Pet Peeves: Toby and Mary Ann

The July installment of Hedy Wood’s Pet Peeves is here and brimming with positivity! 

Everybody seems to meet online nowadays. It’s just not like it used to be when a simple handwritten note and a trip to the nearest haystack resulted in a new pet… or partner…

No, no, these days a lot of relationships begin with a bit of online dating…. That’s how Toby (distinguished Fox Terrier) and Mary Ann (grunt gallery’s consultant and grant writer since 2006) began. And honestly, I do a bit of online cat dating myself sometimes, when my own cat, Blackberry, is getting on my nerves. I will go and look at adorable kittens and wonder if I would end up bloody and maimed after trying to trim THEIR toenails… I wonder if THEY would give me any respect… if THEY would not simply regard me as some kind of food dispensing, litter box cleaning, slightly slow-witted, slave kind of person…

Mary Ann and Toby do not appear to have any of these issues. They seem to be living it up in an atmosphere of mutual love and respect!! Of course, this is just the kind of relationship that gets me feeling curious. Undaunted by my utter failure to find any malevolence whatsoever in any other grunt/pet households, I sat down with Toby for a little chat.

Me: So Toby, how long have you and Mary Ann been together now?

Toby: About a year, and they just recently got me this new house! Don’t you love it? It’s right across from the park!

Me; Well, actually, I think that’s a cemetery…

Toby: And I’ve got a bed in almost every room!

At this point, Toby caught sight of himself in the glass front of the gas fireplace and began to dance, round and round in figure eights.

Me: What are you doing there Toby?

Toby: Oh sorry, sorry, I get distracted by reflective surfaces, and I have to dance. It’s something I’m practising for my podcast.

Now, I had noticed a complete absence of mirrors at doggy eye level in Mary Ann’s place, even the mirrored bedside tables had been covered up with pillows. Apparently, Toby cannot resist the urge to dance in front of them.

Me: Podcast?

Toby: Yes, I’ve decided to expand my online presence with a little something extra, Tobytv. It’s an inspirational dog channel, for fox terriers who have fallen on hard times. There will be dancing, motivational speeches, and I will be posing for some pictures in my beautiful new home. But I think the dancing may be the most popular part.

Me: Hmmm, that all sounds good, but maybe that’s enough dancing for now. I feel a bit dizzy watching you. And what do you mean expand your online presence?

Toby: Well, of course you’ve heard of Fox Terrier News? And Fox Terrier Nation?

Me: Oh, of course, yes. Always looking at those things… constantly… can’t get enough of them…

Toby: Well, I have a lot of followers on there, not to brag or anything. And I want them to know that no matter how dark things might look, it can all work out in the best possible way!!

Me: Well, I can see how that’s true. Actually, my life would probably be pretty much improved if I could only talk Mary Ann into adopting me… nothing like a bed in every room to make a person feel comfortable.

Toby: I KNOW! So relaxing. And you know that I have epilepsy, so I really do need a lot of soft surfaces around the home.

I think it was right around then that I realized what a lovely and sympathetic dog Toby is. It seemed like the perfect time to share a few of my own health problems. I only stopped talking when Toby appeared to be drifting off to sleep. His gentle snoring rose and fell around the story of my last visit to the rheumatologist…

Toby: Oh dear, so sorry, I drifted off for a moment, probably because of my medication, of course, and you have such a relaxing voice. You could be an influencer like I am, I think. But you really need to keep on top of your posts. Once Mary Ann didn’t post anything about me for 2 weeks! Well, all my American friends were very worried. They like to know that I’m alive and well and chucking my treats around the room… and dancing…

Me: Well, Toby, we all like to see that. It’s always good to see a dog like yourself enjoying such a perfect life. Yep, always good… but I probably have to head out now. Blackberry gets quite hungry at this time of day, and she does not like to be kept waiting. It makes her irritable, and scratchy….

Toby: Come back any time! And look me up online. There’s a very good video of Mary Ann cleaning my ear with a Q-tip which I enjoy more than I can even tell you!

Me: Yes, don’t want to miss that one. Goody.

I headed out after a few more moments of ear scratching and chest rubbing with Toby. Please do not listen to any little stories Mary Ann might tell you about me trying to sneak out of the house with him! These are complete fabrications on her part! What kind of person would try to stuff a Fox Terrier into her purse and take him home?! Ludicrous, and he didn’t actually FIT into my purse anyway… not that I tried…

As I was heading home, (without Toby) I realized two things. The number 8 bus goes REALLY fast, like, much faster than most buses in this city, AND, if I wanted to truly find some juicy pet complaints, I would have to speak to Blackberry. After our 8 years together, I’m pretty sure she’s got a lot to say… most of it probably fairly complain-y…

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Pet Peeves: Alfie and Linda

Salut! Pet Peeves continues with Alfie, a Burnese French Poodle cross with a taste for an unusual delicacy…

I had heard through the grunt grapevine that Linda’s Alfie was a bit of a bad boy, and what woman doesn’t enjoy that? I was looking forward to some of that bad boy charm when Linda Gorrie, (grunt’s business manager of 14 years) and Alfie, (Burnese poodle cross) dropped by the gallery for a visit one Saturday. Now, if any dog wants to tell me that he is European, even though I know darn good and well that he actually hails from Surrey, B.C., in Canada, and has no relationship whatsoever to a lecherous, mid-century cartoon skunk, who am I to argue? I just would not argue. I’m not that kind of person. No no no noooo, if Alfie wants to have a fake-y, Pepe le Pew accent, and swear that it is because he is a Burnese, French Poodle cross, well, so be it… I just like to roll with these things, it’s my way.

Now, I did not notice any spectacularly bad boy-ish behaviour during the visit, apart from a bit of basically uncalled for barking. But, I was determined as always to dig up some kind of dirt. As you might know, I had pretty much given up ages ago on finding out anything troubling about the grunt staff. They are all just so consistently nice, it’s sickening really. But surely Alfie was harbouring some dark secrets. He originated in Surrey after all. If I was lucky, maybe there’d be gang involvement!

Me: So, Alfie, how long have you and Linda been together?

Alfie: I do not care for zees details! I bark at your silly, silly questions!! Bark Bark!

Me: Alfie, have you got a little bit of an accent?

Alfie: But of course, mon Cherie! I am European by breed! Zoot Alors! Do you know nothing at all? I must bark!! Oh, sorry, I did not mean to frighten that poor visitor to the gallery… I feel so bad that she is running out ze door! Zese humans, they are more like big chickens? Non?

Me: Well, Alfie that was actually fairly LOUD barking…..but tell me, how do you enjoy life with Linda and her daughter? Anything about them really getting on your nerves? Just any little thing at all…

Alfie: I adore Linda and her daughter!! Zey are the most beautiful women in ze world!!! Every night I creep from one bed to the other, I love them so much, I cannot decide!! Zey like, a bit too much, ze HUGGING! I I must BARK every time! Too much with ze hugging!! BARK!

Me: Right. Hmmmm, so, Linda is giving you the right kinds of toys and food and everything? Lots of walks and things?

Alfie: Yes, of course! My favourite toy is ze hamburger, made of rubber. And Linda has taught me fifty of your English words for food! Although some things Linda does not understand too well. I zink she does not know the European ways…like ze poo bags for example…

My ears perked up at the mention of poo bags. I was pretty certain this could be that bad behaviour I’d been looking for!

