[caption id="attachment_101471" align="alignleft" width="550"] Title: Silaup Putunga (Laakkuluk WIlliamson Bathory) ©Jamie Griffiths 2018[/caption]
When the exhibit Tunirrusiangit:Kenojuak Ashevak and Tim Pitsiulak opened in the Sam & Ayala Pavilion it was one of the largest showcases of Inuit artwork at the Art Gallery of Ontario (AGO). it could be seen as a singular sound that started a continuing harmony and one that echoes here within these walls of the Joan Goldfarb Study Centre.
The exhibition runs Mondays through Thursdays 12:30-4:30 until April 25.
Curated by Jocelyn Piirainen, echoes features “Silaup Putunga” and “Inuit in the Media” that relate to the idea of an echo and to ‘nipi’ – the Inuktitut word that best describes sounds as understood in the English language. Commissioned within the context of Tunirrusiangit, they were created by Laakkuluk Williamson Bathory & Jamie Griffiths and Taqralik Partridge as responses to the artwork of Inuit artists Kenojuak Ashevak and Tim Pitsiulak.
The Goldfarb Study Centre exhibition ECHOES and the screening of THE 5th REGION documentary are presented at York University by MOBILIZING INUIT CULTURAL HERITAGE (MICH), a six-year SSHRC Partnership Grant focusing on the contribution of Inuit visual culture, art, and performance to Inuit language preservation, social well-being, and cultural identity. MICH is based at the Robarts Centre for Canadian Studies and Anna Hudson, Professor/AMPD is the Principal Investigator
1313 Main Gallery: The Collective Exhibition
Featuring the works of the students in the 4090 painting and installation classes, “The Collective” focuses on the exploration of contemporary questions and concerns regarding the body, the environment, urbanity, and cross-cultural overlays.
A space for experimentation and new discoveries, “The Collective” invites you to ask critical questions of the art and of yourself and open up to a collection of work that is both completely unique and yet wholly connected. “The Collective” is hosted in the Gallery 1313 Main Gallery, February 28th- March 9th.
Reception: Thursday, February 28, 6:30-9:30pm
Gallery Hours: Wednesday – Sunday, 1-6pm
Gallery 1313 website: g1313.org
Gallery 1313 phone: 416-536-6778
LUCIANA SOUZA : JAZZ ARTIST- IN-RESIDENCE
Grammy award winning vocalist and instrumentalist, Luciana Souza, is the Department of Music’s 2019 Jazz Artist-in-Residence. During her residency, she will deliver masterclasses for vocalists and instrumentalists as well as coach small jazz ensembles.
This jam session offers a unique opportunity to hear Souza in performance with faculty members in the Department of Music’s jazz program. Admission is free.
About the Artist
Grammy winner Luciana Souza is one of Jazz’s leading singers and interpreters. Born in São Paulo,
Brazil, Ms. Souza grew up in a family of Bossa Nova innovators – her father, a singer and songwriter, her
mother, a poet and lyricist. Luciana’s work as a performer transcends traditional boundaries around
musical styles, offering solid roots in jazz, sophisticated lineage in world music, and an enlightened
approach to new music.
As a leader, Luciana Souza has been releasing acclaimed recordings since 2002 – including her six
Grammy-nominated records Brazilian Duos, North and South, Duos II, Tide, Duos III, and The Book of
Chet. Her debut recording for Universal, The New Bossa Nova, was produced by her husband, Larry
Klein, and was met with widespread critical acclaim. Luciana’s recordings also include two works based
on poetry – The Poems of Elizabeth Bishop And Other Songs, and Neruda. Of her 2015 release, Speaking
in Tongues, The New York Times said: “Luciana Souza has used her voice as an instrument of empathy
and intimacy, cultural linkage and poetic disquisition… singing wordlessly but with full expressive
Ms. Souza has performed and recorded with luminaries including Herbie Hancock (on his Grammy
winning record, River – The Joni Letters), Paul Simon, James Taylor, Bobby McFerrin, Maria Schneider,
Danilo Perez, and many others. Her longstanding duo work with Brazilian guitarist Romero Lubambo
has earned her accolades across the globe, and her complete discography contains more than sixty records
as a side singer. Luciana Souza’s singing has been called “transcendental, “perfect, ” and of “unparalleled
beauty. ” Entertainment Weekly writes, “Her voice traces a landscape of emotion that knows no
boundaries.” Of her work with the chamber music ensemble, A Far Cry, the Boston Globe said: “Her
performance was more than beautiful. It was consolatory, and true to the work’s air of ultimate things.”
