Tag Archives: ArtSci Salon

Art/Sci exhibit in Toronto, Canada: “These are a Few of Our Favourite Bees” June 22 – July 16, 2022

A “These are a few of Our Favourite Bees” upcoming exhibitions notice on the Campbell House Museum website (also received via email as a June 4, 2022 ArtSci Salon announcement) features a month long exhibit being co-presented with the Canadian Music Centre in Toronto,

Exhibition
Campbell House Museum
June 22 – July 16, 2022
160 Queen Street W.

Opening event
Campbell House,
Saturday July 2,
2 – 4 p.m. [ET]

Artists’ Talk & Webcast
The Canadian Music Centre,
20 St. Joseph Street Toronto
Thursday, July 7
7:30 – 9 p.m. [ET]
(doors open 7 pm)

These are a Few of Our Favourite Bees investigates wild, native bees and their ecology through playful dioramas, video, audio, relief print and poetry. Inspired by lambe lambe – South American miniature puppet stages for a single viewer – four distinct dioramas convey surreal yet enlightening worlds where bees lounge in cozy environs, animals watch educational films [emphasis mine] and ethereal sounds animate bowls of berries (having been pollinated by their diverse bee visitors). Displays reminiscent of natural history museums invite close inspection, revealing minutiae of these tiny, diverse animals, our native bees. From thumb-sized to extremely tiny, fuzzy to hairless, black, yellow, red or emerald green, each native bee tells a story while her actions create the fruits of pollination, reflecting the perpetual dance of animals, plants and planet. With a special appearance by Toronto’s official bee, the jewelled green sweat bee, Agapostemon virescens!

These are a Few of Our Favourite Bees Collective are: Sarah Peebles, Ele Willoughby, Rob Cruickshank & Stephen Humphrey

 The Works

These are a Few of Our Favourite Bees

Sarah Peebles, Ele Willoughby, Rob Cruickshank & Stephen Humphrey

Single-viewer box theatres, dioramas, sculpture, textile art, macro video, audio transducers, poetry, insect specimens, relief print, objects, electronics, colour-coded DNA barcodes.

Bees represented: rusty-patched bumble bee (Bombus affinis); jewelled green sweat bee (Agapostemon virescens); masked sweat bee (Hylaeus annulatus); leafcutter bee (Megachile relativa)

In the Landscape

Ele Willoughby & Sarah Peebles

paper, relief print, video projection, audio, audio cable, mixed media

Bee specimens & bee barcodes generously provided by Laurence Packer – Packer Lab, York University; Scott MacIvor – BUGS Lab, U-T [University of Toronto] Scarborough; Sam Droege – USGS [US Geological Survey]; Barcode of Life Data Systems; Antonia Guidotti, Department of Natural History, Royal Ontario Museum

In addition to watching television, animals have been known to interact with touchscreen computers as mentioned in my June 24, 2016 posting, “Animal technology: a touchscreen for your dog, sonar lunch orders for dolphins, and more.”

The “These are a few of Our Favourite Bees” upcoming exhibitions notice features this artist statement for a third piece, “Without A Bee, It Would Not Be” by Tracey Lawko,

In May, my crabapple tree blooms. In August, I pick the ripe crabapples. In September, I make jelly. Then I have breakfast. This would not be without a bee.

It could not be without a bee. The fruit and vegetables I enjoy eating, as well as the roses I admire as centrepieces, all depend on pollination.

Our native pollinators and their habitat are threatened.  Insect populations are declining due to habitat loss, pesticide use, disease and climate change. 75% of flowering plants rely on pollinators to set seed and we humans get one-third of our food from flowering plants.

I invite you to enter this beautiful dining room and consider the importance of pollinators to the enjoyment of your next meal.

Bio

Tracey Lawko employs contemporary textile techniques to showcase changes in our environment. Building on a base of traditional hand-embroidery, free-motion longarm stitching and a love of drawing, her representational work is detailed and “drawn with thread”. Her nature studies draw attention to our native pollinators as she observes them around her studio in the Niagara Escarpment. Many are stitched using a centuries-old, three-dimensional technique called “Stumpwork”.

Tracey’s extensive exhibition history includes solo exhibitions at leading commercial galleries and public museums. Her work has been selected for major North American and International exhibitions, including the Concours International des Mini-Textiles, Musée Jean Lurçat, France, and is held in the permanent collection of the US National Quilt Museum and in private collections in North America and Europe.

Bzzz!

INTER/her, a talk with Camille Baker about an immersive journey inside the female body on Friday, December 3, 2021

Before getting to the announcement, this talk and Q&A (question and answer) session is being co-hosted by ArtSci Salon at the Fields Institute for Research in Mathematical Sciences and the OCAD University/DMG Bodies in Play (BiP) initiative.

For anyone curious about OCAD, it was the Ontario College of Art and Design and then in a very odd government/marketing (?) move, they added the word university. As for DMG, in their own words and from their About page, “DMG is a not-for-profit videogame arts organization that creates space for marginalized creators to make, play and critique videogames within a cultural context.” They are located in Toronto, Ontario. Finally, the Art/Sci Salon and the Fields Institute are located at the University of Toronto.

As for the talk, here’s more from the November 28, 2021 Art/Sci Salon announcement (received via email),

Inspired by her own experience with the health care system to treat a
post-reproductive disease, interdisciplinary artist [Camille] Baker created the
project INTER/her, an immersive installation and VR [virtual reality] experience exploring
the inner world of women’s bodies and the reproductive diseases they
suffer. The project was created to open up the conversation about
phenomena experienced by women in their late 30’s (sometimes earlier)
their 40’s, and sometimes after menopause. Working in consultation
with a gynecologist, the project features interviews with several women
telling their stories. The themes in the work include issues of female
identity, sexuality, body image, loss of body parts, pain, disease, and
cancer. INTER/her has a focus on female reproductive diseases explored
through a feminist lens; as personal exploration, as a conversation
starter, to raise greater public awareness and encourage community
building. The work also represents the lived experience of women’s
pain and anger, conflicting thoughts through self-care and the growth of
disease. Feelings of mortality are explored through a medical process in
male-dominated medical institutions and a dearth of reliable
information. https://inter-her.art/ [1]

In 2021, the installation was shortlisted for the Lumen Prize.

 Join us for a talk and Q&A with the artist to discuss her work and its
future development.

 Friday, December 3,

6:00 pm EST

 Register in advance for this meeting:

https://utoronto.zoom.us/meeting/register/tZ0rcO6rpzsvGd057GQmTyAERmRRLI2MQ4L1

After registering, you will receive a confirmation email containing
information about joining the meeting.

This talk is  Co-Hosted by the ArtSci Salon at the Fields Institute for
Research in Mathematical Sciences and the OCAD University/DMG Bodies in
Play (BiP) initiative.

This event will be recorded and archived on the ArtSci Salon Youtube
channel

Bio

Camille Baker is a Professor in Interactive and Immersive Arts,
University for the Creative Arts [UCA], Farnham Surrey (UK). She is an
artist-performer/researcher/curator within various art forms: immersive
experiences, participatory performance and interactive art, mobile media
art, tech fashion/soft circuits/DIY electronics, responsive interfaces
and environments, and emerging media curating. Maker of participatory
performance and immersive artwork, Baker develops methods to explore
expressive non-verbal modes of communication, extended embodiment and
presence in real and mixed reality and interactive art contexts, using
XR, haptics/ e-textiles, wearable devices and mobile media. She has an
ongoing fascination with all things emotional, embodied, felt, sensed,
the visceral, physical, and relational.

Her 2018 book _New Directions in Mobile Media and Performance_ showcases
exciting approaches and artists in this space, as well as her own work.
She has been running a regular meetup group with smart/e-textile artists
and designers since 2014, called e-stitches, where participants share
their practice and facilitate workshops of new techniques and
innovations. Baker  also has been Principal Investigator for UCA for the
EU funded STARTS Ecosystem (starts.eu [2]) Apr 2019-Nov 2021 and founder
initiator for the EU WEAR Sustain project Jan 2017-April 2019
(wearsustain.eu [3]).