Me: Ummm, what exactly is it about the poo bags Alfie?

Alfie: In Europe, dogs like to eat ze poop. We take ze leetle bags full of ze poop, and we TOSS them up into the air!! We eat ze poop! I do not understand why all of ze humans at the dog park hide ze poop when I come over. Zey run, but they cannot hide! I will always find ze poop!

Me: Well, that is kind of gross.

Alfie: Pah! What do you know of ze poop?! You are like Linda, you have probably never even tried la poop! So, how do you know? It is more delightful than anything you could imagine! Viva la poop!!!

Now anyone who has ever lived with a dog knows that they do enjoy smelly things. They like to rub themselves on smelly things, and sit in your car, happily stinking up the place. And I can honestly say that my old dog, Rhonda, had a habit of snacking on the kitty litter. So, I guess this is a doggy thing, I’d never met one who deliberately went after poo bags in the park… and I did not entirely believe that this was a European dog trait, but I thought it showed a lot of focus from Alfie. Dedication really.

Seemed like it might be time for a bit of a change of subject.

Me: So, Alfie, you are a Burnese, poodle cross? A Burna-doodle? Is that right?

Alfie: Gah! Stupid, silly, silly name! Are you a human doodle? What is zis DOODLE!? It is so silly, I must CHEW on zis rubber doorstopper, until it is RUBBLE!!! DOODLE!! PAH!!!

At about this point in our interview, It occurred to me that Alfie might be getting a little over-excited. He began to talk about ART, and how much he loved it, and how delicious it is, while wandering into the gallery…I’m happy to say that no art was actually harmed during the making of this interview, but I was a bit worried that the show might meet the same fate as a tasty little bag of poo.

Me: Well, you are probably getting ready for your walk now? And maybe a bit of a snack? I’m sure Linda is planning to take you somewhere really nice today. Thanks for coming in to meet with me, Alfie, and if anything at all comes to mind, just anything you might have a complaint about, you have my number. Don’t hesitate to call….

Alfie: Yes! I must go out for ze refreshing walk!! I seem to have a little bit of rubber doorstopper temporarily stuck in my throat… gack, cough, petoooey!

Me: It was lovely to meet you, and always great to see you Linda.

Alfie: Gurk, silly door stopper! I must go!!! Immediatement! Where is my hamburger?!!

And with that, my brief time with Alfie and Linda was over. I did hear that he recovered completely from nibbling on the doorstopper, and that he and Linda went on to have a lovely outing… I did not hear if any poop bags were consumed during that walk, so I can only imagine…

Despite his bad boy ways, Alfie charmed me completely, and Linda? Well, what’s not to like?

No, my only hope was to talk to Mary Ann, and her dog, but really, I should probably rename this whole project, from Pet Peeves, to Perfect Pets and Pukingly Perfect Owners. Really, that’s how it actually IS! As Alfie would say, PAH! Silly!

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Spark Talks: Episode IV

Written by Whess Harman, Spark Talks curator 2018/2019

There’s a slight anomaly (not mistake) on our Spark Talk page that says our first talk was held on January 21, 2106. There are two ideas around this and whichever one is true we will know when we reach that aforementioned date.

Theory one: we are retroactively at the start of the 87th iteration of the series; if time is to be understood as linear points, but each point is an event that happens in a forward track, then once completed the next point is to hop back and not forwards (backstitched), the series is nearing the end of its existence, and the first talk we experienced was actually Mark Igloliorte’s on February 18, 2016 but was the last one of the 90th iteration of the series. Why our experience of time is layering over that track of time is not yet known to us but we assume there have been technological advancements or certain previously paranormal phenomena have been explained and harnessed.

The date of Castillo’s talk is the only one known to us from that time period and was placed at the end of the page so that it wouldn’t appear that we were only ever perpetually waiting for his talk on January 21, 2106, because we’re not waiting, it’s already happened and we’d prefer not to receive phone calls about it.

The second theory: Osvaldo Ramirez Castillo did, in fact, give his talk on January 21, 2106 and it was the first one and the second one followed February 18, 2016 with Mark Igloliorte, meaning that Castillo has (thus far) been the only participant who’s been displaced along this particular stream of time and we are at the end of the third series of Spark Talks, not at the start of the 87th.

Neither theory can be rejected because if Castillo’s roiling liminal narratives are to project possibility, it’s to project the possibility that time collapses, folds, layers, tears, melts, etc.

The third theory of errantly keyed keyboards and fingers possibly tripping over top themselves is not to be considered and no adjustments will be made to the page. We know what we mean when we say the talk happened on January 21, 2106; we just don’t know how we mean it.

What we also know regardless of this time-spatial distortion or cracked vortex in the event horizon or whichever techno-babble jargon applies, is that the Spark Talks, whether they are igniting backwards or forwards or in and out of time are existing in a state of curated chaos and hopeful galactic tidings. Each talk is a point in a constellation and in each iteration is an unpredictable mass of potentiality in ingenious expressions of Indigeneities that can flare, catch fire and sustain new life through and in spite of the vacuous vacuums and voids of academic drudgery and artscaped diasporas; we’ve seen Star Wars and we know you can have explosions in space and we know that an explosion need not herald the encroachment of inter-galactic despots but can be radiant expressions of our pluralities as resistant beings pulled together from the dreams of stars.

We Indigenous folk are habitually and persistently resistant to silence and the silence of spaces we are forcibly vacated from is no exception, be that the literal terrestrial spaces on which we reside or the erasures of space in the slipstreams of archival time. Reason being: we know that communities don’t evolve or adapt to each other through silence. So, bring on the cosmic light show.

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Job Posting: Engagement Coordinator – The Blue Cabin

Job Description

Position: Engagement Coordinator
Project: Blue Cabin Floating Artist Residency
Location: Throughout the Lower Mainland
Reporting to: Blue Cabin Committee

Hours: $25-$27/hour, 18 hours per week. Some evening and weekend work. Flexible schedule.

Start date: July 29, 2019
Application Deadline: Thursday, June 27, 2019 @ 5:00pm

Project Description:
The Blue Cabin Floating Artist Residency (BCFAR) is a collaboration between grunt gallery Other Sights for Artists’ Projects and Creative Cultural Collaborations. The collaborating organizations have formed the Blue Cabin Committee to oversee the ongoing management of the BCFAR.

About the Blue Cabin:
The BCFAR provides artists with a unique opportunity to work in a completely restored and outfitted heritage cabin/studio with deep historical roots in both the foreshore past of North Vancouver on the West Coast of British Columbia and the early years of Vancouver’s contemporary art scene. Situated on a floating platform and anchored in a marine environment, the residency features a state of the art, self-sustaining “deck house” as accommodation. Responding to the unique environment, landscape and heritage of the region, the BCFAR will be a central feature of the selected artists’ experience. This is an artist–centred residency space that welcomes local, regional and national participants as well as international guests.

The BCFAR is open to artists in all disciplines and supports the creative development of all kinds, for artists at all stages of their careers. It is intended to support artists who wish to undertake research, reflection, contemplation, production or presentation activities. Artists are asked to propose a program of public engagement as the only outcome required of the residency.