Luciana Souza has been a prominent soloist in two important works by composer Osvaldo Golijov – La
Pasion According to St. Mark, and Oceana. She has performed with the Bach Akademie Stuttgart, the
Boston Symphony Orchestra, and the Brooklyn Philharmonic. Other orchestral appearances include
performances with the New York Philharmonic, the Atlanta Symphony, the Los Angeles Philharmonic,
the Los Angeles Chamber Orchestra and the American Composers Orchestra. Her work in chamber
music includes a fruitful collaboration with the Los Angeles Guitar Quartet, composers Derek Bermel,
Patrick Zimmerli, and the five composers of The Blue Hour – Rachel Grimes, Angelica Negrón, Shara
Nova, Caroline Shaw, and Sarah Kirkland Snyder – a setting of a poem by Carolyn Forché.
Ms. Souza began her recording career at age three with a radio commercial, and recorded more than 200
jingles and soundtracks, becoming a first-call studio veteran at age sixteen. She spent four years on
faculty at Berklee College of Music in Boston, where she received a Bachelor’s in Jazz Composition. Ms.
Souza earned a Master’s degree in Jazz Studies from New England Conservatory of Music and taught for
four years at Manhattan School of Music, in New York City. Ms. Souza continues to teach Master
Classes all over the world.
From 2005 to 2010, Luciana was the Jazz Artist in Residence with the prestigious San Francisco
Performances. In 2005 and 2013 Luciana was awarded Best Female Jazz Singer by the Jazz Journalists
Billboard magazine has said of Luciana: “she continues her captivating journey as a uniquely talented
vocalist who organically crosses genre borders. Her music soulfully reflects, wistfully regrets,
romantically woos, joyfully celebrates…”
Symposium | 1-2 March 2019
Resisting Extractivism, Performing Opposition
100 McCaul St.
*OCAD University is an accessible space.
Please note: all events are FREE and open to the public, but require an RSVP for refreshments by Friday 15 February.
The Canadian Consortium on Performance and Politics in the Americas, York University’s Graduate Program in Theatre and Performance Studiesand Sensorium: Centre for Digital Arts and Technology, and OCAD University’s Faculty of Liberal Arts and Sciences & School of Interdisciplinary Studies, with the support of the Contemporary Art, Design and New Media Art Histories and Criticism and Curatorial Practice graduate programs and Art and Social Change student volunteers, welcome you to the Resisting Extractivism, Performing Opposition symposium, taking place at OCAD University, 1-2 March 2019.
This interdisciplinary symposium invites activists, scholars, artists, community organizers, and cultural workers to explore collective strategies of embodied and performed resistance to extractivism. While extractivism commonly refers the logic of reducing nature to commodities, and the resultant hyper-exploitation of the mining, oil, and gas industries, we can also think of extractivism as an ideology fundamental to colonialism and capitalism at their most endemic. Resisting Extractivism, Performing Opposition asks: How is (anti)extractivism performed? How have mining-impacted communities and solidarity groups alike mobilized their dissent through creative interventions? How can we, as scholars and artists, perform research that does not similarly extract community/Indigenous knowledge for our own cultural capital? How can we ethically and productively engage communities as co-researchers and collaborators without succumbing to an exploitative model of knowledge and labour extraction?
