Sources

1. Marcel Duchamp Fountain (1917) Alfred Stieglitz photo

2. Shi Xinning Duchamp Retrospective Exhibition in China (2000-2001) Oil on canvas 100cm x 100cm
http://www.westkowloon.hk/en/siggcollection/highlights-1384/duchamp-retrospective-exhibition-in-china-shi-xinning-born-1969-liaoning-province-2000-2001-1

3.  Hiroshima Atomic Bomb explosion, Hiroshima Memorial Peace Museum

4. Shigeko Kubota Vagina Painting (Fluxus performance document) (1965)

5. Douglas Coupland Penguins and Slogans series (2014)

6. Susana Duffy Earth Tattoo https://www.pinterest.com/explore/earth-tattoo/


8. A Ghandi https://www.pinterest.com/pin/332703491192634674/  8.B  Ghandi http://www.dnaindia.com/world/report-mahatma-gandhi-s-blood-to-be-auctioned-in-london-on-tuesday-1837481


10. Fahreen HaQ performance outside Alternator, Kelowna, Summer 2016 photo: Megan Bowers

11. Carmen Papalia Blind Field Shuttle document (2012) photo: Jordan Reznick



14. Meg Yamamoto Fictive Tree Rings II (2016) photo: Michael Turner

15. Carlo Chiostri “Le avventure di Pinocchio, storia di un burattino”, 1902

Sunday, November 27, 2016

Emplace



While enroute to a meeting at the Faculty of Creative and Critical Studies building last week I noticed a new exhibition in the FINA Gallery. Entitled Emplace, the show features work by MFA Visual Art cohort members Amberley John, Crystal Przybille, Tania Willard and Meg Yamamoto. All but Amberley are participants in FCCS 506A, a methods class I take part in.

Emplace is not a word I had (until now) ever used, nor one I had (until then) heard spoken or seen written. Although I can infer the word's meaning (the prefix em meaning in), I looked it up nonetheless.

The first two online definitions are from Merriam-Webster and dictionary.com. Merriam-Webster defines emplace as "to put into position: missiles emplaced around the city" while dictionary.com gives us this: "to put in place or position A statue was emplaced in the square."

Placed on and before the north wall as you enter the gallery is an installation by Amberley (the wall tapestry to the right includes a touch activated audio element).


To the east is a vertical wall work by Crystal that is comprised of eight texts (I LIKE THIS PLACE/ I'M GOING TO TAKE IT/ MAKE IT MINE/ THROUGH FORCE, DESIGN/ NAME IT, ANEW/ MAKE A SIGN/ IMPOSE MY STORY/ STAKE MY CLAIM/ BELIE MY CRIME) .


To the south is a series or a range of twenty or so drawings and prints by Meg that are placed wider than they are higher (excerpted below are "FICTIONAL TREE RINGS I, II, and III").


To the west is a wallwork installation by Tania that includes, at the centre of the gallery floor, a ceiling projection onto a blanket. Between the projection and the wall work is a reflection cast by a silver-backed text taken from Freud's 1913 book Tabu und Totem.




My initial impression of the exhibition is focused on the relationship amongst the cardinal points. Both the artists on the north wall (Amberley) and the west wall (Tania) directly reference production: in the case of the former, the making of a garment (which stands beside the chair and is, according to the artist, ongoing); in the case of the latter (as projected onto the gallery floor), the crushing of berries, presumably towards the generation of another medium -- an ink or a dye.