General Description of the Position:
The Engagement Coordinator works with staff, contractors, volunteers, and membership to develop contacts, programming and strengthen relationships between the Blue Cabin Floating Artist Residency (BCFAR) and its partners in the community. This is a professional position that reports to the Blue Cabin Committee and associated staff.

The Engagement Coordinator is a planner, implementer, and relationship builder who is responsible for developing this new initiative in conjunction with multiple and diverse communities across the Lower Mainland. They are also responsible for developing strategies around programming, retention and recognition of audience members, volunteers and other communities, as well as strategies for outreach. This is NOT a fundraising focused position.

The Engagement Coordinator will work within the communities the facility inhabits making connections and strengthening bonds between stakeholders and increasing visibility and access. A major focus will be on the heritage and cultural communities, and the position will require the incumbent to familiarize themselves with the many different heritage stakeholders in Vancouver and on the North Shore including community groups, non-profits, government departments, universities and museums and archives. The Engagement Coordinator will work with these groups to develop programming for the BCFAR in the form of lectures, panels, open houses, exhibits and discussions around the Blue Cabin that are part of the project’s broader curatorial activities.

The Engagement Coordinator will work with the Blue Cabin Curatorial Committee to maintain relationships within the three Indigenous host nations; as the BCFAR will move throughout waterways in the region, we are committed to strong relationships with Musqueam, Squamish and Tsleil-Waututh (MST). The incumbent will play a fundamental role in continuing our conversations with the MST, and continuing to build strong relationships and opportunities for collaboration. The Engagement Coordinator will maintain relationships within the infrastructure of the cities of Vancouver, North Vancouver and the District of North Vancouver, including targeted relationships with stakeholders at Northeast False Creek, the North Shore and Port Metro.

The Engagement Coordinator is expected to work independently while maintaining a strong connection to the overall project and curatorial planning.

Required Competencies:
Collaborative Reliable
Committed Independent
Community Minded Tolerant
Creative Flexible
Social Resourceful

General Responsibilities:
● Work with staff and committees to develop and enhance contacts within the identified communities.
● Develop strategies for outreach and active community development.
● Produce and develop programming at the BCFAR engaging the Heritage and cultural communities
● Design and implement a community plan that builds strong, long-term, and loyal relationships with audience members, supporters and communities.
● Forge relationships within the heritage and cultural communities across the Lower Mainland, and explore opportunities for co-programming, cross-promotion and outreach.
● Continue to develop relationships with Indigenous partners and collaborators from the host nations (Musqueam, Squamish and Tsleil-Waututh) as well as the wider indigenous communities of Vancouver.
● Explore engagement opportunities from other communities as necessary, and in conjunction with the Blue Cabin Committee’s vision for programming and the residency.
● Produce a news feed around community engagement that is aligned with BCFAR’s social media, website and newsletters focusing on their respective membership and community activities.
● Collaborate and communicate with neighborhood organizations to develop activities that promote the BCFAR’s role in the community (eg. community events and festivals).

Required Skills and Education:
● Superior networking skills for arts and cultural-based environments.
● Strong knowledge and commitment to bridge-building within diverse community frameworks.
● Good understanding of artist-run culture.
● Post-secondary education in an arts related program, educational program or a relevant discipline is an asset.
● Previous experience (work or volunteer) in an arts organization, community centre, educational centre or activist organizing is an asset.
● Demonstrated supervisory and interpersonal skills; ability to perform well in a team environment and collaborate with others.
● Strong written and oral communication skills; ability to target events outreach materials to varying audiences and age groups.
● Strong organizational skills, able to identify and prioritize tasks with minimal supervision, work independently, and take initiative.
● Experience with youth/adult education programming an asset.
● Working knowledge of Social Media, e.g. Facebook, Twitter and mass email systems;
● Resourceful, hands-on and pro-active.
● Previous experience in developing and maintaining strong internal and external relationships.
● Demonstrated success with strategy development, implementation and evaluation.
● Proven ability to act in an assertive but professional manner and to represent oneself and an organization in a positive manner.
● Ability to work flexible hours.
● Ability to travel throughout the Lower Mainland.

Business Ethics and the Workplace:
• Must promote and set the example for ensuring a friendly, courteous, respectful and professional work environment.
• Must maintain the confidentiality of all personal, private, and professional information obtained within the course of employment.
• Must not accept any gifts, loans or anything of value from any individuals with whom contact is had during the course of employment.

To apply: Please send cover letter and resume to Sunshine Frere by email < sunshine (at) othersights (dot) ca >

Application Deadline: Thursday, June 27, 2019 @ 5:00pm

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Job Description: Residency Coordinator – The Blue Cabin

Job Description:

Position: Residency Coordinator (contract position)
Project: Blue Cabin Floating Artist Residency
Reporting to: Operations Director (grunt gallery) and General Manager (Other Sights for Artists’ Projects)

Hours: $27/hr 18 hours per week. Some evening and weekend work. Flexible schedule.

Start date: July 2, 2019
Application Deadline: Thursday, June 13, 2019 @ 5:00pm

Project Description:
The Blue Cabin Floating Artist Residency (BCFAR) is a collaboration between grunt gallery Other Sights for Artists’ Projects and Creative Cultural Collaborations. The collaborating organizations have formed the Blue Cabin Committee to oversee the ongoing management of the BCFAR.

About the Blue Cabin:
The BCFAR provides artists with a unique opportunity to live and work in a completely restored and outfitted heritage cabin/studio with deep historical roots in both the foreshore past of North Vancouver on the West Coast of British Columbia and the early years of Vancouver’s contemporary art scene. Situated on a floating platform and anchored in a marine environment, the residency features a state of the art, self-sustaining “tiny house” as accommodation. Responding to the unique environment, landscape and heritage of the region, the BCFAR will be a central feature of the selected artists’ experience. This is an artist–centred residency space that welcomes local, regional and national participants as well as international guests.

The BCFAR is open to artists in all disciplines and supports the creative development of all kinds, for artists at all stages of their careers. It is intended to support artists who wish to undertake research, reflection, contemplation, production or presentation activities. Artists are asked to propose a program of public engagement as the only outcome required of the residency.

General Description of the Position:
The Residency Coordinator is charged with the administration, management and maintenance of the BCFAR as well as working with a variety of individuals and groups to coordinate and schedule all programming and artist in residence stays.

The Residency Coordinator organizes all aspects related to the residency, including support of the artist application process, support of the artist in residence, and ensures that the facility is safe and well maintained and that the ongoing maintenance plan is implemented.

The Residency Coordinator is responsible for the day to day operations of the BCFAR and the management of associated special projects. The Residency Coordinator reports directly to the Operations Director at grunt gallery and the General Manager at Other Sights for Artists’ Projects.

