New York City’s pay phones are obsolete, and, by early next year, they will also be history—removed to make way for Wi-Fi kiosks. Through Jan. 3, a dozen artists (including Glenn Ligon, Patti Smith, and Jimmie Durham, whose contribution is pictured above) are making creative use of phone booths along Sixth Avenue, from Fifty-first to Fifty-sixth Streets. The project, called “Titan,” was co-curated by Damián Ortega and Bree Zucker, in collaboration with the Kurimanzutto gallery.
SYDNEY, N.S. —
This year’s Lumière festival will shine an even brighter light on contemporary art.
Normally a one-night event featuring dozens of installations throughout downtown Sydney, the current pandemic-related restrictions led organizers to stretch the event over two weeks, from Sept. 12-26.
And Suzi Oram-Aylward believes that’s better for her fellow artists and audiences.
“The online component has opened up Lumière to the rest of the island. Before the core of it was in Sydney — it was presented in Sydney and therefore a lot of the artists that presented were from that core. This year it’s really amazing to see all of the artists and the scope of it, it’s really opened it up for a lot of really brilliant people to be able to participate in a way that they really haven’t been able to before,” said Oram-Aylward, who will be taking part in the festival for the third time.
“I think that in previous years you had the one night to get out and explore and it led to this sense of community engagement and it felt really nice, but on the other side of that it meant that a lot of the events were at one side of the city and others were at the other side, so in some cases, people had to pick and choose which events they got to choose and participate in. One of the good things about the way things are set up this year is the online aspect of it and the way that it’s spread out over the span of two weeks really allows you to participate in all of it and it makes it more accessible in that way.”
Greg Davies, chair of the Lumière Arts Festival Association, agrees.
An accomplished artist and curator of the Cape Breton University Art Gallery, he said the two-week format and ability to deliver exhibits online will help showcase a significant number of local artists and provide a quality experience for the public and artists.
He’s particularly excited that people will have ample time to savour each piece of art, rather than gulp them all down in a few hours.
“If you’re looking at it from the perspective of a curator or an artist, there are some disadvantages to it as a one-night event. The disadvantage is that while it becomes a public spectacle to have a one-night event: There’s a lot of energy and a buzz, but it’s rather like a very large art opening, and if you know something about exhibition openings, they can be a lot of fun but they’re also one of the worst ways to see or experience art,” he said. “It’s very hard in that kind of environment to actually have the time to reflect upon the work, and if the work has any sort of subtlety to it, if it’s meant to be appreciated in a kind of quiet environment — and a lot of art is; not all of it, but a lot is — then it makes it very difficult to connect with the artwork as a viewer in the way that the artist had perhaps hoped you would. It’s like a Catch-22 because the spectacle side of it is important to the community as well — it brings people together and it creates a buzz that’s very fulfilling. If you remove that, or you lose that aspect of it, but you may gain on the sort of one-to-one experience with art. What we’re trying to do is try to see if we can find a way to balance those two.”
Oram-Aylward, whose previous works were typically composed of items like plastic water bottles and other found or discarded objects, has even taken a different approach for this Lumière.
A room-sized miniature landscape made of papier-mache, chicken wire and paintings, she describes her project, The Future is Unwritten, as a surreal rollercoaster ride depicting two possible futures. It will be filmed in her attic this weekend and broadcast online Monday at 7 p.m.
“It’s been really fun and messy. I’m really nervous and excited to show it. It’s different than anything I’ve ever done,” she said. “There’s definitely an apocalyptic side to it and then a much brighter side — it really depends on what ways it’s viewed. And then there’s a train track built on it that will take you on an adventure.”
Lumière Arts Festival Schedule
Pay Phones Turned Into Public Art, in “Titan” – The New Yorker
Qaumajuq—new name of Winnipeg Art Gallery's Inuit art centre—an act of decolonization – WellandTribune.ca
The Winnipeg Art Gallery’s Inuit Art Centre has a new name.
In a ceremony on Oct. 28, the gallery, known as WAG, announced the centre would be renamed Qaumajuq [HOW-ma-yourq], an Inuktitut word meaning “It is bright, it is lit”.
Qaumajuq is set to open in February 2021 after construction began in March 2018 on a new 40,000-square-foot-building designed by Michael Maltzan Architecture with Cibinel Architecture. It’s home to the largest public collection of contemporary Inuit art in the world.
The WAG building itself was given a name in Anishinaabemowin—Biindigin Biwaasaeyaah [BEEN- deh-gen Bi-WAH-say-yah], meaning “Come on in, the dawn of light is here” or “the dawn of light is coming.”
The naming ceremony was hosted by Dr. Stephen Borys, director and CEO of WAG. The ceremony occurred with a small gathering of Borys and Julia Lafreniere, WAG manager of Indigenous Initiatives. A Qulliq lighting ceremony was conducted by Elder Martha Peet, with virtual appearances from Theresie Tungilik and Elder Dr. Mary Courchene. The latter two formally announced the new names in Inuktitut and Anishinaabemowin respectively.