The EU or European Union is the agency that provided funding for S+T+Arts (Science, Technology & the Arts), which is an initiative of the European Commission’s. I gather that Baker was involved in two STARTS projects, one called the WEAR Sustain project and the other called, the STARTS Ecosystem.

Toronto’s (Canada) ArtSci Salon offers: Naturalized Encounters (a series of international, networked meals known as “Follow the Spread” starting Sunday, October 3, 2021

My September 26, 2021 Art/Sci Salon notice (received via email) provides these details,

Naturalization = The ecological phenomenon in which a species, taxon, or population of exotic (as opposed to native) origin integrates into a given ecosystem, becoming capable of reproducing and growing in it, and proceeds to disseminate spontaneously. In some instances, the presence of a species in a given ecosystem is so ancient that it cannot be presupposed whether it is native or introduced
How does adaptation through naturalization occur? What happens to the native population? How does coexistence happen?

Our first event will revolve around the Solanum Melongena, a plant species in the nightshade family Solanaceae commonly known as the eggplant. This plant (and the many different names it goes by Aubergine, Melanzana, Brinjal, Berenjena, باذنجان, vânătă, 茄子,بادمجان) uncertain origins, grown worldwide for its edible fruit. Eggplants exist in many shapes, sizes and colors.

Our event will be a harvest potluck, with dialogues, storytelling, and exchanges about and beyond food. Our guests will engage in creative interventions to reflect on the many ways food, and food mobility affects all sentient beings, both humans and non-humans; peoples and civilizations; individuals’ health and collective traditions. Food is nourishment, care, medicine, and art. Food is political. Food is ultimately about our survival.

This is the first of a series of networked meals titled “FOLLOW THE SPREAD,” which will be staged around the world and across time zones throughout Fall 2021-Spring 2022 in Canada (October 3, Spring 2022), Norway (October 7), the Netherlands and Taiwan (Spring 2022).

Join us online to meet 10 Canadian artists and scholars as they launch the series in Toronto and engage in a nourishing and inspiring feast

Amira Alamary
TBA

Antje Budde
Antje Budde is a conceptual, queer-feminist, interdisciplinary experimental scholar-artist and an Associate Professor of Theatre Studies, Cultural Communication and Modern Chinese Studies at the Centre for Drama, Theatre and Performance Studies, University of Toronto. Antje has created multi-disciplinary artistic works in Germany, China and Canada and works tri-lingually in German, English and Mandarin. She is the founder of a number of queerly feminist performing art projects including most recently the (DDL)2 or (Digital Dramaturgy Lab)Squared – a platform for experimental explorations of digital culture, creative labor, integration of arts and science, and technology in performance. She is interested in the intersections of natural sciences, the arts, engineering and computer science.

Charmaine Lurch
Charmaine Lurch is a multidisciplinary artist whose painting, sculpture, and social engagement reveal the intricacies and complexities of the relationships between us and our environments. Her sculptures, installations, and interventions produce enchantment as she skillfully contends with what is visible and present in conjunction with what remains unsaid or unnoticed. Lurch applies her experience in community arts and education to create inviting entry points into overwhelmingly complex and urgent racial, ecological, and historical reckonings.

Lurch’s work contends with both spatiality and temporality, enchanting her subject matter with multiple possibilities for engagement. This can be seen in the interplay between light, wire, and space in her intricate wire sculptures of bees and pollen grains, and in what scholar Tiffany Lethabo King refers to as the “open edgelessness” of Sycorax. A sensuous dynamism belies the everyday tasks reflected in her charcoal-on-parchment series Being, Belonging and Grace. Lurch’s particular evocations and explorations of space and time invite an analysis of their own, and her work has been engaged with by academics. These include King, who chose Sycorax Gesture, a charcoal illustration for the cover of her book The Black Shoals: Offshore Formations of Black and Native Studies, in which King discusses Lurch’s work in depth. Scholar Katherine McKittrick both inserted and engaged with Lurch’s work in her latest notable book, Dear Science & Other Stories.

Dave Kemp
Dave Kemp is a visual artist whose practice looks at the intersections and interactions between art, science and technology: particularly at how these fields shape our perception and understanding of the world. His artworks have been exhibited widely at venues such as at the McIntosh Gallery, The Agnes Etherington Art Centre, Art Gallery of Mississauga, The Ontario Science Centre, York Quay Gallery, Interaccess, Modern Fuel Artist-Run Centre, and as part of the Switch video festival in Nenagh, Ireland. His works are also included in the permanent collections of the Agnes Etherington Art Centre and the Canada Council Art Bank.

Dolores Steinman
Dolores Steinman is a trained pediatrician who holds a Ph.D. from the University of Toronto. She is very active in several Art/Science communities locally and internationally.

Elaine Whittaker
Elaine Whittaker is a Canadian visual artist working at the intersection of art, science, medicine, and ecology. She considers biology as contemporary art practice and as the basis for her installations, sculptures, paintings, drawings, and digital images. Whittaker has exhibited in art and science galleries and museums in Canada, France, Italy, UK, Ireland, Latvia, China, South Korea, Australia, Mexico, and the U.S. Artwork created as Artist-in-Residence with the Pelling Laboratory for Augmented Biology (University of Ottawa) was exhibited in La Fabrique du Vivant at the Pompidou Centre, Paris  in 2019.  She was one of the first Artists-in-Residence with the Ontario Science Centre in partnership with the Museum of Contemporary Art Toronto. Her work has also been featured in art, literary, and medical magazines, and books, including Bio Art: Altered Realities by William Myers (2015).

Elizabeth Littlejohn
Elizabeth Littlejohn is a communications professor, human rights activist, photojournalist, and documentary film-maker. She has written for Rabble.ca for the past thirteen years on social movements, sustainable urban planning, and climate change. As a running gun social movement videographer, she has filmed internationally. Her articles, photojournalism, and videos have documented Occupy, Idle No More, and climate change movements, and her photographs have been printed in NOW Magazine, the Toronto Star, and Our Times.

Recently Elizabeth Littlejohn has completed ‘The City Island’, a feature-length documentary she directed about the razing of homes on the Toronto Islands and the islanders’ stewardship of the park system, with the support of the Canada Council. Currently, Elizabeth is developing the Toronto Island Puzzle Tour, an augmented-reality smartphone application with five locales depicting hidden history of the Toronto Island, and funded by the City of Toronto’s Artworx Grant.

Gita Hashemi
Gita Hashemi works in visual and performance art, digital and net art, and language-based art including live embodied writing, and in publishing. Her transdisciplinary, multi-platform and often site-responsive projects explore historical, trans-border and marginalized narratives and their traces in contemporary contexts. She has received numerous project grants from Canadian arts councils, and won awards from Toronto Community Foundation, Baddeck International New Media Festival, American Ad Federation, and Ontario Association of Art Galleries among others. Hashemi is an Ontario Heritage Trust’s Doris McCarthy Artist in Residence in 2021 with a land-based project. Her work has been exhibited at many international venues including SIGGRAPH, Los Angeles; Center for Book Arts, New York; Yerba Buena Center for the Arts, San Francisco; Plug-In, Basel; Casoria Museum of Contemporary Art, Naples; Al Kahf Art Gallery, Bethlehem; Red House Centre for Culture, Sofia; Museo de Arte Contemporaneo de Yucatan, Merida; National Museum of Contemporary Art, Bucharest; Worth Ryder Gallery, Berkeley; Museo de Arte Contemporaneo de Santa Fe, Argentina; Museum of Movements, Malmo; and JolibaZWO, Berlin among others. In Canada her work has been presented at A Space Gallery, York Quay Gallery, YYZ, MAI, and Carlton University Art Gallery. She has exhibited in numerous festivals including Electroshock, France; VI Salon y coloquio internacional de art digital, Havana; New Media Art Festival, Bangkok; Biennale of Electronic Art, Perth; and New Music and Art Festival, Bowling Green and others.