Required Competencies:
Project Management Communication
Time Management Collaborative
Committed Community Minded
Creative Flexible
Social Reliable
Independent Tolerant
Resourceful

General Responsibilities:
• Develop and maintain the day to day administration of the BCFAR.
• Help maintain the BCFAR’s public presence through the Blue Cabin website, social media channels, e-newsletters, and in print, in conjunction with other communications’ staff.
• Organize and lead the artist application process, assist the Blue Cabin Committee with artist selection, and coordinate all aspects of the residency including resource documents, contracts, communication with artists, fees, programming events, etc.
• Provide logistical and technical support to artists in residence.
• Organize field trips, studio visits, public presentations and other research and engagement activities.
• Develop a maintenance plan around the cabin facility for maintenance, janitorial and facility upkeep.
• Oversee the work of contractors implementing the maintenance plan.
• Oversee the residency budget, in conjunction with other staff and contractors.
• Provide budgets and expense reports to the Blue Cabin Committee at regular intervals.

Required Skills and Education:
• Strong familiarity with arts administration.
• Good understanding of artist-run culture.
• Preferably, post-secondary education in an arts-related program or a project management program.
• Previous experience (work or volunteer) with an artist residency programme an asset.
• Demonstrated supervisory and interpersonal skills; ability to perform well in a team environment and to collaborate with others.
• Strong written and oral communication skills.
• Strong organizational skills, ability to identify and prioritize tasks with minimal supervision, work independently, and take initiative.
• Experience with youth/adult education programming an asset.
• Strong knowledge and commitment to bridge-building within diverse community frameworks.
• Working knowledge of social media, e.g. Facebook, Twitter and mass email systems.
• Resourceful, hands-on and pro-active.
• Proven ability to act in an assertive but professional manner and to represent oneself and an organization in a positive manner.
• Ability to work at and travel to multiple sites throughout the Lower Mainland.
• Ability to work flexible hours.

Business Ethics and the Workplace:
• Must promote and set the example for ensuring a friendly, courteous, respectful and professional work environment.
• Must maintain the confidentiality of all personal, private, and professional information obtained within the course of employment.
• Must not accept any gifts, loans or anything of value from any individuals with whom contact is had during the course of employment.

To apply: Please send cover letter and resume to Meagan Kus by email < meagan(at)grunt.ca >

Application Deadline: Thursday, June 13, 2019 @ 5:00pm

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Pet Peeves: James and Hillary

Welcome to the May edition of Hedy Wood’s Pet Peeves! Read on as Hedy chats with grunt founder and current editor, Hillary Wood (no relation), and the investigation takes a turn toward the possibly paranormal…

Of course I believe that Hillary has a part-time cat named James. I also believe that James comes to visit by walking across two balconies, and that he stays for a couple of hours and naps on the bed and all the rest of it. Hillary Wood is a founding member of grunt gallery and is currently the editor there. She is definitely not some crazy person making up things in order to get me to write about her and some imaginary pet. And, I would like to add, you don’t see me standing around with my index finger pointed at my temple making that little twirly motion. You just don’t! I believe in James completely!

I believe in the existence of James, the part-time cat, so thoroughly that I went over to interview him and see what he had to say about Hillary.

Food bowls left out for the elusive cat-like creature, James.

After standing around on Hillary’s balcony for about half an hour, yelling for James and jiggling my bag of cat treats, I felt like it might be time for a drink……there was no sign of what I was beginning to think was a mere fig newton of Hillary’s imagination and I had a powerful thirst building. Also my yelling JAMES, JAMES!!! was starting to annoy the neighbors.

The interview went something like this:

Me: So, how about we crack open some of this pickle juice, and you tell me all about James who I believe in and know exists?

Hillary: You’re starting to make him sound like God or something! He does exist, and he comes over here every single day! I think all of your yelling has put him off, that’s all.

Me: Ha ha! Where are the glasses? Oh JAMES, you can come over any time now!!! Because I know you’re real!!!

James:

 

Me: Come on James!!! Sit on the bed, eat some stuff, come and visit. Oh JAAAAAAMES!!

James:

 

Definitely, it was time to crack open a bottle of wine. If nothing else, I could ask Hillary about James, and how he has come to be her part-time cat. Apparently, James is actually owned by a neighbor two balconies over, but he prefers to spend a lot of his time at Hillary’s. He’s sort of a cat-share cat, like a timeshare condo I guess….

So Hillary and I settled in and had a glass or two. Occasionally I would get up and go and yell for James out on the balcony. I only actually stopped doing this when I could see that it seemed to be causing Hillary psychic pain.

Hillary Wood and James the cat? Photo by Merle Addison.

I also began to make little jokes and then laugh at them really loudly, then explain the jokes and laugh some more. You know, as you do. When I reflect on it, Hillary really must have the patience of a saint.

The afternoon wore on, and there was still no sign of the alleged James. He was beginning to seem like Bigfoot or Ogo Pogo, I mean, maybe there’d be a sighting or maybe not…..but I do tend to believe in them, so what could possibly be the harm in hanging about for a bit longer? Also, around this time, another bottle of wine kind of fell out of my purse. Maybe it would be smarter to take a different approach to this particular pet interview. I decided to direct my questions to Hillary and stop yelling and treat rattling for James.

Me: So, what would James likely have to say about you? You know, if he actually existed? Oh sorry, I mean, really, what would his complaints be do you think?

Hillary: Well, he doesn’t like it when I move my feet when he’s sleeping on the bed. It makes him attack my feet.

Me: More wine?

Hillary: And he’s very protective about the balcony. He doesn’t even like it when I go out there!

Now this was beginning to seem like a pretty detailed description of imaginary cat behaviour. It was like if someone was saying, But no! The unicorn’s horn is actually sort of a pearly colour!! And the hooves have rainbows!!! Sooner or later, you have to suspend your disbelief.

Me: So how did you and James first meet then?

Hillary: James started coming over for visits when he was a tiny, shy kitten. He would creep around the corners of my place, but now, he feels very at home here. He’s here every day, usually. Probably he is scared of you being here…..and all the yelling…..

Me: Well, I never! Yelling indeed! I’ll show you YELLING little missy. JAAAAAAMMMMEEEESSSSS! JAAAAAMMMMEESSSSS!

Hillary: Would you please shut up?

It must have been around this time that I realized I had better go home. I still had no evidence that James actually existed anywhere on planet earth, and Hillary and I were on the verge of our first fight. Plus, I had the hiccups.

As I was collecting myself and preparing to leave, did I see a flash of white fur whisking by out on the balcony? Did I hear a faint and slightly ghostly meow? I can’t say for certain, but when I got home and the drinker’s remorse began to set in, I found I had a different feeling about James. I believed in him truly and I knew he really did visit every single day and all the rest of it. Honestly, I don’t know why I ever doubted him……now the only thing was to check in again with Hillary and see if she was also suffering from a kind of big headache….

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Pet Peeves: Freddie, Moe and Kate

The fourth installation of Pet Peeves is here! Can you believe it? Join us as grunt’s Gallery Assistant, Hedy Wood, continues her investigation of the grunt gallery staff by interviewing their pets.

Pets prefer a Scottish accent, period. You can say, “Whooooooo’s got those dog pants? Whooo’s got those PANTS?!” until your head expands like a melon, but really, it’ll get you nowhere. Likewise, “Where’s that pretty kitty cat CAT?!” Totally useless.

No, if you want to befriend any pet, any time, a simple Scottish burr is the way to go.

Example: “Och, aye, what a bonnie wee laddie/lassie ye are.” Boom, done, they melt like butter.

I was putting this theory to the test when I went to visit Kate Barry, Freddie and Moe. Not that I was exactly in the greatest mood for belting out a bunch of fake Scottish lingo, due to the heatwave, fifth-floor apartment and broken elevator, but I was doing my best.