Tungilik, an Inuk artist from Rankin Inlet, Nunavut, said “Qaumajuq will be a place where all walks of life will experience, through the creation of Inuit art, our survival, hardships and resilience.”
Courchene, who comes from the Sagkeeng First Nation in Manitoba, said the Biindigin Biwaasaeyaah name was created to “include all the Indigenous populations of Manitoba, the First Nations, the Métis, and the Inuit populations.”
“The language keepers and Elders came together in a powerful moment of cross-cultural reflection and relationship-building,” Borys said. “This initiative is an act of decolonization, supporting reconciliation and Indigenous knowledge transmission for generations to come in an effort to ensure WAG-Qaumajuq will be a home where Indigenous communities feel welcome. Where everyone feels welcome.”
In addition to the new name of Qaumajuq, which will serve as the primary name for the space, various areas within the WAG will also have new names in Inuvialuktun (Inuit), Nêhiyawêwin (Cree), Dakota, and Michif (Métis) that were given by Indigenous language keepers.
“Indigenous-focused and Indigenous-led initiatives will be at the heart of this new space and giving the spaces Indigenous names is just the start,” reads the WAG’s website where pronunciations and audio clips for the new names are available.
“We are thrilled to share the names of the spaces in the seven Indigenous languages of Manitoba and Inuit Nunangat,” said Dr. Heather Igloliorte and Dr. Julie Nagam, co-chairs of the Indigenous Advisory Circle for Winnipeg Art Gallery, in a joint statement.
“The Circle demonstrates the breadth of knowledge that represents the relationship to the collection and the buildings and it has been an incredible experience for all Circle members. We are so honoured to gift the institution with these new names that point to a new path forward for galleries and museums in this country,” the statement continued.
The WAG also states that the “historic naming responds to the United Nations Declaration on the Rights of Indigenous Peoples Article 13 and the Truth and Reconciliation Commission’s Call to Action 14i, both of which reference the importance of Indigenous languages.”
Article 13 reads:
Indigenous peoples have the right to revitalize, use, develop and transmit to future generations their histories, languages, oral traditions, philosophies, writing systems and literatures, and to designate and retain their own names for communities, places and persons.
TRC Call to Action 14i states:
Aboriginal languages are a fundamental and valued element of Canadian culture and society, and there is an urgency to preserve them.
A press release issued by WAG states that Qaumajuq “will innovate the art museum, taking art from object to full sensory experience with Inuit-led programming.” One of these features includes the three-storey tall column called the ‘visible vault’ that is filled with thousands of Inuit carvings and immediately viewable upon entry into Qaumajuq.
“This is a place that amplifies and uplifts Inuit stories, connecting Canada’s North and South. This is a site for reconciliation… We can’t wait to unveil this new cultural landmark in the heart of the country with these new names honouring Indigenous voices and languages,” Borys said.
Art-loving couple helping Bayfield arts hub get off the ground – Toronto Star
A Bayfield-based arts non-profit is moving forward with plans for an arts centre in the Huron County community, thanks to a large donation from a local couple.
The Bayfield Centre for the Arts (BCA) has purchased a building on the village’s edge that will be transformed into a 1,115-square-metre visual arts hub.
“The concept of a Bayfield arts centre had been cooking for several years, but I wanted to formalize the vision . . . in terms of acquiring a building and bringing together a number of art organizations under one roof,” said centre president Leslee Squirrell.
Squirrell said the new facility will include an art gallery to showcase local artists and travelling exhibits, plus studio spaces and rooms for workshops.
A variety of arts will be featured, from new media and photography to painting, pottery and woodworking.
“We do have a big vision,” Squirrell said. “Even though the centre itself might be located in Bayfield, the purpose is to be a destination arts centre. It’s for the broader local community and those all over the county.”
Purchase of the building, at Highway 21 and Cameron Street, was made possible by a “significant financial donation” from Huron County residents Mac Voisin and Marcela Bahar.
“This state-of-the-art facility will benefit generations to come,” Voisin said. “(We are) delighted to be part of this project.”
Along with educational workshops and art showcases, Squirrell said they plan a mobile art truck that will let the centre take programming on the road across the region.
A film festival is also in the works, spurred on by the recent shooting of the movie Trigger Point in Bayfield.
The film’s director, Brad Turner, lives in the Lake Huron village seasonally and is a BCA adviser, Squirrell said.
The centre now uses a converted barn on Bayfield’s Main Street as a temporary home.
Amid the COVID-19 pandemic, the organization has been holding outdoor painting and photography workshops.
“We’re doing the best we can to continue to create our vision even though COVID has created obstacles,” Squirrell said.
She said the picturesque village is the perfect backdrop for a Southwestern Ontario arts hub, since it’s already a popular tourist destination with many local artists nearby.
“We’re an incredibly beautiful, ideal, creative type of community on Lake Huron,” Squirrell said.
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