Resisting Extractivism, Performing Opposition explores extractivism as a vital issue that concerns all Canadians: resource extraction informs Canadian domestic and foreign policy, mandatory investments, and is inherent in how we conceptualize Canadian identities, mythologies, and exceptionalism. Canada’s place in the Americas is inherently tied to extractivism, and we will explore this through creative and innovative research methods, mobilized in conversations across disciplines that reach publics outside of the academy, convening artistic, activist, and scholarly communities.
The symposium begins on Friday evening 1 March 2019 from 5-7 pm with the opening of the exhibition Educate, Advocate, Agitate: The Mining Injustice Solidarity Network’s Creative Interventions. The exhibition documents the Toronto-based grassroots mining justice group’s performative actions and creative interventions, and a recent collaboration with JODVID (Jóvenes Organizados en Defensa de la Vida/Youth Organized in Defense of Life), a youth group based in Mataquescuintla, Guatemala that uses performance and creative tactics to resist Canadian-owned Tahoe Resources’ Escobal silver mine on their territory. The exhibition is realized through the curatorial support of Valerie Frappier, an MFA student in the Criticism and Curatorial Practice graduate program at OCAD University.
Following the gallery opening, at 7:30 pm, we will present Beyond the Extractive Zone, a film screening and discussion co-programmed with the re:assemblage collective and presented with the support of OCAD’s Culture Shifts, that explore anti-extractivism from Indigenous perspectives.
Kiruna – Rymdvägen (Liselotte Wajstedt, Sweden, 2013, 52 minutes, documentary)
The town Kiruna is to be moved. The mining activities underground threaten its foundation. Houses will be moved, or torn down, and new quarters will be built on another site. The director grew up on the Company Site and is in a hurry to catch up with her past, for soon its physical reminders will be gone.
The Case of Gran Colombia Gold – Crude Gold
(Monica Gutierrez, Colombia/Canada, 2014, 10 minutes, documentary)
To Stop Being a Threat and To Become a Promise(Carolina Caycedo, Colombia/UK, 2017, 8 minutes, two channel documentary)
On Saturday 2 March 2019 we open the symposium at 9:30 am with the Indigenous Environmental Justice project. Based at Osgoode Hall Law School at York University, IEJ works to develop a distinctive environmental justice framework that is informed by Indigenous knowledge systems, laws, concepts of justice and the lived experiences of Indigenous peoples.
At 10am we welcome Macarena Gómez-Barris, author of The Extractive Zone: Social Ecologies and Decolonial Perspectives (Duke University Press, 2017) and the founder and Director of the Global South Center at Pratt Institute. Gómez-Barris will present a keynote address, “Living and Dying in Extractive Zones,”considering the spaces of ruin in the aftermath of extractive capitalism through discussion of three sites within the Americas, and asking: How does mining, hydroelectricity, oil extraction, tourism, and monoculture disproportionately impact Indigenous territories in the Americas? How do social ecologies find alternative sources of living within the space of catastrophic death? What forms of refusal and social and decolonial praxis find solutions?
The keynote is followed by lunch at 11:30am catered by NishDish (RSVP required) and two panel sessions from 12:30-4:30 pm.
The first panel (12:30-2pm), “Animating Objects, Performing Justice,” features Toronto-based Argentine visual artist Dana Prieto, artist and organizer Maggie Flynn, and Winnipeg-based writer, filmmaker, photographer and professor Warren Cariou, who will share their respective visual art and performance practices. It is moderated by MISN member Merle Davis (PhD candidate, Anthropology, University of Minnesota).
The second panel (2:30-4pm), “Legal Discourse as Performative Resistance,” features Anishinaabe actor and playwright Shandra Spears Bombay, Marion de Vries, playwright of The Last Walk of Adolfo Ich, and Isabel Dávila of JCAP (the Justice and Corporate Accountability Project). It is moderated by Sydney Lang, MISN member and law student at McGill University.