Now Kate Barry is a bit newer to grunt, her job title is Screen Coordinator for the Mount Pleasant Community Art Screen, and I have to say she is one of the few interviews that I’ve done where a refreshing SNACK was provided. I think other pet owners might want to have a little think about that…

Freddie greeted me when I arrived at the apartment. I was sweaty, breathless, and talking a bit too much about arthritis. He was actually so adorable, my Scottish theory went right out of my mind.

Me: Oh hi Kate. Now who’s THIS? Is that the Freddie dog?! The little Freddie dog DOG! Whooooo’s the pupparazi? Well, that’s you, yes it is!

So, as you can see, pretty much a total failure of interview technique AND nothing Scottish whatsoever. I have to give Freddie extreme credit for rolling with all this nonsense in a very gentlemanly way.

Freddie: Why hello there Hedy, how charming to meet you, please, have a seat. Yes, that’s good, right there. I will jump up and sit right beside you. What could be more pleasant? Well, a small dog snack would really make this a perfect moment, wouldn’t it?

(I found out that Freddie, who looked perfect to me, is on a doggy diet. Some cruel and unusual vet has decided that Freddie needs to lose 3 pounds!)

Me: So, Freddie, how did you and Kate meet? How did she get so lucky?!

Freddie: Well, actually, I was on an online pet dating site, looking for a positive change in my relationships, and that’s how I met Kate. I didn’t know at the time that I was to become part of this beautiful, blended family, here with Moe. I LOVE Moe so much.

   

At this point in the interview, Kate did a little cat conjuring magic with a can of tuna, and Moe appeared from his upstairs man cave.

Me: Hello Moe! You are a CATLY cat!! Who’s got those whiskers?!!

(As you can see I had by this point pretty much gone completely cuckoo because Freddie and Moe are just so exactly the kind of pets anyone would love to have. Moe is a large luxurious tabby, and Freddie a perfect mix of Shitsu and Poodle, what’s not to love?

Moe: Are you by any chance here to interview me about that dog? Maybe you would like to talk about my perfect lovely life before SHE brought HIM home?! Everything was perfect until he came along, and now he just LOVES me so much all the time! He’s all LOVE LOVE LOVE every day, all day! What is wrong with him?! It gets on my very last nerve. Honestly, why exactly does he live here? We were FINE before he came along. AND he’s getting fat.

Me: Oh…….

Moe: And what kind of breed is he?! A Shit Poo, that’s what I call it, heh, heh, heh…..get it? Shitsu and Poodle.

Me: Oh………dear……well, now Moe, surely there must be some benefit to having Freddie around? He seems like a very sweet dog to me. Surely you must have gotten fond of him over these last couple of years?

(I think it was at about this point in the interview that Freddie jumped out of his chair and ran over to lick Mo’s nose. That sent me into cuteness overload, and I swear I saw a tiny Cheshire grin on Moe’s face.)

Moe: There! You see? That’s just a perfect example of what he’s like! LOVE! Barf! If he wasn’t so darn cute, I’m sure I would have killed him by now….little cutie….little shitty poo poo….

I began to sense a bit of a game or pattern going on between these two. Much as Moe repeatedly stressed his general loathing of Freddie, I could see a real bond and genuine caring between them. This, combined with the gracious hosting by Kate, and the general ambience of warmth and happy pets and all the rest of it, began to annoy me. I ended my little visit as politely as possible and went on down the five flights of stairs and out into the summer heat. Always easier going downhill, that’s what I say….

The thing is, I was thwarted once again in my quest for pet peeves. My quest which had in actual fact, mainly become about discovering bad behaviour ANYWHERE at all, on the part of any of the grunt staff, or their much loved pets! Everything was just a bit too peachy keen everywhere I went, and, as Moe would say, it was getting on my very last nerve!

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Curator Interview: Tarah Hogue on #callresponse

#callresponse, co-organized by Tarah Hogue, Maria Hupfield and Tania Willard, began at grunt gallery in 2016. The exhibition has toured across Canada and the US for two years and recently came to a close at TRUCK Contemporary Art and Stride Gallery in Calgary. To mark the end of the tour, grunt’s curatorial interns, Whess Harman and Nellie Lamb, chatted with Tarah about #callresponse and the roles of collaboration and mentorship in her practice.

Ursula Johnson with Charlene Aleck and Cease Wyss performing at the #callresponse opening in 2016. Photo by Merle Addison.

NL: Can you start by briefly describing #callresponse?

TH: #callresponse takes as its starting point five projects that were commissioned by Indigenous women-identifying artists based across Canada and into the US. The invitations were extended to these artists in particular because they are all very much enmeshed in working with community in different ways and their practices are all quite diverse, ranging from performance to ceremony to new media. The context that we asked those initial five artists to respond to was around reconciliation but in a roundabout way. We thought about how the projects that these artists are already committed to working on have a really transformative capacity, and looked at that as a starting point in order to turn that settler-nation-state-to-Indigenous relation within reconciliation on its head. We then asked each of those artists to extend that invitation to a collaborator or respondent to create these dialogues between practices. We were thinking about this call and response structure, but the artists took that in so many different directions. Christi Belcourt and Isaac Murdoch decided to work together and position the land as their respondent, so there’s different degrees of collaboration or mentorship or response throughout the project.

WH: I was just reading over everything on the website again and the initial outset of how the project was described and, as an artist and someone at grunt now, it stood out so much how present these questions still are, not just as institutions but as artists. One of the questions I had about that is, how do you think institutions now are responding to this idea of reconciliation? Do you think that’s changed a lot or do you think #callresponse could just keep going until institutions responded in a meaningful way?

TH: [laughs]…until decolonization?

WH: [laughs] Yeah, until we achieve decolonization!

TH: That’s an interesting question because the experience of working with all of the institutions that we partnered with was very different and demonstrated where different organizations are in that relationship-building process. Like at Blackwood Gallery, we were in the context of an academic institution—they’re at the University of Toronto Mississauga—and part of what we did when we were there was to meet with university faculty and talk about their efforts to indigenize the academy, which is something that was a relatively new path for them at that time, or at least was new in terms of the university recognizing the work that Indigenous faculty were already doing in a systematic way. And then at a place like AKA Artist Run Centre in Saskatoon we were building upon work that they had already been doing within the community there, so it was really just about how we could give our resources over to the work that was already happening. I think that because the project doesn’t centre that settler-Indigenous relationship within reconciliation in the same way, that it could keep going on for a long time. Not that I don’t think that other projects that privilege that relationship aren’t important but it’s also like, who’s benefit is that for?

WH: It’s a heavy load on Indigenous artists. I feel, again speaking as an artist, being asked to do that, it’s like, I don’t have the answer and that’s what so many of these projects seem to frame like: “We’re going to have a reconciliation project and we’re going to have an answer!” But you are not! It’s going to be exhausting and I might be kicking and screaming by the time you’re finished.

TH: I asked Maria and Tania to work with me because they’re two people who I look up to immensely, and we further invited other artists who we looked up to immensely. A lot of the artist-respondent pairings had that aspect woven into it. Some artists chose to respond more directly to that context of reconciliation, like Christi and Isaac saying we’re not ready for reconciliation; we have to reconcile ourselves with the land before we can do something else.

