P.i.s.s. Class Of 2009

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SUMMER SCHOOL FACULTY

PARTICIPATING ARTISTS

Donna Lynas

Jenny Western

Tammi Campbell

Sarah Massecar

Emily Rosamond

WYSING ARTS CENTRE (CAMBRIDGE, UK)

WINNIPEG, MB

Steven Leyden Cochrane

Caroline Monnet

Tim Schouten

Lotte Juul Petersen

Anthony Kiendl

Lita Fontaine

Sandee Moore

Andre Silva

WYSING ARTS CENTRE (CAMBRIDGE, UK)

PLUG IN INSTITUTE OF CONTEMPORARY ART (WINNIPEG, MB)

Liz Garlicki

Freya Björg Olafson

Yann Chanteigné Tytelman

Becky Ip

Pam Patterson

CAPC MUSEUM OF CONTEMPORARY ART (BORDEAUX, FR)

Craig Love

Bev Pike

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spmb

[Karen Shanski + Eduardo Aquino W/ Adam Robinson]

Cyrus Smith

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Tammi Campbell yearbook.indd 4-5

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ech, and sallow

Silver bark of be

a Dies iræ! dies ill

Cinderella dressed in

yellow

Steven Leyden Cochrane yearbook.indd 6-7

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Lita Fontaine yearbook.indd 8-9

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Liz Garlicki yearbook.indd 10-11

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Becky Ip She’d probably go to South Dakota instead.

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Craig Love yearbook.indd 14-15

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Sarah Massecar yearbook.indd 16-17

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Caroline Monnet yearbook.indd 18-19

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Sandee Moore yearbook.indd 20-21

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AVATAR FREYA BJÖRG OLAFSON

Video still from “Ghost Desktop” part of the AVATAR series

The AVATAR series explores methods of creating, validating and disseminating one’s identity through the use of technology and the Internet. The work is inspired by the mantra “I post therefore I am”, whereby Internet users legitimize their existence by documenting their lives and uploading this media to personal webpages and blogs. Through AVATAR I am facilitating an inquiry into our desire to share and publicize our lives. In performance the work in herently becomes a duet with technology as in AVATAR I make use of live video feeds and projections to magnify, manipulate and effectively broadcast persona and image. This series in progress has manifested in 11”x14” paintings / drawings, a solo performance, installation, and video work. During Plug In’s “Summer School” I have been doing significant research, amassing sound and video from various video sites and online power users. The results of this work in process will premiere in Winnipeg October 15 -18, 2009 as a co-pro duction between Winnipeg’s Contemporary Dancers, núna (now) and Myself.

Video Still from A/S/L (Age/sexlo cation) part of the AVATAR series.

Video still from “Ghost Desk top” part of the AVATAR series Images Below Left to Right: Kitchen , Bedroom. and Living Room, Acrylic on Bristol Paper, 11” x 14” created in 2009

Freya Björg Olafson (B.A. Honors in Dance, MFA in New Media) is an intermedia artist who works with video, audio, painting and performance. Her work has been presented/ex hibited internationally at festivals and galleries such as InterAccess Electronic Media Arts Center (Toronto), The Winnipeg Art Gallery, Plug In Institute for Contemporary Art (Winnipeg), Kling&Bang Galleri (Reykjavik,Iceland), Groundswell New Music Series (Winnipeg), O.K. Centrum (Linz, Austria), Akureyrarvaka (Akureyri, Iceland) and Springboard Danse Montréal.

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The development of the AVATAR series is supported by The Canada Council for The Arts, The Manitoba Arts Council, The Winnipeg Arts Council and Video Pool New Media Arts Center’s Media Production Fund.

