Critique fully documented Text Multiples! Put all documentation – images , title and a clear description of the work on your blog page.
Video Recording demo with Nathan
VISITING ARTIST TALK!
The School of Fine Art and Music is pleased to present the Winter 2022 Visiting Artists and Speakers Series. Our next event featuring visual artists Abbas Akhavan will take place on February 7, 6:00 – 7:00 pm EST.
Abbas Akhavan’s practice ranges from site-specific ephemeral installations to drawing, video, sculpture and performance. The direction of his research has been deeply influenced by the specificity of the sites where he works: the architectures that house them, the economies that surround them, and the people that frequent them. The domestic sphere, as a forked space between hospitality and hostility, has been an ongoing area of research in his practice. More recent works have shifted focus, wandering onto spaces and species just outside the home – the garden, the backyard, and other domesticated landscapes.
Akhavan’s recent solo exhibitions include Chisenhale Gallery, London (2021), Fogo Island Arts, Fogo Island (2019), and The Wattis Institute for Contemporary Arts, San Francisco (2019). Group exhibitions include Liverpool Biennial, Liverpool (2018), SALT Galata, Istanbul (2017), and Solomon R. Guggenheim Museum, New York (2016). Akhavan was recently the artist in residence at Atelier Calder, Saché (2017), Fogo Island Arts (2013, 2016, 2019), and Flora: ars+natura, Bogota (2015). He is the recipient of Kunstpreis Berlin (2012), The Abraaj Group Art Prize (2014), and the Sobey Art Award (2015).
You can find more information about Akhavan at the following link:
Zoom links for forthcoming events will be distributed via. email and made available on Instagram @guelphmfa
We acknowledge, with respect, that the University of Guelph is situated on the treaty lands and territory of the Mississaugas of the Credit and on the ancestral lands of the Attawandaron people. Their historical relationships with the land continue to this day.
Océane Buxton, Still from Saint-Madamette of Los Angeles Chapter 2, 2021.“The artists propose allegorical subversions to oppressive systems through a kind of propositional queering. Connecting these works are themes of identity, satire and costuming which foster a sense of liberty across the circuits of capitalism and production.”– Marissa Sean Cruz, CuratorFRUIT LOOPS: Video Art Live Screening curated by Marissa Sean Cruz Thursday, January 27th, 8PM ASTLive Stream LinkCuratorial Statement Marissa Sean Cruz, 3:42
S(HE) WOLF Alisson Escobar, 2019. 3:25
Taking is too easy, but that’s the way it is (Dance Dance, Revolution?) Alvin Luong, 2016. 1:55
bbssscrib1920x1280 Amy Lockhart, 2018. 2:21
Fruit Jus Arjun Lal, 2021. 1:12
Who Do You Think You Are, I Am Bridget Moser, 2019. 6mins 20secs.
Undefined Figure, Claire Hunter, 2022. 11:04
Abra Hiba Ali, 2018. 4:59
Welcome to the Alter-Ego Citadel KanikaxX, 2020. 14:22
Saint-Madamette of Los Angeles Océane Buxton, 2021. Chapter 1 and Chapter 2, 14:14More information about the artists and featured works can be found on our website.
About The CuratorMarissa Sean Cruz is a digital multimedia and video performance artist from Kjipuktuk (so-called Halifax). Their experimental videos use 3D modelling, sound design and costumed performances to study identity and value systems. Remixes of pop culture and commercialized products are synthesized creating alternative narratives. These humorous works aim to process a fast-paced contemporary present and envision possible, utopian futures. Marissa Sean Cruz (b. 1996) has been displayed in venues like Xpace, Studio 303, Gallery 1C03, Galerie VAV Gallery and Struts Gallery and Faucet Media Centre. Cruz’s various projects have been displayed throughout the United States and distributed digitally through spaces like the Centre for Art and Thought, Canadian Art, Video Pool Media Arts Centre, Public Parking and more.For more information visit:
2011, Multiple, paper serviettes printed with one of three colours of ink. 5″ x 5″
A Clock Set to 24 Hours Into The Future
2014-2015, public artwork for Sheridan College’s Temporary Contemporary, Trafalgar Campus, Oakville Ontario.