WH: On the [web]page there’s a little thing where you’re quoting Leanne Simpson that was something that stood out to me about the whole process. With reconciliation are tied in these concepts of recognition and those concepts of recognition are so different when Indigenous people are working with other Indigenous people—it strengthens those bonds.

TH: That idea of living as if, as if we have realized the realities that we want on the ground. I love Leanne Simpson.

NL: I really like this web-like, looking-in-multiple-directions-at-the-same-time idea. When I originally read about the project I understood it as starting with you and hopping over to these artists and then they hop to these [other] artists, but listening to you talk about it now, it’s not so linear.

TH: No it’s not. That web of relationships, I’m coming to realize, is part of my curatorial practice both unconsciously and consciously. Translating that way of working to working at the Vancouver Art Gallery is a little bit complicated. How do you maintain that? How the institution responds to that methodology is interesting.

WH: It must be hard with larger institutions. I imagine there is this unspoken thing about making things palatable for an audience but a project like #callresponse is asking, well, what’s palatable for an institution?

TH: That’s something that I’ve puzzled over about the exhibition in general as it’s travelled to different places, because the story of the project is so rich and all of the different in-person interactions and experiences are at the heart of the exhibition, and then you have a series of works that stay the same, that travel to each place with a few changes, like when Ursula did a new song line that would go into the gallery instead of the initial one that she and Cheryl did together. A lot of the works in the show point outside of themselves. Maria’s felt bag is an object that’s activated in performance and the plywood cut-out buffalo robe points to the fact that that original object is not there any more. I’ve always been curious throughout the process of the exhibition about how people experience that pointing outside of the gallery through these objects that are inside of the space. Allison Collins, when the show opened here, said that the role of imagination in looking at the exhibition was something that stood out for her right away. Thinking about what the stories of the objects were outside of the space. She said something along the lines of imagination is not valued as much in exhibitions as it should be.

WH: Initially I also had the same idea that this is a very linear project in many ways, but did you find overall that you were enmeshing more into things, into networks?

TH: Yeah, I would say so. It’s interesting to re-install a show over and over again and see how it shifts in every location and every context and what kinds of conversations come out of those contexts. The most enmeshed aspect of the project was me, Maria and Tania working together. That kind of coordinating but also curatorial conversations around each project—it was really thinking about, in each context, what projects we could activate or what artists we could bring in that would speak well to that context. Really it was about being responsive to that set of conditions, but sort of diving deeper into the projects each time.

NL: Do you have an example of one install or experience of install that changed really drastically or in an important way?

TH: Ursula’s project is a good example of that. Her project, The Land Sings, was in existence before #callresponse started. She had already done three or four song lines, so the project was a way of building on that work and acknowledging that work. We did song lines here, in Mississauga, New York, and Halifax. It moved from the East Coast to the West Coast and then back again over the course of the tour. In each case Ursula is working with singers, hand drummers, and language speakers in that area, and thinking about the relationships between the gallery and the closest First Nation community. That project shifted each time. In New York the song line was mapped onto the skyline of the city as something that’s such a defining feature there and is overlaid on top of Indigenous space and closely follows historic travelling routes that Indigenous Lenape would have travelled along.

NL: That site-specificity seems like such an integral part of the project.

TH: I think so. The initial five commissions were asked to be “locally responsive”; we didn’t really use the term “site specific.” I guess it started by thinking about how all of these artists are committed to doing the work that they’re doing in their own communities. That community is differently defined by everyone. It’s not about an ancestral or reserve community. It can be a shifting context that the artists are all responding to. Also, when we approached galleries for the first time we always asserted that this is a partnership. So the galleries need to take the lead, developing programming that makes sense in their context. We’re not just going to parachute in and do this exhibition; it wouldn’t be in line with how the project began or how it developed. It’s all the context; the responsiveness to context has always been a really central aspect to the project.

WH: Did you find some resistance from some places that didn’t understand where the project was coming from?

TH: No, luckily our partnerships were formed well in that way. Certainly some institutions had much more active, or ongoing or in-depth conversations than others that just rolled with it in their own way. Or [with] some people, it was a really collaborative coming to understand what needed to happen. I think that most of our partners understood for the most part what we were trying to do. There were challenges along the way. I think once we had done the first few, you kind of figure out what questions to ask, what kind of conversations need to happen at the beginning in order to get to what needs to happen. There’s always going to be a set of possibilities that we are responding to and another set of considerations that can be discussed with the partners.

WH: It seems like a difficult thing to do something like an exhibition, which is very administrative just by nature of being attached to an institution, [and] to also have it sincerely engage with the people that are going to see it. A thing I think about a lot when I’m asked to do a workshop is, well, what’s actually beneficial to you? To stop you from just dropping in and being like, “These are my ideas!” and then peace-ing out and ending the dialogue.

TH: I think that a lot of relationships were formed through the project. The participating artists are variously involved in communities where the show went to, so we were able to build upon those relationships a little bit.

WH: I was never able to make any of the performances just by nature of always travelling myself. I just remember each time there was a performance there was a spike in the hash tag and just feeling this intense feeling of FOMO. But also, going through the comments and seeing everyone else who couldn’t make it, there’s this weird outside community that wasn’t able to attend.

TH: Speaking of spider webs and networks, right? The amount of people who have followed the project online and through its various iterations has been pretty spectacular. It’s been really heart-warming in that respect. All of the artists, especially the five initial artists, they’re all such powerhouses. Huge amazing forces to be reckoned with. That was apparent always throughout the exhibitions.

WH: What curatorial projects are you inspired by outside of your own?

TH: Because I’m now working at the Vancouver Art Gallery I’m looking more intensively at what other large-scale institutional work people are doing and always puzzling to myself how they pulled that off. The work that Jamie Isaac and Julie Nagam are doing at Winnipeg Art Gallery, it’s very clearly connected to the community there and has enlivened the space when they activate it through their work and also their ethic and methodology. The way that they work together is really something I admire. And one of the best shows that I’ve seen in the last couple of years is We Carry Forward by Lisa Myers. I saw it when I was in Ontario. It was a group exhibition that just really floored me. She’s a really smart curator. And Lorna Brown at the Belkin, I was thinking about Lorna and Lisa together because they both play upon the meaning and structure of language and then extrapolate that into the artworks that they include.

NL: I’m just thinking about #callresponse ending: it recently wrapped up at its last stop at Stride and TRUCK Gallery in Calgary. Is there a story or a feeling about the impact of the project—maybe something in your own practice—as it comes to a close? How are you reflecting on the project?

TH: Two things come to mind: the scales of intimacy and really public-facing discourse that have both been really fulfilling. I think that’s encapsulated at Stride and TRUCK Gallery in Calgary. We worked with youth from Tsuu T’ina First Nation, which is a program already established with those galleries. A dozen kids came from the rez and we had pizza lunch,we gave them a tour of the show, Maria let them mess with her performance objects, and then we did a pirate radio broadcast in the gallery at TRUCK, which would have a radius of about a block. And the kids, like, played Drake songs and told jokes and we ate chips. It took a few hours before, right at the very end, everyone’s warmed up to each other and we’re chilling and it’s natural. It’s a little different with kids, but there’s a number of moments throughout the project that are small scale and focused on that kind of moment. And then there’s a moment, like opening the exhibition in New York and doing a round table to a packed house, attended by arts workers from around the city. And you recognize that you’re part of a dialogue that people really need to be hearing there and need to be having, because it doesn’t happen enough and the ways that [it] happens aren’t always Indigenous-led. It is a small moment, but you just feel like you’re connected to something that’s wider and urgent. Those nodes of the project are what will resonate with me for a long time to come.