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Autothanatography: A “Vanitas”? Sometimes I can hardly use human language to tell how I feel... ‘If I were a dog, I’d be shaking and trembling.’ Animals don’t use words; their bodies speak for them. . . . But I am not an animal. I am a human being, an articulate one at that, who is challenged to find words to apply to sensations I’ve never had before, challenged to find meaning and stability despite a changing body. I’m caught in a relentless metamorphosis. Barbara Rosenblum in Cancer in Two Voices.(1996,166-67) In using autothanotography as representational narrative, I, as performance and visual artist encounter the hovering consciousness of death. Performing as a woman with a potentially terminal illness, and as/in feminist performative praxis, not only enables me to conceive of death, but to apprehend my own identity in anxious and immediate (un)certainty in time and space. My struggle is to translate the physical trembling like that of an animal into a visual/performative language. Does this trembling body-self find a language aimed at deferral–avoidance, diversion, or delay, or genuine engagement? Experiential need and renditions of time do fail to coincide. Repeatedly, I experience my efforts to capture my experiences as but moment-by-moment wrestling matches with the angel of death, urgent capturings of time in temporary oases of semi-comprehension. To think that these even adequately represent the angst of impending death perhaps speaks to nothing more than artistic vanity. However, combining the visual and performative in representation makes active use of the body-self, enabling me to re-activate and multiply my subject positions. Each moment of successive re-presentation appears in temporary relation to each other; I use time but am also suspended in time and yet not entirely reliant upon time for interpretation or meaning. Meaning is enacted through a self-reflexive praxis in and through subject positions in “memento mori”.

My intent is not to normalize death but rather to engage with it as complex intra- and inter-cultural autobiographical site. Are these performances but conceits, acting as nothing more than vanitas or do such elucidations enable a re-visioning of death at-the-edge, as if in a moment of extreme and painful clarity?

While here at Plug In ICA, I have been developing three performative works: Canto 2: The Descent ... to the Lighthouse, a performance dance-macabre which was performed as workshop as Lighthousekeeping at aceartinc



Canto 3: The Gates of Hell, post-mortem and skull photo- scans and video (rat) Canto 4: Playing at Death’s Border, 100 figurative drawings.

As a feminist, I address these concerns with a particular bias which is personal and political, and bring to this my challenges as a person living with cancer and a disability. This work speaks to the problematic of the autobiographical of/in pathology and death.

Pam Patterson yearbook.indd 24-25

Pam Patterson focuses her research, art and teaching, on the body and/in culture. She is Director, Women in Action, Centre for Women’s Studies in Education, OISE/UT which presents exhibitions, screenings, performances and interdisciplinary arts-based workshops and teaches at York University and in the Art Gallery of Ontario studio program. As a performance and visual artist, Patterson exhibits and performs internationally

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Bev Pike collaborated with a number of Canadian feminist artists in creating the first draft of the Feminist Artist Advice Column [http://agony-aunts.blogspot.com]. We designed it to provide women with solutions to persistent systemic bias towards artwork by men. Future plans include posting statistics to show women’s representation in art galleries, collections, art schools as well as on arts council juries and as grant recipients. Women’s successes are remarkable for two things: how much change has yet to happen before women receive anything close to half of all art opportunities; and how good so much of our (invisible) art is when compared to, on the whole, that before our very eyes. This blog addresses the hidden assumption, “Women artists don’t really make interesting art like men do” by asking instead, “How come visual arts professionals do not make gender equity imperative in everything they do?” To this end, Agony Art Aunts across the country will propose incisive theories and witty subversions.

Bev Pike Bev Pike is a Winnipeg polymath who studies baroque traditions and the politics that engender them. Since 1993, she has been exhibiting her large-scale paintings from two series, Microscopic Remains and Hysteria Chronicles, across Canada. This work investigates perceptual regimes that create spectacle, extend beyond the frame and engage the viewer in a complex special relationship. Pike also writes satire and has produced two artist-books, entitled Autobiography of an Eccentric Line and Swallowing Safety Pins, with Lives of Dogs press in Winnipeg. Her work can be found in collections such as the Canada Council Art Bank, Museum of Contemporary Canadian Art, National Library at the Victoria and Albert Museum (UK), National Museum of Women in the Arts (US), and others in Canada and the UK. In addition, she has volunteered for artist-run centres since 1983. For the Plug In ICA Summer School, Pike will work on developing particular feminist community-wide strategies, as well as on her new subaquatic painting, Hymenal View of Ice.

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Emily Rosamond yearbook.indd 28-29

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Timothy Richard Schouten

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Andre Silva yearbook.indd 32-33

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Cyrus Smith

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AUTOGRAPHS

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AUTOGRAPHS

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MAGIC SQUARES BY CRAIG LOVE