Nina Czegledy
Toronto based artist, curator, educator, works internationally on collaborative art, science & technology projects. The changing perception of the human body and its environment, as well as paradigm shifts in the arts, inform her projects. She has exhibited and published widely, won awards for her artwork and has initiated, led and participated in workshops, forums and festivals worldwide at international events.

Roberta Buiani
Artistic Director of the ArtSci Salon at the Fields Institute for Research in Mathematical Sciences (Toronto). Her artistic work has travelled to art festivals (Transmediale; Hemispheric Institute Encuentro; Brazil), community centers and galleries (the Free Gallery Toronto; Immigrant Movement International, Queens, Museum of Toronto), and scientific institutions (RPI; the Fields Institute). She is a research associate at the Centre for Feminist Research and a Scholar in Residence at Sensorium: Centre for Digital Arts and Technology, at York University.

Tune in on Oct 3 [2021] at 10:30 AM EDT; 4:30 PM CET; 10:30 PM CST [Note: For those of us on the West Coast, that will 7:30 am PDT]

To view the video on Sunday, Oct. 3, 2021, just go to the ‘Naturalized Encounters’ webpage on the ArtSci Salon website and scroll down.

Events: COVID-19 Collages and colour, Summer Solstice Celebration of Star Knowledge—Africa and Rapanui (Easter Island), and Tools for Catching Clouds (Biennale Architettura 2021)

I have three events, two of them taking place in Canada on June 9, and June 22 2021 respectively and the third takes place in Venice, Italy.

Covid19 Collage Project on June 9, 2021

A June 7, 2019 Art/Sci Salon announcement (received via email) included this image to illustrate Ilene Sova’s COVID collages,

Pink Ruffle Credit: Ilene Sova

Here’s more from the Colour Research Society of Canada’s (CRSC) Kaleidoscope Lecture: Covid19 Collage Project by OCAD Professor Ilene Sova event page,

In this unique colour-focused artist talk, Sova will explore her Covid19 Collage Project created in direct response to the pandemic. She will take the audience through an analysis of how she utilizes the precise symbolic and aesthetic qualities of colour-choice to reflect her psychological response to our current times and amplify the intent in her artist statement: ‘Former eyes have been replaced, and the curtain pulled back on the inequities that we didn’t fully see before. Newsfeeds are full of surreal deaths and devastating condolences. Different eyes; metallic and shiny. Eyes that no longer know how to ‘look to our future” for hope and possibilities. Our Instagram lives and our vitriolic materialism now laid bare. We are left to self-reflect, face ourselves, slow down, and toss and turn at night with vivid crackling dreams alive with messages screaming from our subconscious. We thought we were separate from nature, but now we know we are one. Sequestered in our homes, our minds begin to change, fracture with confusion. We float in a sea of unknowns, covering our faces with psychological and real masks. In a sparkly shiny isolated dreamy space; how will we prophesize our new future and manifest in a new uncertain one?

Bio: Ilene Sova holds the position of Ada Slaight Chair of Contemporary Drawing and Painting in the Faculty of Art at Ontario College of Art and Design University [OCAD University]. She identifies as Mixed Race, with a white settler, Afro-Caribbean, and Black Seminole ancestry. She is also an artist who lives with the disability of Epilepsy. As such, she passionately identifies with the tenets of intersectional feminism and has dedicated her creative career to art and activism. Ilene Sova is also the founder of the Feminist Art Collective and Blank Canvases, an in-school creative arts programme for elementary school students. She holds an Honours BFA from the University of Ottawa in Painting and an MFA in Painting and Drawing from the University of Windsor. With extensive solo and group exhibitions in Canada and abroad, Sova’s work has most notably been shown at Museum of Canadian Contemporary Art, the Department of Canadian Heritage, and Mutuo Centro de Arte in Barcelona. Sova’s artwork has been featured internationally in the Journal of Psychology and Counselling, the Nigerian Arts Journal, Tabula and the Italian feminist journal, Woman’O’Clock. In her academic career, Sova has been invited to speak on diversity and equity in arts curriculum at the Art Gallery of Ontario, Pratt University and the Association of Independent Colleges of Art and Design conference in Los Angeles. A passionate public speaker, Sova was chosen to speak at the first TEDx Women event in Toronto, and Southern University New York where she gave an all University Lecture on Art and Social Change. Additionally, Sova was invited to deliver the Arthur C. Danto Memorial Keynote Lecture at the 76th Annual Meeting of the American Society for Aesthetics (ASA). Sova’s exhibitions and advocacy in education have been featured on Global Television, CBC Radio, the Toronto Star, Canada AM, The Metro, National Post, Canadian Art, and MSN News.

Register here on eventbrite

Date and time

Wed, June 9, 2021

4:00 PM – 5:00 PM PDT

A Zoom link will be emailed to registered participants approximately 1 hour before the talk, and posted on our CRSC webpage.

Summer Solstice Celebration of Star Knowledge—Africa and Rapanui (Easter Island) on June 22, 2021

Ingenium’s* Indigenous Star Knowledge Symposia series was first mentioned here in a September 18, 2020 posting: Casting your eyes upon the night heavens in advance of the Autumnal (Fall) Equinox celebration, the first in the series.

With the Summer Solstice, we have the fourth and, I believe, the last in the series. From the Summer Solstice, Celebration of Star Knowledge from Africa and Rapanui (Easter Island) event page,

June 22, 2021. 3 p.m. Eastern.

Featured Speakers: Edmundo Edwards Eastman (Rapanui) and Jarita Holbrook (African culture)

Welcome from: Anita Tenasco, Kitigan Zibi, Quebec (Algonquin)

Opening Prayer: Wilfred Buck, Manitoba (Ininew)

Moderated by: Yasmin Catricheo, Chile (Mapuche)

Presentation #1: Cosmovision of the Polynesia and Rapanui. 

Featured Speaker: Edmundo Edwards Eastman. Archeoastronomy. President Fundación
Planetario Rapanui

Abstract: Some 3,500 years ago, the ancestors of the Polynesians led the speediest human expansion of the pre-historic world, guided by nothing more than their complex astronomical observations and an understanding of natural signs. This knowledge, coupled with tremendous navigational skills and human ingenuity, allowed the Polynesians to explore the vast Pacific Ocean and develop highly sophisticated cultures on thousands of different islands.  

Bio: Edmundo’s passion for archaeology started when he was 12 years old and discovered a pre-Incan site in northern Chile, yet it was after visiting Rapa Nui in 1957, that he became enthralled by Rapanui culture and returned to the island in 1960 with archaeologist William Mulloy.  Edmundo has lived and worked in Polynesia ever since. In 1977 he co-founded the Centro de Estudios de Isla de Pascua where he carried out archaeological and ethnographic studies for the University of Chile until 1985. He then left for Tahiti, conducting archaeological surveys and leading restoration work in the Society, Marquesas, and Austral Islands until he returned to Rapa Nui in 1994. Edmundo has since then devoted himself to the scientific study and preservation of the archaeology and culture of the Pacific islands.  He is the co-founder of the Pacific Islands Research Institute (PIRI) and co-owner of Archaeological Travel Service (ATS). Edmundo is an active member of the Explorers Club and in 2011 he was honored with the Lowell Thomas Award for his exceptional contribution to human knowledge through his valuable research and discoveries in Polynesia, and in 2016 he received the Citation of Merit.

Presentation #2: Celestial Africa

Featured Speaker: Jarita Holbrook

Abstract: The continent of Africa is large and has thousands of ethnic groups living in over 50 countries. Though home to some of the biggest astronomical telescopes in the world, there remains the perception that Africans have little awareness of the celestial realm. In reality, African indigenous astronomy is rich with many cultural connections to the sky as well as many practical uses of the sky. Holbrook will share some of the African legacy of rich skylore, artistic works, and practices connected to the sky.