The symposium concludes with a keynote address at 4:30 pm by Kirsty Robertson, Associate Professor of Contemporary Art and Museum Studies at Western University (London, ON) and author of the forthcoming Tear Gas Epiphanies: Protest, Culture, Museums (McGill-Queen’s University Press, Spring 2019). Robertson will present, “When the Land Comes First: Oil, Museums, and (Missing) Protest,” a talk that considers demonstrations and performative activist responses to sponsorships from fossil fuel companies at museums and other cultural institutions—and the lack thereof in the Canadian context.
For more information, please contact:
Zoë Heyn-Jones, PhD
Postdoctoral Fellow, Canadian Consortium on Performance and Politics in the Americas
The Music at Midday series presents a recital featuring student soloists in the classical performance program.
Admission is free. Everyone welcome.
AMPD Students are invited to an info session about earning YorkU credits while on exchange at the University of Leeds.
Young artists from York University’s classical vocal performance program share the stage in a series of concerts featuring arias, art songs and ensemble pieces.
Admission is free.
Sensorium, VISTA and The Peripheral Visions Speaker Series Presents:
DREAMS, VISIONS, HALLUCINATIONS: DISABILITY & OTHER WAYS OF SEEING
March 6, 2019 | 4-5:30 pm in the Joe G. Green Theatre
Dolleen Tisawii’ashii Manning hosts a public conversation with Traditional Doctor and Elder Mona Stonefish on Anishinaabe dream imaging practices and their implications for critical disability studies. Manning worked with her mother and Stonefish in developing her mnidoo theory of consciousness. This interrelational understanding of perception and knowing involves a possession by these living potencies, along with an expanded understanding of vision. In this discussion, they question western conceptions of ability and disability, while also considering the debilitating impact of colonialism.
The Department of Visual Art & Art History presents Super Mega Ultra, a massive open house exhibition featuring hundreds of works in print media, drawing, painting, photography, sculpture and interdisciplinary art created by the rising young talent in the department.
Super Mega Ultra transforms the entire Joan & Martin Goldfarb Centre for Fine Arts into one giant art party, with works on view in studios throughout the building, as well as in the Gales Gallery in the Accolade West Building.
More than 30 prizes will be awarded to student artists and art historians. The awards ceremony takes place in the Gales Gallery at 7pm.
Super Mega Ultra is produced by the Visual Art Student Association with Professors Janet Jones and Ezekial Moores.
Admission is free and all are welcome | Map and Directions
York University Music Department and York University Indigeneity in Teaching and Learning Fun present:
Dr. Monique Giroux
Canada Research Chair in Indigenous Music, Culture, and Politics
University of Lethbridge
“To Live as if It Matter[s]: What Critical Indigenous Theory Taught be About Studying Music”
This lecture considered what is means – as a settler scholar – to engage in an ethics of responsiveness to Indigenous thinkers and communities. How might critical Indigenous theory shape approaches to studying music? And how might music scholarship and performance enact Decolonial practices that support Indigenous insurgence? These questions will be addressed using seven, interconnected reflections, coupled with listening examples that merge theory and performance.
2:30-4:00pm – Lecture | everyone welcome!
4:00-5:30pm: Discussion, please contact Sherry Johnson (email@example.com) for the article to read if you wish to take part in the discussion
Avaatar is the brainchild of Toronto saxophonist and composer, Sundar Viswanathan, a refined and seasoned blend of some key musical interests and elements, including classical Indian music, modern jazz, Brazilian lyricism, atmospheric textures and ambiance, Javanese gamelan, and contemporary improvisation. Avataar was a recipient of the 2016 TD Special Projects Award from the Toronto Jazz Festival, and is continuing its development with its first international tour, in South Africa, the same month as their performance in Guelph. The superb band lineup features internationally recognized players, with numerous Juno and other notable awards to their names: Michael Occhipinti (guitar), Justin Gray (bass and bass veena), Ravi Naimpally (tablas and percussion), and Max Senitt (drums).