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Particles: Seoul to Vancouver 


Particles completes grunt’s exchange with organizations and artists in Seoul, South Korea. This international program began in 2018 with Instant Coffee’s project Pink Noise Pop Up , which saw curator Vanessa Kwan, artist collective Instant Coffee and Vancouver-based artists Jeneen Frei Njootli, Casey Wei, Krista Belle Stewart and Ron Tran mount an exhibition and a series of events at two partnering organizations in Seoul. This year’s program includes an artist residency, an exhibition and a curatorial visit.

RESIDENCY
Artist: Yaloo, April 18th – May 17th, 2019, Western Front Media Arts/ grunt gallery

Talk: Animation Show and Tell
Featuring Yaloo, with Howie Tsui and Lianne Zannier
April 25th, 7 PM.
Location: Grand Luxe Theatre at the Western Front.
Produced in collaboration with Western Front Media Arts

VISITING CURATORS
Curators: InYoung Yeo (Art Space One, Seoul) and Soojung Yi (National Museum of Modern and Contemporary Art, Seoul).
May 8th – 17th, 2019.

Curator’s Talk and Open House
InYoung Yeo and Soojung Yi with Yaloo
May 13th, 6:30 PM
Location: Grand Luxe Theatre at the Western Front

At this Curator’s talk, Seoul-based curators InYoung Yeo (Art Space One) and Soojung Yi (National Museum of Modern and Contemporary Art) will discuss digital technologies, art and urbanism. Yeo and Yi will address the conditions of production, collaboration and presentation in Korea and the influence of digital technologies on arts communities and the public realm. The event will also showcase the latest work in progress by Yaloo, developed while in residence at Western Front.

EXHIBITION
dot.dot.dot.
Artists: Sejin Kim and InYoung Yeo.
Curated by Vanessa Kwan with InYoung Yeo
May 10 – June 22, 2019.
Opening Reception: May 9, 7 – 10 PM. Location: grunt gallery

dot.dot.dot. brings together Seoul-based artists Sejin Kim and InYoung Yeo for their first presentations in Canada. Working at the intersection of media and installation, Kim and Yeo’s practices explore the omnipresence of interactive technologies and their varying effects on human experience. Far from decrying the advance of ‘the digital’ the artists represent an embedded yet critically engaged position. Their works contend, as we all must, with an embodied perspective in a technological environment that, in both promise and imperfection, is intertwined with our survival.

We gratefully acknowledge the financial support of the Province of British Columbia through the Ministry of Tourism, Arts and Culture. Particles: Seoul to Vancouver is produced in partnership with Western Front Media Arts, the Banff Centre for the Arts and Pacific Crossings


Participant Bios

Yaloo is a media artist currently based in Seoul and Chicago. Her work creates poetic narratives that explore regionalism, consumer culture and digital interactivity using transcultural icons such as corn, ginseng, and cosmetics. Via alternative video imaging technologies such as video projection mapping, sublimation transfer techniques and virtual reality, intimate relationships between consumerism and regionalism are mediated in spectacular, multi-faceted digital landscapes. She completed an MFA (2015) and BFA (2011) from the School of the Art Institute of Chicago with a focus on digital image-making and digital installation. She was the first recipient of Lyn Blumenthal Memorial Scholarship by Video Data Bank (VDB). Since 2009 she has shown her work internationally, including exhibitions in Seoul, Malmö, Frankfurt, Brooklyn, Seattle, Columbus, and Chicago. Her work is often site-specific with a strong research component, and recent residencies include the Bemis Studio Art Centre, Fukuoka Asian Museum of Art, Headlands Centre for the Arts, and High Concept Labs, Chicago

InYoung Yeo is an independent curator and director. With a background in English Literature, Illustration and Fine Art in countries including UK, US and Korea, she founded Space One, an independent artist-run space, in Seoul in 2014. Since then, she has put together various collaborative exhibitions, working and experimenting with emerging artists and art spaces from Korea, Japan, Taiwan, Germany, UK, US and Canada, among others. Some of her recent curatorial projects and exhibitions include Intersections of Common Space and Time supported by Seoul Art Foundation, Goethe-Institut Seoul; Gender Hierarchy supported by Geothe-Institut Singapore in collaboration with Grey Projects Singapore; A.I.MAGINE Seoul City, Seoul National University commissioned, Seoul Digital Foundation, Seoul Data Science Lab Project; a three-way dialogue with the Seoul Biennale of Architecture and Urbanism 2017; East Asia Goethe-Institut project ‘A Better Version of 人’ programs in Korea.

Soojung Yi was born in Busan, Korea. Yi worked for Daejeon Museum of Art as Curator of Media Art and worked for Art Center Nabi (Seoul) as a creative director, where her focus was the production of media art for the public realm. There she researched the rising number of media façades in urban space and its interaction with the public. She joined the National Museum of Modern and Contemporary Art (Seoul) 2012 and has been working for the exhibition and projects related to media arts. Her previous projects include The Future is Now! New Media Collection from MMCA, Korea, Younghae Chang Heavy Industries (2013); Shirin Neshat (2014); Infinite Challenge-Women Media Pioneers in Asia, Anechoic Project-experimental films and music performances (2014); and William Kentridge (2015).

Sejin Kim received her MFA in Fine Art from Slade School of Fine Art in London and MA in Film/TV from Sogang University in Seoul. She works with a variety of media apparatuses, including documentary realism and cinematic language to explore relationships between individuals and contemporary cultural systems. Her work has been shown internationally including selected solo exhibitions: The Chronology of Chance, Media Theater, Seoul; Prizma Residency #1, Prizma Space, Istanbul, Turkey; The Proximity of Longing, Cultural Station 284, Seoul. Selected group exhibitions include The Arrival of New Women, National Museum of Modern and Contemporary Art, Seoul; Galaxias Maculates, Museo de Arte Contemporaneo de Valdivia, Chile; Future is Now!, La Friche Belle de Mai, Marseille, France; The Shade of Prosperity, INIVA, London; Bloomberg New Contemporaries 2011, ICA Gallery, London & S1 Art Space, Sheffield, UK; Life Stage, Art Centre Nabi, Seoul; The 4th Gwangju Biennale: PAUSE. She is the recipient of the Songeun Art Prize, Bloomberg New Contemporaries), and The 4th DAUM Prize and she has participated in artist residencies at HIAP-Helsinki international Artist Program, SeMA Nanji Art Studio, Seoul, ISCP-International Studio & Curatorial Program, New York, Seoul Art Space_Geumcheon, Seoul, Goyang National Art Studio, and Taipei Artist Village, Taiwan.