“Unlike most campus clocks, this one has been set 24 hours fast, always displaying “tomorrow’s time.” Of course, on a four-numeral digital clock, tomorrow’s time appears indistinguishable from “today’s time,” and therein lies a small bit of levity that is intended to open up a range of poetic interpretations.”
“A clock tower running 24 hours fast is in fact practical and functional in the present, but serves also as an aspirational signpost pointing towards the idea of tomorrow.” From his site Jon Sasaki
(the accompanying didactic panel)
An Obsolete Calendar Towel Embroidered with an Identical, Future Calendar Year, 1970/2065, 1982/2049, 1976/2032 and 1969/2042
2012, ongoing, embroidered found vintage textiles, each approx. 17″ x 28″.
In an ongoing series, obsolete calendar towels have been embroidered with the date of an identical, future calendar year. Beyond giving the discarded object a renewed relevance, it proposes a disturbingly banal vision of the future… that decades from now we will still be pining for some vague 19th century inspired nostalgia… covered bridges, copper kettles, cast iron stoves and millponds… images that were anachronistic wishful fictions even at the time the calendars were first printed.From his site Jon Sasaki
Please Don’t Take This 1000 Yen
2013, intervention in the neighbourhood of Konohana, Osaka Japan.
Upon arriving in Osaka, I observed hundreds of bicycles that had either flimsy locks, or no locks at all to secure them. I surmised there was some sort of honor system in play, and decided to test it a little. The results were surprising to me.
Four signs were placed around the neighbourhood early one morning, asking residents to please not take the 1000 Yen bill attached to it.
Two of the signs remained untouched until I retrieved them late that night. One sign disappeared mid-afternoon, although it probably had something to do with it being posted on the city’s bulletin board without permission. The fourth sign disappeared late in the day, which still impressed me. It turns out it was taken by a random, concerned neighbour who wanted to safeguard it. She did some sleuthing, somehow correctly guessed the restaurant I would be visiting later that night, and returned it (along with the 1000 Yen of course) a few hours before I arrived.
On his website, Lee Walton writes: “For Momentary Performances (2008-2010), I used vinyl text on city walls to announce ordinary moments that will take place. These texts are installed throughout the city weeks prior to each performance. Nearly 20 of these public works took place in Minnesota and Atlanta.
After acting out the script exactly on schedule, actors casually disappear into the city as if completely unaware of the descriptive text. Unexpected public is left to wonder about the reality of the serendipitous occurrence.”
The Experiential Project
Art in General, Project Space, 2005
These postcards became the access points for experiential interactions with shop owners, bars, barber shops, sandwich cafes, boxing clubs, and hidden city spaces. When a participant located the hidden starting point, an orchestrated experience unfolded. Participants become performers as more instructions and prompts are discovered embedded throughout each journey.
CLUSTERFUCK ESTHETICS “Lee Walton’s “Experimental Project” at Art in General is a sort of walking cacophony. It consists of a packet of cards, each with brief instructions that set you off on a situationist drift or do-it-yourself performance. A few weeks ago, one card sent you to a marvelous Asian store on Lafayette Street, where you were instructed to look “inside large music book on the top shelf.” A slip of paper then directed you to buy a lottery ticket and take it to a parking lot where you were sent to an OTB parlor and then led to a Chinese cardiologist and so on. This week’s instructions read, “Nancy Whiskey Pub. Lispenard at West Broadway. Inside pocket of red jacket.”
by Jerry Saltz
WRITE: Due in Wednesday’s class to present–
You will be assigned one of the artists below. Post 2 examples (image and description) of great text based works – look for instructions, scores, prompts, advertised events, and multiples that use text in a conceptual way.
Describe the artist’s general approach in their broader practice, along with why you like the works selected – how do these objects work in the world? How is the artist’s use of language different from other forms of public text? How do they use materials, fonts, and other formal decisions to activate the text?