Bio: Jarita Holbrook is a Marie Skłowdowska Curie Fellow in Science, Technology & Innovation Studies at the University of Edinburgh. Holbrook has successfully navigated the physical science and the social sciences. Upon moving to South Africa in 2013 to the Physics department at the University of the Western Cape, Holbrook was engaged in indigenous astronomy, studying the sociocultural aspects of astrophysics education in South Africa, and making a film about the social issues connected to building the Square Kilometre Array radio telescope. Using interview based inquiry, Holbrook researches the practices of inclusion and exclusion through analyzing socioeconomic class, gender, and ethnicity among database-driven astrophysics collaborations. Holbrook’s current project, ASTROMOVES, explores these in the context of career decision making among astrophysicists.

Panellists:

Anita Tenasco is an Anishinabeg from Kitigan Zibi. She has a Bachelor’s degree in history and teaching from the University of Ottawa, as well as a First Nations leadership certificate from Saint Paul’s University, in Ottawa. She has also taken courses in public administration at ENAP (The University of Public Administration). In Kitigan Zibi, she has held various positions in the field of education and, since 2005, is director of education in her community.

Anita was an active participant in the Honouring Our Ancestors project, in which the Anishinabeg Nation of Kitigan Zibi, under Gilbert Whiteduck’s direction, was successful in the restitution of the remains of ancestors conserved at the Canadian Museum of History, in Gatineau. Anita also participated in the organizing of a conference on repatriation, in Kitigan Zibi, in 2005. She plays an important role in this research project.

http://nikanishk.ca/en/blog/project-participants/anita-tenasco-2/

Wilfred Buck is a member of the Opaskwayak Cree Nation. He obtained his B.Ed. & Post Bacc. from the University of Manitoba.

As an educator Wilfred has had the opportunity and good fortune to travel to South and Central America as well as Europe and met, shared and listened to Indigenous people from all over the world.

He is a husband, father of four, son, uncle, brother, nephew, story-teller, mad scientist, teacher, singer, pipe-carrier, sweat lodge keeper, old person and sun dance leader. Researching Ininew star stories Wilfred found a host of information which had to be interpreted and analyzed to identify if the stories were referring to the stars. The journey began… The easiest way to go about doing this, he was told, was to look up. 

“The greatest teaching that was ever given to me, other than my wife and children, is the ability to see the humor in the world”…Wilfred Buck

https://acakwuskwun.com/

Yasmin Catricheo is the STEM Education Scholar at AUI’s Office of Education and Public Engagement. She is a physics educator from Chile, and of Mapuche origin. Yasmin is passionate about the teaching of science and more recently has focused in the area of astronomy and STEM. In her professional training she has taken a range of courses in science and science education, and researched the benefits of scientific argumentation in the physics classroom, earning a master’s degree in education from the University of Bío-Bío. Yasmín is also a member of the indigenous group “Mapu Trafun”, and she works closely with the Mapuche community to recover the culture and communicate the message of the Mapuche Worldview. In 2018 Yasmín was selected as the Chilean representative for Astronomy in Chile Educator Ambassador Program (ACEAP) founded by NSF.

Associated Universities Inc.

Register for the Webinar

Note: You can also find the information on Ingenium’s French language event page: Solstice d’été : une célébration des connaissances stellaires de l’Afrique et de Rapa Nui (l’île de Pâques).

*Ingenium is the name for Canada’s Museums of Science and Innovation, which acts as an umbrella organization for the Canada Agriculture and Food Museum, the Canada Aviation and Space Museum, and the Canada Science and Technology Museum.

Tools for Catching Clouds at Venice’s Biennale Architettura 2021

This information comes from a June 8, 2021 email received from the artist himself, Lanfranco Aceti,

Tools for Catching Clouds is a new series of works of art by Lanfranco Aceti. They are a segment of Preferring Sinking to Surrender — the artist’s installation at the Venice Architecture Biennale, 2021. The installation is comprised of drawings, sculptures, paintings, videos, performances, and a vegetable garden. 

Curated by Alessandro Melis for the Italian Pavilion, Preferring Sinking to Surrender is a progression and accumulation of works of art that will be developed throughout the duration of the Venice Architecture Biennale, from May 21, 2021, to November 21, 2021. 

The artist reimagines the future in matriarchal terms and bypasses social upheavals and legacies of environmental disasters through a series of aesthetic approaches that navigate melancholia, anger, and hope. The works of art retrace the legacies of the past — back to the Italic tribes that populated the Apennines before the founding of Rome and the arrival of Greeks in southern Italy.  

The worship of the Magna Mater — or the Great Black Mediterranean Mother — by the Italic tribes is a necessary rediscovery to understand the resilience of matriarchy and its values of acceptance and inclusion within societies that have become patriarchal in nature and, de facto, hierarchical and exclusionary. Nevertheless, these values resist and persist, and have empowered entire generations who were considered ‘outsiders’ and who have found, in the embrace of the ‘Mamma Schiavona’ (another name for the Magna Mater), their strength, networks of solidarity, and empowerment. 

Aceti’s research in gender issues and alternative structures to patriarchy, developed during a one year affiliation at Art, Culture and Technology (ACT) @ MIT, inspired a continued analysis of pre-Roman matriarchal societies. This led to the conception of Preferring Sinking to Surrender as an alternative space and narrative to current capitalistic cultural frameworks. 

“I have to say that it is a pleasure working with Alessandro Melis,” said Aceti. “Not every curator is fond of process based art. For me it is particularly rewarding to have found a curator that is both empowering and supportive.” 

For more information and images of Tools for Catching Clouds, click here

About the Artist

Lanfranco Aceti is known for his extensive career as artist, curator, and academic. He has exhibited numerous personal projects including Car Park, a public performance in the UK at the John Hansard Gallery; Who The People?, an installation artwork acquired in its entirety by the Chetham’s Library and Museum in Manchester; Sowing and Reaping, installation artworks acquired in their entirety by the National Museum of Contemporary Art of Cyprus; Hope Coming On, a site-specific choral performance he designed for the Museum of Fine Arts, Boston and realized in front of Turner’s Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On); Shimmer, a series of sculptural, photographic, and painting works curated by Irini Papadimitriou (V&A) at the Tobazi Mansion in Hydra; a large choral performance titled Accursed for the Thessaloniki Biennial in Greece; and Knock, Knock, Knocking a public space installation in the Mediterranean Garden Pavilion of the New Sea Waterfront of Thessaloniki. Currently, he is developing a large international project, Preferring Sinking to Surrender for the Venice Architecture Biennale 2021, which includes performances in major cities around the world. 

About The Studium

The Studium is Lanfranco Aceti’s artistic studio. It has partnered with public and private organizations as well as with individuals to realize the artist’s works and to develop fora for the discussion of aesthetic approaches to public space, the role of contemporary art in the social political landscape, and themes of social and environmental justice.

For questions or information and materials, please contact The Studium’s Marketing Director, John Francescutti.

The Venice Architecture Biennale (or Biennale Architettura 2021), from May 21, 2021, to November 21, 2021.

Inside Dogma Lab; an ArtSci Salon event on March 25, 2021

This event is taking place at 7 am PDT. Should you still be interested, here are more details from a March 17, 2021 ArtSci Salon announcement (received via email; you can also find the information on the artscisalon.com/dogmalab/ webpage) provides descriptions of the talk and the artists after the registration and viewing information,

Benjamin Bacon & Vivian Xu –  Inside Dogma Lab – exploring new media
ecologies


Thursday, March 25 [2021]

10 am EDT, 4 pm GST, 10 pm CST [ 7 am PDT]

This session will stream on Zoom and YouTube

Register in advance for this meeting:

https://utoronto.zoom.us/meeting/register/tZMlfuyrpz4jG9aTl-Y8sAwn6Q75CPEpWRsM

After registering, you will receive a confirmation email containing
information about joining the meeting.