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Together Apart, Queer Indigeneities

Together Apart has been envisioned as a way of making and holding space for 2SQ/Indigiqueer folks to come together and to be in dialogue with one another so that we might centre the conversations we’d like to hear or that we feel have been absent in our communities. However, our intentions are also simple: to celebrate and enjoy one another’s creativity and dedication to our practices, and to recognize one another in such a way that speaks across the distances we experience in our living and movement through our worlds.

Together Apart will be held in a series of both public and 2SQ/Indigiqueer events only, as outlined in our schedule. Please follow us on the Facebook page and on Instagram for updaes.

Schedule

FRIDAY, APRIL 19

Event: 2SQ/Indigiqueer Nature Walk w. Cease Wyss

Time: 11:00 – 12:00PM
Location: Native Education Centre, 237 E 5th Ave, Vancouver
*Closed to 2SQ/Indigiqueer participants only
Participants will join together with Cease Wyss to open our event by spending some time on the land together; though many of us are navigating urbanized living, the urban landscape still lays atop lands that deserve attention, acknowledgement and respect. Cease will lead participants through spaces where the land is more evident and discuss some of her on-going community projects.

Event: Keynote Address by Lindsay Nixon (followed by Poetry Readings)

Time: 7:00 – 8:00
 PM
Location: grunt gallery
*Free and open to the public
Our keynote address will be presented by Lindsay Nixon, a Cree-Métis-Saulteaux curator, award-nominated editor, award-nominated writer and McGill Art History PhD student studying Indigenous (new) feminist artists and methodologies in contemporary art. They currently hold the position of Editor-at-Large for Canadian Art. Nixon has previously edited mâmawi­-âcimowak, an independent art, art criticism and literature journal. Their writing has appeared in The Walrus, Malahat Review, Room, GUTS, Mice, esse, The Inuit Art Quarterly, Teen Vogue and other publications. nîtisânak, Nixon’s memoir and first published book, is out now through Metonymy Press.
Born and raised in the prairies, they currently live in Tio’tia:ke/Mooniyaang—unceded Haudenosaunee and Anishinabe territories (Montreal, QC).

Stay for our Poetry Reading event with fabian romero, Demian DinéYazhi’ and Storme Webber following directly after the keynote after a short break.

Event: Poetry Readings 

Poetry Readings with fabian romero, Demian DinéYazhi’ and Storme Webber
Time: 8:00 – 9:30 PM
Location: grunt gallery
*Free and open to the public
For our poetry reading night, we’ve reached out to some of our kin south of the colonial border to share their work about love, sexuality, settler colonialism, fighting white supremacy, Radical Indigenous Feminisms and the complicated networks of our many intersecting identities. This night will include queer poet, filmmaker and artist fabian romero (Purepécha), transdisciplinary artist and activist Demian DinéYazhi’ (Naasht’ézhí Tábąąhá (Zuni Clan Water’s Edge) & Tódích’íí’nii (Bitter Water)), and internationally-nurtured poet, playwright, educator, and interdisciplinary artist Storme Webber (Alutiiq/Black/Choctaw).


SATURDAY, APRIL 20

Event: Beading & Reading w. Anne Riley

Time: 10:00 AM – 12:00 PM
Location: Massy Books, 229 E Georgia St, Vancouver
*Closed to 2SQ/Indigiqueer participants only
An informal reading event hosted by artist Anne Riley (Cree/Dene) inviting attendees to bring readings of works that have resonated with them or have produced themselves in a relaxed setting where we can work and speak together over beading/crafting projects within the Massy bookstore event space. The intention of this event is to hold space in which our conversations can feel unrestrained and without the scrutiny of non-Indigenous audiences that often forces a degree of performativity.

Event: Performance by Storme Webber and In Conversation with Afuwa

Time: 1:00 – 2:30
 PM
Location: grunt gallery
*Free and open to the public
Storme Webber (Alutiiq/Black/Choctaw) will be giving an extended performance from her previous nights reading and will follow-up with an In Conversation Interview with artist Afuwa (Guyana) whose current projects have focused on re-imagining relations across the Atlantic diaspora.


Event: Readings and In Conversation with Demian DinéYazhi’ and fabian romero

Time: 3:00 – 4:30 PM
Location: grunt gallery
*Free and open to the public
Presentation with Demian and fabian consisting of short readings of their work, presentations of their interests/practices and a dialogue between the two as artists/writers/activists.


Event: Concert w. With War/Mourning Coup/Kerub
Time: Doors 8:00 PM, Show 9:00 PM (End 12:00 midnight)
Location: KW Studios,  #10 – 111 Hastings St W, Vancouver
Cover: $10-$15 sliding scale, no one turned away for lack of funds (sales from bar and door will be used to pay an honorarium for volunteers and then distributed amongst performers)
Three non-binary Indigenous performers, one face-melting night; we’ll start with Metis/Jewish electronic artist KERUB then fall into experimental electric MOURNING COUP aka Chandra Melting-Tallow (Siksika/mixed ancestry) and then top off the night with Portland vegan straight edge hardcore band WITH WAR, fronted by La Tisha Rico (Diné/Navajo) who in true straight edge form will also be giving a morning artist talk the following day.


SUNDAY, APRIL 21

Event: Artist Talk w. La Tisha Rico (of With War)
Time: 10:00 – 11:00 AM
Location: grunt gallery
*Free and open to the public
La Tisha Rico (Diné/Navajo) will present on their work as a musician and activist in decolonizing punk and DIY spaces within a queer and Indigenous identity that is beyond colonial definitions and limitations in colonial language.

Event: Community Discussion: Rural Indigiqueer Identities, hosted by Edzi’u
Time: 1:00 – 2:00PM
Location: grunt gallery
*Closed to 2SQ/Indigiqueer participants only.
Community discussion facilitated by performer Edzi’u (Tahltan/Tlingit) discussing queer Indigenous identities in rural situations; dating, isolation, mental health; will choose something from the archive to help centre the conversation by responding to how it does or does not reflect where we are now.

Event: Round Table Discussion: Intentions, with co-curators Whess Harman, Kali Spitzer and guests (TBD)
Time: 3:00 – 4:30
PM
Location: grunt gallery
*Free and open to the public
Round table discussion with co-curators Whess Harman (Carrier Witat) and Kali Spitzer (Kaska Dene) event discussing the interpretations and intentions in their practices and as programmers with several other artists/event organizers/curators.



Event: grunt Archive Screenings and Presentation with Lacie Burning
Time: 7:00 – 9:30PM
Location: grunt gallery
*Free and open to the public
In addition to a screening of several performances from the original Two-Spirit Cabaret held at the grunt gallery in 1993, Kanien’kehá:ka (Mohawk) and Onondaga (patrilineal) artist Lacie Burning will be presenting their response to Denise Lonewalker’s Dancing for our Ancestors. With this event, we will be looking back through the archive in an effort to root ourselves in our own history and give acknowledgement to those who’ve made space for us and look forward in how to look at how those spaces are changing.

Downloadable schedule here:
Schedule-Together Apart-2019

Together Apart is supported by the First Peoples’ Cultural Council and the City of Vancouver Creative City Strategic Grant Program. grunt gallery acknowledges the ongoing support of the Canada Council for the Arts, the British Columbia Arts Council, the City of Vancouver, the Province of British Columbia, and the Audain Foundation for the Visual Arts.

 

            

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