You will have 3-4 minutes MAX to present the two works to class.
Mendi and Kieth Obadike
Give short presentations
Assign Text piece
Instructions for the world:
Text based prompts, interventions, and multiples
DETAILS TBD in next class.
Make an artist multiple that centres text as a main element – the text should be employed conceptually – you may use it to:
-Give prompts, propose uncommon actions
-Provide instructions for absurd or unexpected things
-Trick the viewer in a pro-social way
-Make minor sentiments majorly declarative
-Document a banal, ephemeral thing in an important or permanent manner
-Play with an awareness of fonts, styles, and with text as a material, or an abstraction
– Subvert the intentions of found text
-Give voice in public to something not usually spoken in public
-Consider some of the strategies empoloyed by the artists discussed in class
You will be able to use 13×9″ high quality paper to make an edition or a series of postcards, a poster or other paper based ephemera. Nathan will complete the printing for you in studio – deadlines to be discussed in class.
Works must be properly finished to a professional level – and documented in an appropriate context to show the intended manner of circulation/presentation of the work.
You may also choose to make a T-shirt, hat, a magnet, a mug – or other printed ephemera that you will need to find and have printed on your own and in time – in order to document the work and present it in class for final critique.
NEXT WEEK MONDAY: Post a proposal drawing/ideas, we will discuss in class, along with a publishing/design demo
Dad and David Visiting was produced while my father and his boyfriend were visiting us from San Francisco. They were sleeping on a mattress on our floor. When I was walking past them one morning I realized the beauty of the scene and grabbed my camera.
“Parade of Champions” (2015) explores the grief experiences of three black queer people, following the deaths of their mothers. Although grief is borne from loss of any kind, for an adult child, a mother’s death is incomparable. As universal and inevitable as it might be, this suffering is complicated by the restriction on mourning in our culture. Grief upsets us. It makes us uncomfortable. The bereaved are expected to mourn in private or at the very most, publicly for a short period only. For black queers, already unseen and othered, grieving a mother’s death requires a further pushing back against notions of disposability and invisibility.
Drawing on my own experience after my mother’s death in 2011, Parade of Champions centres this black queer counter-narrative in creating a poetic encounter with loss. Employing still video portraits and audio interviews, this immersive three-channel installation invites viewers to bear witness to this black queer grief. From https://vimeo.com/148414120
Mom and Dad
“In Mom and Dad (1994), Antoni made up each of her parents in the guise of the other, photographing them together in three different permutations with either one or both of them costumed in this way.”
“For the 1995 photograph Momme, Antoni hid under her mother’s dress, her own adult body bulging like a pregnant belly.”
The short video projection 2 into 1 (1997) features a mother and her two sons, one generation lip-synching the dubbed words of the other. It is hypnotically disturbing to watch a pair of 10-year-old twins take turns speaking their mother’s exasperated love for them. “I think Lawrence is absolutely adorable, he’s gorgeous, I love every inch of him,” Lawrence says, in a slightly raspy woman’s voice. “But he’s got a terrible temper.” Halfhearted affirmations of self-esteem also figure in the mother’s monologue, along with deep fatigue, all sounding precociously sympathetic–if not a touch demonic–coming from her children’s lips. Equally unnerving is the mother’s mimed recitation, heard in the soft, clear voices of clever preadolescent boys, of her sons’ accounts of her. We hear their criticism of her driving (“too slow”) and clothes (“she doesn’t dress too well”), and their complaint that she goes out to clubs too much (slightly disheveled and obviously anxious, she looks like she could use the break). For their part, the boys, baby-faced and natty but incipiently loutish, are hardly ingratiating. A dazzlingly deft expression of the complex pushes and pulls in the mother-son relationship, 2 into 1 is an even more concise articulation of the triangulated relationship between artist, subject and viewer. Treating emotional truth as if it were the coin under the three fast-shuffled cups of a sidewalk con artist, this video pictures the circulation of meaning as a kind of vaudeville act, fast, funny and a little cruel.