See more here:
https://artscisalon.com/dogmalab/

Or on Facebook:

https://facebook.com/artscisalon

Description

This ArtSci Salon /LASER morning event is inspired by the NewONE,
Learning without borders, a program at the University of Toronto
dedicated to interdisciplinary pedagogies and ecological learning
experiences. Art technology and science are waved together and inform
each other. The arts here are not simply used to illustrate or to
narrate, but to transmit, and make sense of complexity without falling
into given disciplinary and instrumental containers. The artistic medium
becomes simultaneously a catalyst for interrogating nature and a new
research tools able to display and communicate its complexity.

With this event, we welcome interdisciplinary artists Benjamin Bacon and
Vivian Xu.

Their transdisciplinary design lab, the Dogma Lab (http://dogma.org/, not only combines a diverse range of mediums (including software,
hardware, networked systems, online platforms, raw data, biomaterials
and living organisms), but also considers “the entanglement of
technological systems with other realities, including surveillance, sensory, bodily, environmental, and living systems. They are interested in complex hybrid networks that bridge the digital with the physical and biological realms, speculating on possible synthesized futures”.

Their research outcomes both individually and collectively have taken
the form of interfaces, wearables, toolkits, machines, musical
instruments, compositions and performances, public installations,
architectural spectacles and educational programs.

Situated in China, they have an invested interest in understanding and
participating in local design, technology and societal discourse, as
well how China as a local actor affects the dynamic of the larger global
system.

Bios

Benjamin Bacon is an inter-disciplinary artist, designer and musician
that works at the intersection of computational design, networked
systems, data, sound, installation and mechanical sculpture. He is
currently Associate Professor of Media and Art and Director of Signature
Work at Duke Kunshan University. He is also a lifetime fellow at V2_ Lab
for the Unstable Media in Rotterdam, Netherlands.

He has exhibited or performed his work in the USA, Europe, Iran, and
China such as the National Art Museum of  China (Beijing), Gallery Ho
(NYC), Wave Gotik Treffen (Germany), Chelsea Museum (NYC), Millennium
Museum (Beijing), Plug-In Gallery (Switzerland), Beijing Design Week,
Shenzhen Bay Science Technology and Arts Festival, the  Shanghai
Symphony Hall. Most recently his mechanical life and AI sculpture PROBE
– AVERSO SPECILLO DI  DUCENDUM was collected by the UNArt Center in
Shanghai, China.

https://www.benjaminbacon.studio/ [3]

Vivian Xu is a Beijing-born media artist, designer, researcher and
educator. Her work explores the boundaries  between bio and electronic
media in creating new forms of machine logic, speculative life and
sensory systems  often taking the form of objects, machines,
installations and wearable. Her work has been presented at various
institutions in China, the US, Europe and Australia.

She is an Assistant Professor of Media and Arts at Duke Kunshan
University. She has lectured, held research positions at various
institutions including Parsons New School for Design, New York
University Shanghai, and the Chinese University of Hong Kong (Shenzhen).

https://www.vivianxu.studio/

This event is hosted by ArtSci Salon @ The Fields Institute for
Research in Mathematical Sciences, the NewOne @ UofT and is part of
Leonardo/ISAST LASER TALKS. LASER is a program of international
gatherings that bring artists, scientists, humanists and technologists
together for informal presentations, performances and conversations with
the wider public. The mission of the LASERs is to encourage contribution
to the cultural environment of a region by fostering interdisciplinary
dialogue and opportunities for community building to over 40 cities
around the world. To learn more about how our LASER Hosts and to visit a
LASER near you please visit our website: leonardo.info/laser-talks [5].
@lasertalks_

Interesting timing: two Michaels and Meng Wanzhou

Given the tensions between Canada and China these days, this session with China-based artists intrigues for more than the usual reasons.

For anyone unfamiliar with the situation, here’s a quick recap: Meng Wanzhou, deputy board chair and chief financial officer (CFO) of telecom giant, Huawei, which was founded by her father Ren Zhengfei. has been detained, at a US government request and in accordance with a treaty, since 2018 in one of her two multimillion dollar mansions in Vancouver, Canada. She wears an electronic bracelet for surveillance purposes, must be escorted on her shopping trips and other excursions, and must abide by an 11 pm – 7 am curfew. She is currently fighting extradition to the US with an extensive team of Canadian lawyers.

In what has been widely perceived as retaliatory, China shortly after Meng Wanzhou’s arrest put two Canadians, Michael Kovrig and Michael Spavor, wre arrested and put in prison allowing only severely limited contact with Canadian consular officials. As I write this on March 22, 2021, brief trials have been held (Friday, March 19, 2021 and Monday, March 22, 2021) for both Michaels, no outside observers allowed. It’s unclear as to which or how many lawyers are arguing in defence of either Michael. Sentences will be given at some time in the future.

Tensions are very high indeed.

Moving on to links

You can find the Dogma Lab here. As for Leonardo/ISAST, there is an interesting history,

The journal Leonardo was founded in 1968 in Paris by kinetic artist and astronautical pioneer Frank Malina. Malina saw the need for a journal that would serve as an international channel of communication among artists, with emphasis on the writings of artists who use science and developing technologies in their work. After the death of Frank Malina in 1981 and under the leadership of his son, Roger F. Malina, Leonardo moved to San Francisco, California, as the flagship journal of the newly founded nonprofit organization Leonardo/The International Society for the Arts, Sciences and Technology (Leonardo/ISAST). Leonardo/ISAST has grown along with its community and today is the leading organization for artists, scientists and others interested in the application of contemporary science and technology to the arts and music.

Frank Malina, founder of Leonardo, was an American scientist. After receiving his PhD from the California Institute of Technology in 1936, Malina directed the WAC Corporal program that put the first rocket beyond the Earth’s atmosphere. He co-founded and was the second director of the Jet Propulsion Laboratory (JPL), co-founded the Aerojet General Corporation and was an active participant in rocket-science development in the period leading up to and during World War II.

Invited to join the United Nations Education, Science and Culture Organization (UNESCO) in 1947 by Julian Huxley, Malina moved to Paris as the director of the organization’s science programs. The separation between science and the humanities was the subject of intense debate during the post-war period, particularly after the publication of C.P. Snow’s Two Cultures in 1959. The concept that there was and should be a natural relationship between science and art fascinated Malina, eventually influencing him to synthesize his scientific experience with his long-standing artistic sensibilities. As an artist, Malina moved from traditional media to mesh, string and canvas constructions and finally to experiments with light, which led to his development of systems for kinetic painting.

Here’s a description of the LASER talks from the Leonardo/ISAST LASER Talks event page,

… a program of international gatherings that bring artists, scientists, humanists and technologists together for informal presentations, performances and conversations with the wider public. The mission of LASER is to encourage contribution to the cultural environment of a region by fostering interdisciplinary dialogue and opportunities for community building.

There are two talks scheduled for tomorrow, Tuesday, March 23, 2021 and four talks for Thursday, March 25, 2021 with more scheduled for April on the Leonardo/ISAST LASER Talks event page,

You can find out more about the New College at the University of Toronto here where the New One: Learning without Borders programme is offered. BTW, New College was founded in 1962. You can get more information on their Why New College page.

FACTT (Festival of Art and Science) 2021: Improbable Times on Thursday, Jan.28.21 at 3:30 pm EST

Courtesy: Arte Institute

Plans for last year’s FACTT (Festival of Art and Science) 2020 had to be revised at the last minute due to COVID-19. This year, organizers were prepared so no in person sessions have to be cancelled or turned into virtual events. Here’s more from the Jan. 25, 2021 announcement I received (via email) from one of the festival partners, the ArtSci Salon at the University of Toronto,

Join us! Opening of FACTT 20-21 Improbable Times! 

Thursday, January 28, 2021 at 3:30 PM EST – 5:30 PM EST
Public  · Anyone on or off Facebook – link will be disseminated closer to the event.

The Arte Institute and the RHI Initiative, in partnership with Cultivamos Cultura, have the pleasure to present the FACTT 2021 – Festival Art & Science. The festival opens on January 28, at 8.30 PM (GMT), and will be exhibited online on RHI Stage.

This year we are reshaping FACTT! Come join us for the kick-off of this amazing project!

