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Students in the Greater Victoria School District (SD61) are having fun while helping conserve energy.
SD61’s new lights out initiative has students designing stickers for light switch covers that encourage staff and students to turn off lights when no one is in a classroom.
The stickers cost less than five cents to make, and the school district believes they will save as much as 10 per cent in lighting energy costs.
“The Greater Victoria School District is committed to creating a more sustainable learning community and to providing opportunities for our students to engage in practical initiatives that support this goal,” said superintendent Deb Whitten. “Involving students in energy-saving projects not only increases engagement in their learning but helps them to develop life-long energy-saving habits.”
The program was piloted at Tillicum Elementary this fall and students at Hillcrest Elementary and Torquay Elementary are currently taking part in the initiative.
Kapwani Kiwanga to represent Canada at 60th Venice Biennale
Kapwani Kiwanga, the Ontario-born artist who lives and works in France, will represent Canada at the 60th Venice Biennale, the National Gallery of Canada announced Thursday.
Kiwanga will create work for the Canada Pavilion in the Biennale’s Giardini park where the international art exhibition opens April 20, 2024. Her participation will be curated by Gaetane Verna, former director of Toronto’s Power Plant and now director the Wexner Center for the Arts at Ohio State University.
Kiwanga, who grew up in Brantford, Ont., and studied anthropology at McGill University before moving to France for graduate studies in art, is based in Paris. Born in Hamilton, she is of Tanzanian and Scottish ancestry.
Starting with social and historical research, she uses video, performance, sculpture and especially installation to look at power structures and colonialism. She has created installations that investigate the manipulative elements of prison architecture; in another major series, she has recreated the floral arrangements that can be seen in the 20th-century photographs of independence ceremonies or military parades in African nations.
In the Giardini, she will be provided with a strong backdrop for her themes: The park features national pavilions for all the traditional colonial powers. The Canada Pavilion, a shell-shaped modernist wood-and-glass structure built in 1958 and renovated in 2018, is a small building sandwiched between the larger German, British and French pavilions.
Kiwanga, who was chosen by a panel of Canadian and U.S. curators assembled by the National Gallery, is already an international star. In 2020, she was awarded the Prix Marcel Duchamp, France’s top art prize, and in 2018 she won Canada’s Sobey Award for an emerging artist.
She has exhibited widely in Europe and, in February, the Museum of Contemporary Art Toronto will unveil the first major survey of her work in Canada. That exhibition will feature five new commissions as part of her research into the politics of botany.
In Venice, the 60th Biennale will continue to Nov. 24, 2024.
Sussex Drive art gallery showing photo exhibit of the ‘hidden beauty’ of convoy protesters
A Montreal photographer who says he found “hidden beauty” when he visited last year’s convoy protest in Ottawa is exhibiting his portraits of protesters at a Sussex Drive gallery, coinciding with the occupation’s first anniversary.
“We are taking absolutely no political stance on this show whatsoever,” Bex said. The show is entitled “Fringe.”
Bex acknowledged that the occupation “was a polarizing event for sure.” But he contended that Ozzello’s photo have artistic merit. “At the end of the day, they’re really nice pictures, really well presented,” Bex said.
Ozzello said he came to Ottawa soon after the trucks arrived and stayed for two weeks in a motel, drawn to document the event. He returned a few more times until the protesters were forced to leave.
“I search for hidden beauty… that often goes unnoticed, and when I came to Ottawa, I found a similar beauty in the spirit of those Canadian truckers,” said Ozzello in response to emailed questions.
“I know talk of the truckers can be very triggering to some and I hope my less critical viewpoint of the protest isn’t a complete turn-off,” Ozzello said. “This is coming from someone double-jabbed who sewed several thousand masks for my doctor friends at the beginning of the pandemic.
“There was something romantic to seeing these primal men and women getting together to defy the government and stand up for what they believe, and I wanted to convey this more human side of the truckers,” he continued. “They had this quixotic grunginess that I love to photograph.
“When one of them saw my old Polaroid camera, he asked me to take a photograph of him – then took out a Sharpie and signed the print,” Ozzello said. “And that’s how it all started.”
He said he was apprehensive about meeting people who were violent extremists, but that wasn’t his experience.
“I eventually started talking to many of the truckers and realized that these people really weren’t much different from myself,” Ozzello said.
“These were just ordinary Canadians that were tired of being confined, afraid of what long term side-effects of the vaccine might be, that just wanted to return to a normal life.”
“Journalists have received death threats littered with racist epithets. Others have been spat on and verbally and physically harassed. In another case, the windows of a CBC/Radio-Canada news cruiser were broken,” said a Jan. 28, 2022 press release from the CAJ.
Veteran Ottawa photographer Paul Couvrette, who lives and works in Centretown, said he too visited the convoy protest several times out of curiosity and that he took “thousands” of photos.
“I had at least two or three people threaten me,” Couvrette said. “I did have people tell me, ‘Put the camera away, delete all the pictures.’ I’ve been around enough that that didn’t bother me.”
He added that after his first few visits to the protests, he returned with a large Canadian flag on his backpack and was greeted as an ally. “Suddenly people went, ‘He’s one of us.’ It was an us-and-them thing.”
“I disagree with 99 per cent of what the convoy people wanted,” Couvrette said. But he called Ozzello’s sympathetic portrayal “valid.”
Said Couvrette: “The photographer is going to focus on the human side and there is a human side.”
Free ports are places with the ultra-rich store their art antiquities to avoid tax and duties
Free ports are warehouses where the 0.01 percent stash their collections of “art, antiquities, wine, gold, jewels, and other priceless artifacts and never pay tax on them,” says Wyatt Cavalier in his newsletter, The WC. One warehouse in Geneva holds more than $10 billion in art, never to be seen by the owners, who would rather avoid paying taxes on their Velazquez than look at it. Similar dragon hoards are in Luxembourg, Monaco, Singapore, Zurich, Beijing, and Delaware.
They exist outside the formal jurisdiction of any country; the clients remain anonymous and the assets are kept a secret.
And though you may have never heard of free ports, they’re a big deal in the art world:
- 28% of artists and collectors have used a free port;
- 42% of dealers and brokers say their clients use them.
Why use a free port?
If you buy a $10m painting from a dealer in France and want to bring it to the US (or anywhere else, really), you’ll have to pay import duties as high as $2m – $3m. Storing it in a free port gets around this. For around $1,000 per month, you’ll never pay those import taxes on your van Gogh.
Moreover, when it comes time to sell your piece, you can skip sales tax via the free port’s informal economy. The crate moves from your unit to the buyer’s unit, and the money moves from her Swiss bank account to yours.
Rent increased more than 18% last year for new tenants, new numbers show – CBC News
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