Basil AlZeri is a Palestian artist based in Toronto working in performance, video, installation, food, and public art interventions/projects. His work is grounded in his practice as an art educator and community worker. He explores the intersections between the quotidian and art, and strives for interactions with the public, using social interactions and exchanges to create gestures of generosity.
AlZeri’s performance work has been shown across the Americas.
The Mobile Kitchen Lab
With The Mobile Kitchen Lab (2010 – present), AlZeri performs simple and generous gestures, inviting his guests to identify the Palestinian stories of land, resources and labour that are built into his recipes.
Initiated in 2010, his durational performances feature live projected instructions provided by his mother, Suad, via Skype.
“Exploring the darker side of femininity and socially constructed notions of desire, Patty Chang often takes a corporeal, visceral approach to performance, an art form that underlies her work in video and photography. Like female pioneers of performance in the 1970s, such as Marina Abramovic, Eleanor Antin, and Hannah Wilke, Chang uses her body to address issues of the objectification of women and their representation in art history and popular culture. Chang’s work is often inflected with humor and often pushes commercial and popular female stereotypes to their extreme. In the photograph Melons(1998), for example, she uses cantaloupes as prosthetic breasts. How consumption and desire are inscribed upon the female body is addressed in Chang’s art, but equally so is a woman’s own desire of self.https://www.youtube.com/embed/P4HfEh-kT4c?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent
Much as Janine Antoni, Sally Mann, and Gillian Wearing have explored the sexuality and conflicts inherent to the parent-child relationship, Chang examines the territory of the primal, parental connection in her work In Love (2001). In this dual-channel video, two separate scenes of the artist with a parent are juxtaposed. Chang faces her mother and, in the adjacent frame, appears face–to–face with her father. Simultaneously both images show the artist’s and respective parent’s faces pressed together in what at first appears to be a deep kiss. Gradually it becomes evident that the video is running in reverse time, and that they share not a kiss but rather an onion from which they both eat. They bite into it slowly, pausing as they take turns offering it to each other, as if it suggests the proverbial, forbidden fruit. Parent and child swallow before they take additional bites, blinking hard to hold back tears from the onion’s sharpness and pungency. However, in the video’s reversal of time, the onion is reconstituted and the tears disappear—wholeness is thus regained.”
Every five years, artist Ragnar Kjartansson asks his mother to spit on him for several minutes in front of a camera. The Icelandic mother and son here discuss the fascinating performance, which Kjartansson argues has become “like a part of our family life.”
In 2000, Kjartansson asked his mother if she wanted to spit on him for a video project, which she immediately accepted without any further need for convincing. While spitting, Guðrún Ásmundsdóttir, imagines that her son is one of the businessmen that got Iceland into the financial crash. “When I feel that spit it never feels violent or something, she is just helping her son to do an art piece” Ragnar says, and goes on, “There has always been a lot of friendship in our relationship.”
Kjartansson furthermore explains that both of his parents were “militant feminists”, and that there are feminist undercurrents in his work, such as the spitting echoing how women got ‘a voice’ and were able to ‘spit’: “Being raised by an actor, you start to understand these emotional tools that actors – and directors and people making theatre – use … they use humour and confrontation as tools in making a composition.” Always seeking not to be too literal in his art: “It just doesn’t turn me on.”
Ragnar Kjartansson (b. 1976) is an Icelandic artist, whose work ranges from paintings and drawings to videos, music and performance.
See also Evergon:
In 1990, my younger, gay brother died of AIDS and other complications. In 1992, my Mother, Margaret Lunt, modelled as Ramba Mama in my work, Ramboys: A Bookless Novel. In 1993/4, because of her modeling and because of her relationship as my Mother, she participated in the TV special Evergon on Adrienne Clarkson Presents. Immediately after the viewing, my Father went on a tirade because photographs of my Mother’s bared breasts had been shown on television. She had not told him of the modeling session and he had not seen any of my exhibitions since 1976. Two days later, he was admitted to the hospital with a heart attack, brought on by anger and rage.