A project spearheaded and promoted by the Arte Institute we are in or production and conception partners with Cultivamos Cultura and Ectopia (Portugal), InArts Lab@Ionian University (Greece), ArtSci Salon@The Fields Institute and Sensorium@York University (Canada), School of Visual Arts (USA), UNAM, Arte+Ciência and Bioscenica (Mexico), and Central Academy of Fine Arts (China).

Together we will work and bring into being our ideas and actions for this during the year of 2021!

FACTT 20/21 – Improbable Times presents a series of exceptional artworks jointly curated by Cultivamos Cultura and our partners. The challenge of a translation from the physical space that artworks occupy typically, into an exhibition that lives as a hybrid experience, involves rethinking the materiality of the work itself. It also questions whether we can live and interact with each other remotely and in person producing creative effective collaborative outcomes to immerse ourselves in. Improbable Times brings together a collection of works that reflect the times we live in, the constraints we are faced with, the drive to rethink what tomorrow may bring us, navigate it and build a better future, beyond borders.

Watch online: RHI Stage platform – http://bit.ly/3bWCT64 OR on the RHI Think app OR at Arte Institute and RHI Think facebook pages. https://vimeo.com/arteinstitute and youtube @rhi_think

January 28, 2021 | 8:30 PM (GMT)Program:
– Introduction
– Performance Toronto: void * ambience : Latency, with Joel Ong, Michael Palumbo and Kavi
– Performance Mexico “El Tercero Cuerpo Sonoro” (Third Sonorous Body), by Arte+Ciência.
– Q&A

The performance series void * ambience experiments with sound and video
content that is developed through a focus on the topographies and networks through which these flow. Initiated during the time of COVID and social distancing, this project explores processes of information sharing, real-time performance and network communication protocols that contribute to the sustenance of our digital communities, shared experiences and telematic intimacies.

“El Tercero Cuerpo Sonoro” project is a digital drift that explores different relationships with the environment, nature, humans and non-humans from the formulation of an intersubjective body. Its main search is to generate resonances with and among the others.

In these complicated times in which it seems that our existence unfolds in front of the screen, confined to the space of the black mirror, it becomes urgent to challenge the limits and scopes of digital life. We need to rethink the way in which we inhabit the others as well as our own subjectivity.

IEither the RHI FACTT 2021 event page or the Arte Institute FACTT 2021 event page, offer a more detailed and, somewhat, more accessible description,

Program:
– Introduction
– Performance Toronto: Proximal Spaces
Artistic Directors: Joel Ong, Elaine Whittaker
Graphic Designer: Natalie Plociennik Bhavesh Kakwani
AR [augmented reality] development : Sachin Khargie, Ryan Martin
Bioartists: Roberta Buiani, Nathalie Dubois Calero, Sarah Choukah, Nicole Clouston, Jess Holtz, Mick Lorusso, Maro Pebo, Felipe Shibuya
– Performance Mexico Tercero Cuerpo Sonoro (Third Sonorous Body) by Arte+Ciência

FACTT team: Marta de Menezes, Suzanne Anker, Maria Antonia Gonzalez Valerio, Roberta Buiani, Jo Wei, Dalila Honorato, Joel Ong, Lena Lee and Minerva Ortiz.

For FACTT20/21 we propose to put together an exhibition where the virtual and the physical share space, a space that is hybrid from its conception, a space that desires to break the limits of access to culture, to collaboration, to the experience of art. A place where we can think deeply and creatively together about the adaptive moves we had and have to develop to the rapid and sudden changes our lives and environment are going through.

Enjoy!

Toronto’s ArtSci Salon and its Kaleidoscopic Imaginations on Oct 27, 2020 – 7:30 pm (EDT)

The ArtSci Salon is getting quite active these days. Here’s the latest from an Oct. 22, 2020 ArtSci Salon announcement (received via email), which can also be viewed on their Kaleidoscope event page,

Kaleidoscopic Imaginations

Performing togetherness in empty spaces

An experimental  collaboration between the ArtSci Salon, the Digital Dramaturgy Lab_squared/ DDL2 and Sensorium: Centre for Digital Arts and Technology, York University (Toronto, Ontario, Canada)

Tuesday, October 27, 2020

7:30 pm [EDT]

Join our evening of live-streamed, multi-media  performances, following a kaleidoscopic dramaturgy of complexity discourses as inspired by computational complexity theory gatherings.

We are presenting installations, site-specific artistic interventions and media experiments, featuring networked audio and video, dance and performances as we repopulate spaces – The Fields Institute and surroundings – forced to lie empty due to the pandemic. Respecting physical distance and new sanitation and safety rules can be challenging, but it can also open up new ideas and opportunities.

NOTE: DDL2  contributions to this event are sourced or inspired by their recent kaleidoscopic performance “Rattling the the Curve – Paradoxical ECODATA performances of A/I (artistic intelligence), and facial recognition of humans and trees

Virtual space/live streaming concept and design: DDL2  Antje Budde, Karyn McCallum and Don Sinclair

Virtual space and streaming pilot: Don Sinclair

Here are specific programme details (from the announcement),

  1. Signing the Virus – Video (2 min.)
    Collaborators: DDL2 Antje Budde, Felipe Cervera, Grace Whiskin
  2. Niimi II – – Performance and outdoor video projection (15 min.)
    (Nimii means in Anishinaabemowin: s/he dances) Collaborators: DDL2 Candy Blair, Antje Budde, Jill Carter, Lars Crosby, Nina Czegledy, Dave Kemp
  3. Oracle Jane (Scene 2) – A partial playreading on the politics of AI (30 min.)
    Playwright: DDL2 Oracle Collaborators: DDL2 Antje Budde, Frans Robinow, George Bwannika Seremba, Amy Wong and AI ethics consultant Vicki Zhang
  4. Vriksha/Tree – Dance video and outdoor projection (8 min.)
    Collaborators: DDL2 Antje Budde, Lars Crosby, Astad Deboo, Dave Kemp, Amit Kumar
  5. Facial Recognition – Performing a Plate Camera from a Distance (3 min.)
    Collaborators: DDL2 Antje Budde, Jill Carter, Felipe Cervera, Nina Czegledy, Karyn McCallum, Lars Crosby, Martin Kulinna, Montgomery C. Martin, George Bwanika Seremba, Don Sinclair, Heike Sommer
  6. Cutting Edge – Growing Data (6 min.)
    DDL2 A performance by Antje Budde
  7. “void * ambience” – Architectural and instrumental acoustics, projection mapping Concept: Sensorium: The Centre for Digital Art and Technology, York University Collaborators: Michael Palumbo, Ilze Briede [Kavi], Debashis Sinha, Joel Ong

This performance is part of a series (from the announcement),

These three performances are part of Boundary-Crossings: Multiscalar Entanglements in Art, Science and Society, a public Outreach program supported by the Fiends [sic] Institute for Research in Mathematical Science. Boundary Crossings is a series exploring how the notion of boundaries can be transcended and dissolved in the arts and the humanities, the biological and the mathematical sciences, as well as human geography and political economy. Boundaries are used to establish delimitations among disciplines; to discriminate between the human and the non-human (body and technologies, body and bacteria); and to indicate physical and/or artificial boundaries, separating geographical areas and nation states. Our goal is to cross these boundaries by proposing new narratives to show how the distinctions, and the barriers that science, technology, society and the state have created can in fact be re-interpreted as porous and woven together.

This event is curated and produced by ArtSci Salon; Digital Dramaturgy Lab_squared/ DDL2; Sensorium: Centre for Digital Arts and Technology, York University; and Ryerson University; it is supported by The Fields Institute for Research in Mathematical Sciences

Streaming Link 

Finally, the announcement includes biographical information about all of the ‘boundary-crossers’,

Candy Blair (Tkaron:to/Toronto)
Candy Blair/Otsίkh:èta (they/them) is a mixed First Nations/European,
2-spirit interdisciplinary visual and performing artist from Tio’tía:ke – where the group split (“Montreal”) in Québec.

While continuing their work as an artist they also finished their Creative Arts, Literature, and Languages program at Marianopolis College (cégep), their 1st year in the Theatre program at York University, and their 3rd year Acting Conservatory Program at the Centre For Indigenous Theatre in Tsí Tkaròn:to – Where the trees stand in water (Toronto”).

Some of Candy’s noteable performances are Jill Carter’s Encounters at the Edge of the Woods, exploring a range of issues with colonization; Ange Loft’s project Talking Treaties, discussing the treaties of the “Toronto” purchase; Cheri Maracle’s The Story of Six Nations, exploring Six Nation’s origin story through dance/combat choreography, and several other performances, exploring various topics around Indigenous language, land, and cultural restoration through various mediums such as dance,
modelling, painting, theatre, directing, song, etc. As an activist and soon to be entrepreneur, Candy also enjoys teaching workshops around promoting Indigenous resurgence such as Indigenous hand drumming, food sovereignty, beading, medicine knowledge, etc..

Working with their collectives like Weave and Mend, they were responsible for the design, land purification, and installation process of the four medicine plots and a community space with their 3 other members. Candy aspires to continue exploring ways of decolonization through healthy traditional practices from their mixed background and the arts in the hopes of eventually supporting Indigenous relations
worldwide.

Antje Budde
Antje Budde is a conceptual, queer-feminist, interdisciplinary experimental scholar-artist and an Associate Professor of Theatre Studies, Cultural Communication and Modern Chinese Studies at the Centre for Drama, Theatre and Performance Studies, University of Toronto. Antje has created multi-disciplinary artistic works in Germany, China and Canada and works tri-lingually in German, English and Mandarin. She is the founder of a number of queerly feminist performing art projects including most recently the (DDL)2 or (Digital Dramaturgy Lab)Squared – a platform for experimental explorations of digital culture, creative labor, integration of arts and science, and technology in performance. She is interested in the intersections of natural sciences, the arts, engineering and computer science.

Roberta Buiani
Roberta Buiani (MA; PhD York University) is the Artistic Director of the ArtSci Salon at the Fields Institute for Research in Mathematical Sciences (Toronto). Her artistic work has travelled to art festivals (Transmediale; Hemispheric Institute Encuentro; Brazil), community centres and galleries (the Free Gallery Toronto; Immigrant Movement
International, Queens, Myseum of Toronto), and science institutions (RPI; the Fields Institute). Her writing has appeared on Space and Culture, Cultural Studies and The Canadian Journal of Communication_among others. With the ArtSci Salon she has launched a series of experiments in “squatting academia”, by re-populating abandoned spaces and cabinets across university campuses with SciArt installations.

Currently, she is a research associate at the Centre for Feminist Research and a Scholar in Residence at Sensorium: Centre for Digital Arts and Technology at York University [Toronto, Ontario, Canada].

Jill Carter (Tkaron:to/ Toronto)
Jill (Anishinaabe/Ashkenazi) is a theatre practitioner and researcher, currently cross appointed to the Centre for Drama, Theatre and Performance Studies; the Transitional Year Programme; and Indigenous Studies at the University of Toronto. She works with many members of Tkaron:to’s Indigenous theatre community to support the development of new works and to disseminate artistic objectives, process, and outcomes through community- driven research projects. Her scholarly research,
creative projects, and activism are built upon ongoing relationships with Indigenous Elders, Artists and Activists, positioning her as witness to, participant in, and disseminator of oral histories that speak to the application of Indigenous aesthetic principles and traditional knowledge systems to contemporary performance.The research questions she pursues revolve around the mechanics of story creation,
the processes of delivery and the manufacture of affect.

More recently, she has concentrated upon Indigenous pedagogical models for the rehearsal studio and the lecture hall; the application of Indigenous [insurgent] research methods within performance studies; the politics of land acknowledgements; and land – based dramaturgies/activations/interventions.

Jill also works as a researcher and tour guide with First Story Toronto; facilitates Land Acknowledgement, Devising, and Land-based Dramaturgy Workshops for theatre makers in this city; and performs with the Talking Treaties Collective (Jumblies Theatre, Toronto).

In September 2019, Jill directed Encounters at the Edge of the Woods. This was a devised show, featuring Indigenous and Settler voices, and it opened Hart House Theatre’s 100th season; it is the first instance of Indigenous presence on Hart House Theatre’s stage in its 100 years of existence as the cradle for Canadian theatre.

Nina Czegledy
(Toronto) artist, curator, educator, works internationally on collaborative art, science & technology projects. The changing perception of the human body and its environment as well as paradigm shifts in the arts inform her projects. She has exhibited and published widely, won awards for her artwork and has initiated, lead and participated in workshops, forums and festivals worldwide at international events.

Astad Deboo (Mumbai, India)
Astad Deboo is a contemporary dancer and choreographer who employs his
training in Indian classical dance forms of Kathak as well as Kathakali to create a dance form that is unique to him. He has become a pioneer of modern dance in India. Astad describes his style as “contemporary in vocabulary and traditional in restraints.” Throughout his long and illustrious career, he has worked with various prominent performers such as Pina Bausch, Alis on Becker Chase and Pink Floyd and performed in many parts of the world. He has been awarded the Sangeet Natak Akademi Award (1996) and Padma Shri (2007), awarded by the Government of India. In January 2005 along with 12 young women with hearing impairment supported by the Astad Deboo Dance Foundation, he performed at the 20th Annual Deaf Olympics at Melbourne, Australia. Astad has a long record of working with disadvantaged youth.

Ilze Briede [Kavi]
Ilze Briede [artist name: Kavi] is a Latvian/Canadian artist and researcher with broad and diverse interests. Her artistic practice, a hybrid of video, image and object making, investigates the phenomenon of perception and the constraints and boundaries between the senses and knowing. Kavi is currently pursuing a PhD degree in Digital Media at York University with a research focus on computational creativity and generative art. She sees computer-generated systems and algorithms as a potentiality for co-creation and collaboration between human and machine. Kavi has previously worked and exhibited with Fashion Art Toronto, Kensington Market Art Fair, Toronto Burlesque Festival, Nuit Blanche, Sidewalk Toronto and the Toronto Symphony Orchestra.

Dave Kemp
Dave Kemp is a visual artist whose practice looks at the intersections and interactions between art, science and technology: particularly at how these fields shape our perception and understanding of the world. His artworks have been exhibited widely at venues such as at the McIntosh Gallery, The Agnes Etherington Art Centre, Art Gallery of Mississauga, The Ontario Science Centre, York Quay Gallery, Interaccess,
Modern Fuel Artist-Run Centre, and as part of the Switch video festival in Nenagh, Ireland. His works are also included in the permanent collections of the Agnes Etherington Art Centre and the Canada Council Art Bank.

Stephen Morris
Stephen Morris is Professor of experimental non-linear Physics in the faculty of Physics at the University of Toronto. He is the scientific Director of the ArtSci salon at the Fields Institute for Research in Mathematical Sciences. He often collaborates with artists and has himself performed and produced art involving his own scientific instruments and experiments in non-linear physics and pattern formation

Michael Palumbo
Michael Palumbo (MA, BFA) is an electroacoustic music improviser, coder, and researcher. His PhD research spans distributed creativity and version control systems, and is expressed through “git show”, a distributed electroacoustic music composition and design experiment, and “Mischmasch”, a collaborative modular synthesizer in virtual reality. He studies with Dr. Doug Van Nort as a researcher in the Distributed
Performance and Sensorial Immersion Lab, and Dr. Graham Wakefield at the Alice Lab for Computational Worldmaking. His works have been presented internationally, including at ISEA, AES, NIME, Expo ’74, TIES, and the Network Music Festival. He performs regularly with a modular synthesizer, runs the Exit Points electroacoustic improvisation series, and is an enthusiastic gardener and yoga practitioner.

Joel Ong (PhD. Digital Arts and Experimental Media (DXARTS, University
of Washington)

Joel Ong is a media artist whose works connect scientific and artistic approaches to the environment, particularly with respect to sound and physical space.  Professor Ong’s work explores the way objects and spaces can function as repositories of ‘frozen sound’, and in elucidating these, he is interested in creating what systems theorist Jack Burnham (1968) refers to as “art (that) does not reside in material entities, but in relations between people and between people and the components of their environment”.

A serial collaborator, Professor Ong is invested in the broader scope of Art-Science collaborations and is engaged constantly in the discourses and processes that facilitate viewing these two polemical disciplines on similar ground.  His graduate interdisciplinary work in nanotechnology and sound was conducted at SymbioticA, the Center of Excellence for Biological Arts at the University of Western Australia and supervised by BioArt pioneers and TCA (The Tissue Culture and Art Project) artists Dr Ionat Zurr and Oron Catts.

George Bwanika Seremba
George Bwanika Seremba,is an actor, playwright and scholar. He was born
in Uganda. George holds an M. Phil, and a Ph.D. in Theatre Studies, from Trinity
College Dublin. In 1980, having barely survived a botched execution by the Military Intelligence, he fled into exile, resettling in Canada (1983). He has performed in numerous plays including in his own, “Come Good Rain”, which was awarded a Dora award (1993). In addition, he published a number of edited play collections including “Beyond the pale: dramatic writing from First Nations writers & writers of colour” co-edited by Yvette Nolan, Betty Quan, George Bwanika Seremba. (1996).

George was nominated for the Irish Times’ Best Actor award in Dublin’s Calypso Theatre’s for his role in Athol Fugard’s “Master Harold and the boys”. In addition to theatre he performed in several movies and on television. His doctoral thesis (2008) entitled “Robert Serumaga and the Golden Age of Uganda’s Theatre (1968-1978): (Solipsism, Activism, Innovation)” will be published as a monograph by CSP (U.K) in 2021.

Don Sinclair (Toronto)
Don is Associate Professor in the Department of Computational Arts at York University. His creative research areas include interactive performance, projections for dance, sound art, web and data art, cycling art, sustainability, and choral singing most often using code and programming. Don is particularly interested in processes of artistic creation that integrate digital creative coding-based practices with performance in dance and theatre. As well, he is an enthusiastic cyclist.

Debashis Sinha
Driven by a deep commitment to the primacy of sound in creative expression, Debashis Sinha has realized projects in radiophonic art, music, sound art, audiovisual performance, theatre, dance, and music across Canada and internationally. Sound design and composition credits include numerous works for Peggy Baker Dance Projects and productions with Canada’s premiere theatre companies including The Stratford Festival, Soulpepper, Volcano Theatre, Young People’s Theatre, Project Humanity, The Theatre Centre, Nightwood Theatre, Why Not Theatre, MTC Warehouse and Necessary Angel. His live sound practice on the concert stage has led to appearances at MUTEK Montreal, MUTEK Japan, the Guelph Jazz Festival, the Banff Centre, The Music Gallery, and other venues. Sinha teaches sound design at York University and the National Theatre School, and is currently working on a multi-part audio/performance work incorporating machine learning and AI funded by the Canada Council for the Arts.

Vicki (Jingjing) Zhang (Toronto)
Vicki Zhang is a faculty member at University of Toronto’s statistics department. She is the author of Uncalculated Risks (Canadian Scholar’s Press, 2014). She is also a playwright, whose plays have been produced or stage read in various festivals and venues in Canada including Toronto’s New Ideas Festival, Winnipeg’s FemFest, Hamilton Fringe Festival, Ergo Pink Fest, InspiraTO festival, Toronto’s Festival of Original Theatre (FOOT), Asper Center for Theatre and Film, Canadian Museum for Human Rights, Cultural Pluralism in the Arts Movement Ontario (CPAMO), and the Canadian Play Thing. She has also written essays and short fiction for Rookie Magazine and Thread.

If you can’t attend this Oct. 27, 2020 event, there’s still the Oct. 29, 2020 Boundary-Crossings event: Beauty Kit (see my Oct. 12, 2020 posting for more).

As for Kaleidoscopic Imaginations, you can access the Streaming Link On Oct. 27, 2020 at 7:30 pm EDT (4 pm PDT).

Open Call for Artwork—Ontario Science Centre Auction

The deadline is August 23, 2020 and artists get to keep up to 40% of a winning bid. As for the details, here’s more from an August 20, 2020 ArtSci Salon notice (received this morning Aug. 21, 2020 via email),

Hello ArtSci Salon,

I am working at the Ontario Science Centre and I lead their annual fundraiser. Due to COVID, we are not able to hold our traditional sit-down dinner, however we are organizing an eAuction and this year we are excited to be featuring Art in addition to some unique science themed packages.  We are pleased to be able to offer Artists up to 40% of the winning bids!

Would you consider sharing out our call for art to your SciArt community? Please visit our webpage on our event website for details about the Call for artwork and how to apply today. The deadline to apply is August 23.

I came across your artwork via the Sci-Art Gallery site and I am reaching out to a number of artists to consider participating, in addition to placing some ads (via Akimbo and canadainart.ca and various other local art organizations).

The Science Centre is able to leverage our relationship with various media partners who provide in-kind media space (over $450,000 value of ad space!) to help us promote the eAuction. We are also investing in paid targeted social ads to promote the auction to groups who might be interested in specific packages.

Proceeds from the auction will support the Science Centre as we imagine new ways to deliver accessible and innovative science-based learning experiences and programs.

Please feel free to email me with any questions.

Shannon Persaud Tolnay
Head, Events and Donor Communications
shannon.persaudtolnay@osc.on.ca
Phone: 416-696-3123
Cell: 416-992-7127
www.rbcinnovatorsball.ca
www.ontariosciencecentre.ca

Ontario Science Centre
770 Don Mills Road
Toronto, ON M3C 1T3

I found a few more details on the Ontario Science Centre’s Open Call for Artwork webpage,

Artist Participation Agreement (click to download and view the Agreement)

Selection Criteria Innovative connection to Science, Technology, Nature (30%), Aesthetic expression (30%), Diversity and Inclusion (20%), Ease of transport and delivery (20%).

If the Artwork is not sold, no fee will be paid to the Artist.

Employees of the Ontario Science Centre and RBC (title sponsor of the eAuction) are not permitted to submit Artwork for the eAuction, unless they agree to donate 100% of the proceeds.

Jury

Mary Jane Conboy, Chief Scientist, Ontario Science Centre

Ana Klasnja, Senior Multi Media Producer, Ontario Science Centre

Sabrina Maltese, Curator, Museum of Contemporary Art

Tash Naveau, Artist and Indigenous Arts Administrator

Shannon Persaud Tolnay, Head, Events and Donor Communications, Ontario Science Centre

Personal information is collected by the Centennial Centre for Science and Technology under the authority of section 6 of the Centennial Centre of Science and Technology Act, R.S.O. 1990 c. C.5. for the administration of the juried competition to participate in the Ontario Science Centre’s  RBC Innovators’ Online Art Exhibition and eAuction. Any questions about the collection of your personal information should be directed to shannon.persaudtolnay@osc.on.ca.

Tax receipts will not be issued to Artists for Artwork submission in the RBC Innovators’ eAuction. Should the Artist wish to donate their fee back to the Science Centre, a tax receipt can be issued for the amount of the donation.

Acknowledgment, promotion and recognition will begin early October. In advertising materials (i.e. print: Toronto Star, The Globe and Mail, National Post, Restobar and digital: PATH Video walls, globeandmail.com, VerizonMedia, etc) In targeted Social Ads: Paid Facebook / Instagram; Paid Twitter; LinkedIn posts; In donor, member and supporter eNewsletters, On RBC Innovators’ Ball event websites www.rbcinnovatorsball.ca/auction | bidsfortheball.ca POST EVENT: 2020/2021 Annual Report, Sponsor / Donor Wall for one year / Donor newsletter. 2019 in-kind media value total $470,855.

the auction runs from October 26 – November 9, 2020. Good luck!