Three years ago, my Father died of cancer. In the Fall 2000, while driving Margaret to Montreal to be with me for two weeks, she suddenly stated: “You don’t photograph me nude anymore.” I had never photographed my Mother totally nude. So during that visit, we completed a ‘nude Margaret’ photographic shoot. These images of Margaret, started during that visit, have continued on each successive visit. She is well aware of the power that these nude photographs have. They profile her as a strong woman within her aging body. The mirroring image of myself has been a response to the images of my mother and to our relationship as the sole survivors of our family and mirroring compatriots. Although, I can see my behavioural and physical traits inherited from my Father, I see and feel many more traits from my Mother. Margaret is now eighty-two. I am fifty-five.
See also: Jim Verburg, and Sarah Polley in studio.
VIDEO ART: Your Parents
Maximum video length will be approximately 5 minutes/or looped. Can be longer – discuss with instructor.
Ideas and works will also be discussed in progress in class – see the class schedule
Consider your parents. You may choose to work with one or many of the individuals that are your parents. This does not have to literally be your mother or father – you may work with the idea of parents, with remembered parents, with other people’s parents, with dream parents. Interpret this theme as widely as needed.You may also be a parent – and want to explore what the role means to you – and work with your children. It’s up to you.
Who are your parents? What are the quirks that distinguish them? What is your relationship with them like? What are their relationships like with others? What are they into? Who were they in the past vs. the present? What are their strengths and their weaknesses? Do they understand what you do? Do you understand what they do? Think about what you want to discover, or bring out about your parents, and/or your relationships. Think about something really unlikely for your parents to do. How do the attributes and concerns about your parents reflect truths about you or your family, or about a wider world?
You may consider*:
Using still photographs
Truth vs Fiction
Documentary style observation
Use of sound/music/dancing
Taking your parents by surprise
Instructions for parents to perform
Task for you to perform with your parents
Performances by non-actors
Working remotely with parents
Absence of parents
Past vs. Present
Using found video/film/audio
Michelle Pearson Clarke
*Reminder: Always create works that are safe and respectful for you and others at all times. Discuss your ideas with the instructor.
Student works on the theme:
What Would Your Life Be Like Without Me?
These are stills from a video of my parents describing the lives they could of had, if they remained childless. C. Wisdom 2019
This is a still from a video of my parents. I asked them about their experiences with race and prejudices. The video aimed to highlight their contrasting experiences, however the results showed some endearing similarities and how their relationship has altered and shed light on their individual experiences.
Two Into One is a video that borrows the lip synching strategy from Gillian Wearing’s original video of the same name. I filmed my parents one Saturday morning for as long as they would let me. As I continued to antagonize them they became more and more self conscious. I later dressed in quick drag and lip synched to their complaints and concerns regarding the camera to create an abject and heightened reality of their own fears of being shown “not at their best”. Emily Reimer
Discussing Abstract Art
My parents were pulled away from their regular evening activities and sat down individually to discuss my most recent series of abstract paintings. They weren’t told to analyze them or criticize them, they were just told to talk about them. They also weren’t shown or told what the other had already said. This video reflects not only their relationship to me as their daughter and the art I produce, but also to how they go about viewing art in their own separate ways. Rachel V.
My video is composed of cut together clips of my mom and my dad each describing where they want to be buried. I chose this because I know they each have very specific spots, and have had them for a long time, which have a lot of family history tied to them. My mom, coming from Quebec and my dad, coming from Saskatchewan, both have multigenerational Canadian families, and then they met in the middle and had me. My sister and I were both born in Manitoba and now live here, so even though my parents both have such strong connections to these places, I don’t have any of the generational ties and memories that they have. It’s interesting to see how, although they’re married and have their own children in central Canada, they still have a connection to their hometowns, which leaves my sister and I in the middle to eventually chose our own plots. I thought this would be a neat way of getting them to explain a bit about their families without asking for a direct description. I even filmed the video on their dining room table, which has fittingly been passed down a couple generations and was made by a relative from my mom’s side.
Here are the separate, uncut videos of my mom and my dad’s maps and descriptions: