Tag Archives: Belkin Art Gallery

AI-powered vision reveals wildfire movements; invasive grasses could turn burn scars Into next wildfire; The Structure of Smoke art exhibition (January 9 – April 12, 2026)

Watching a wildfire in British Columbia (BC),

Caption: The McDougall Creek wildfire burns near Okanagan Lake in British Columbia, Canada, in August 2023. Credit: UBC [University of British Columbia] Okanagan

I believe that 2026 is expected to be another banner year for fires in British Columbia and elsewhere. I have two research papers and, at the end of this posting, an art exhibition all of them concerning fire.

A December 3, 2025 University of British Columbia at Okanagan (UBCO) news release (also on EurekAlert), Note: Links have been removed,

How wildfires spread is more variable and unpredictable than Canada’s standard models assume, new research from UBC Okanagan data scientists shows. 

Ladan Tazik, lead author of a new study in Fire and UBC Okanagan doctoral student, used advanced computer vision tools to capture fire behaviour with a level of detail that wasn’t possible even a few years ago.  

Her work sheds light on the random elements of fire movement—information that could reshape how fire behaviour is modelled and forecasted in an era of worsening wildfire seasons. 

“Image processing techniques let us quantify fire behaviour in real time, including the parts that don’t follow consistent patterns,” says Tazik“By capturing the randomness in how fires spread, we can build models that better reflect reality and help improve decision-making during active fire events.” 

Tazik led the design, analysis and modelling that form the backbone of the study.  

She used the “Segment Anything Model”, a state-of-the-art AI tool, to extract fire perimeters from experimental burn videos frame by frame to study fire spread dynamics.  

This allowed her to study directional fire spread on sloped terrain without assuming the fire behaves predictably or spreads in a simple line. 

Her analysis confirmed something firefighters may know instinctively: fires race uphill. But when she compared her measurements with the values used in Canada’s official Fire Behaviour Prediction System, the numbers didn’t always line up.  

Real fires often moved faster, and the influence of slope wasn’t consistent from place to place. 

She tested the method on ponderosa pine and Douglas fir fuels often used in fire research. 

This highlights that small differences in fuel, wind and terrain can add to the unpredictability of fire and introduce important variations in how it spreads.  

Even under nearly identical conditions, the flames didn’t behave the same way twice. 

In practical terms, that means most fire spread is shaped by randomness—far more than today’s deterministic models capture. 

“These results show that we need to pair every spread estimate with a measure of uncertainty,” Tazik explains. “Simply multiplying by a slope factor isn’t enough. Fire is dynamic, and our models should acknowledge that.” 

Research supervisor Dr. W. John Braun says the project demonstrates how emerging computer vision tools can transform wildfire science.  

“Tazik proposed innovative ways to tackle this difficult modelling problem,” he says. “Her work shows how high-resolution perimeter data and advanced modelling can help us understand the real variability in fire behaviour. That’s essential if we want to move toward more probabilistic, data-driven prediction systems.” 

The study also included contributions from Dr. John R.J. Thompson, Assistant Professor of Data Science, Mathematics and Statistics, as well as other partners who provided the experimental and field video datasets.  

While the fuel experiments supported the research, Tazik alone led the segmentation and modelling components. 

Tazik says the next step is to expand the approach to more fuel types and fire conditions and use airborne or satellite imagery to study fire spread dynamics.  

With more Earth observation and remote sensing tools available, she sees an opportunity to build models that better capture wildfire dynamics while embracing the inherent uncertainty of fire, rather than smoothing it away. 

“Fires don’t behave perfectly,” she says. “Our tools shouldn’t pretend they do.” 

Here’s a link to and a citation for the paper,

Stochastic Behaviour of Directional Fire Spread: A Segmentation-Based Analysis of Experimental Burns by Ladan Tazik, Willard J. Braun, John R. J. Thompson, and Geoffrey Goetz. Fire 2025, 8(10), 384; DOI: https://doi.org/10.3390/fire8100384 Published: 25 September 2025

This paper is open access.

Next up,

Invasive grasses

What happens after a wildfire can be dangerous according to a March 19, 2026 University of British Columbia (UBC) news release (also on EurekAlert), Note: Links have been removed,

After a wildfire, the flames may fade, but the danger does not. A new study by UBC researchers reveals that burned landscapes remain vulnerable for years, with large areas still bare and at risk of invasion by fast-growing, fire-prone grasses.

The research, one of the largest vegetation trajectory studies in the world, monitored landscapes two years after major wildfires in interior B.C. While some native plants returned, recovery was slower and more fragile than expected.

One of the most pressing concerns is invasive grasses, which germinate early in spring, dry out during the hottest months, and act as dry runways that spread flames at highway speed—a dynamic that contributed to the 2023 Lahaina fire in Maui and is increasingly likely in B.C.’s Interior.

“Areas that looked like post-apocalyptic ground right after the fire are now blanketed in cheatgrass. Once you can see the invasion, the opportunity for rapid response may already be gone,” said Dr. Jennifer Grenz, senior author and restoration ecologist and a member of Lytton First Nation.

Published in Fire Ecology, the study examined vegetation recovery two years after the 46,000-hectare McKay Creek wildfire near Lillooet, conducted in partnership with six Northern St’át’imc communities on whose territory the fire burned. It was made possible by years of pre-fire invasive plant monitoring collected by the Lillooet Regional Invasive Species Society in collaboration with the BC Provincial Invasive Plant Program and local Indigenous communities—rare baseline data that allowed the team to test long-held assumptions about post-fire invasion.

Elevation plays a critical role in recovery

The analysis showed a clear elevation trend in post-fire plant recovery. At lower elevations, where conditions are hotter, drier and more accessible to human activity, drought-tolerant invasive species quickly gain a foothold. Heavy traffic from hikers, ATVs [all terrain vehicles], hunters and road maintenance equipment continually introduces new seeds, giving invaders like cheatgrass little competition in the valley bottoms.

Moving upslope, cooler temperatures and lingering moisture create less favourable conditions for invasive species. Here, native shrubs are beginning to regenerate, slowing the advance of non-native plants. Recovery is still slow, but native vegetation is re‑emerging where roots survived the fire.

“In a new era of mega-fires, understanding where and how vegetation recovers could determine the intensity of the next wildfire,” said Dr. Grenz.

Controlling invasive plants

With post-fire restoration resources limited, the researchers highlight three actions that could substantially reduce risk: vehicle and boot washing stations at fire access points to slow seed spread; targeted seeding or planting of native species along roads and high-risk corridors; and early herbicide treatment of small infestations before they expand.

The team plans to continue tracking recovery trends to help communities and land managers make informed decisions.

“A landscape left to invasive grasses after one fire becomes more likely to burn again,” said Virginia Oeggerli, a PhD student in Dr. Grenz’s lab who led the study. “Recovery is part of prevention.”

Here’s a link to and a citation for the paper,

Factors influencing early post-wildfire vegetation and implications for invasive plant management in the interior of British Columbia, Canada by Virginia V. Oeggerli, Tara G. Martin, Suzanne W. Simard & Jennifer Grenz. fire ecol (2026). DOI: https://doi.org/10.1186/s42408-026-00463-x Published: 05 March 2026

This paper is open access.

Smoke, fire, and an art exhibit

The mention of death and rebirth give this exhibition a timely quality during the Easter 2026 season. Oddly with an art exhibition titled, “The Structure of Smoke” at the University of British Columbia’s Morris and Helen Belkin Art Gallery doesn’t include some participation from the university’s faculty of forestry and environmental stewardship (FES).

Here’s more about The Structure of Smoke from the Belkin Gallery’s exhibition page, Note: This is written for an academic arts audience and not the average punter (i.e., someone like me)

Through the lens of contemporary artists’ engagement with the metaphorical and literal processes of fire and the spaces it creates and displaces, The Structure of Smoke includes works that problematize the poetic, structural and political aspects of fire. These works complicate the inherent contradictions of wildness and domestication, technological progress and social control, colonial conditions, rebirth and death [emphasis mine]. Holding a smoked mirror to contemporary society, the works in this exhibition offer ways to undo the familiar in how we approach our uncertain future.

Speculative in nature, The Structure of Smoke is associative, contextual and driven by artistic practices that disturb existing power relations and question their own conditions and structures. With a focus on ecologies, interconnectedness and relationality the works and curatorial premise consider relating to land, community, family and wildfire ecologies including the non-human. As we have seen with the migration of smoke across the globe and the birth of a regular fire season, the ways in which we live with fire require new strategies that embrace specific Indigenous and ecological knowledges and the ability to develop relations with fire beyond the spectacle and devastation of its impacts.

[These artists are represented:

asinnajaq, Geoffrey Farmer, Amber Frid-Jimenez, Art Hunter, Brian Jungen,
Heraa Khan, Germaine Koh, Evan Lee, Jeneen Frei Njootli, Other Sights,
Pratchaya Phinthong, Susan Point, Samuel Roy-Bois, Kathy Slade,
Laura Wee Láy Láq and Lawrence Paul Yuxweluptun]

The Structure of Smoke is curated by Melanie O’Brian and Tania Willard and made possible with the generous support of the Canada Council for the Arts, the Province of British Columbia through the BC Arts Council and our Belkin Curator’s Forum members.

The Structure of Smoke handout (PDF) features the artists and the work represented in the show.

There are two events left on the calendar (other than the exhibition itself), from the Belkin Gallery’s exhibition page,

Wednesday, 8 Apr 2026 at 2 pm

Concert at the Belkin: The Structure of Smoke

Join us on Wednesday, 8 April 2026 at 2 pm for a concert by UBC School of Music Contemporary Players inspired by the current exhibition, The Structure of Smoke. Led by Director Paolo Bortolussi with support from Joanne Na, this graduate and undergraduate student ensemble from the UBC School of Music will animate the gallery for an afternoon program celebrating themes and responding to chosen works from this exhibition.

All are welcome and admission is free.

Saturday, 11 Apr 2026, 10 am to 4 pm

Room 105, Lasserre Building, 6333 Memorial Road, UBC

RSVP / Tickets

Gathering: Smoke Forecast

Please join us for Smoke Forecast,  a one-day gathering that foregrounds artistic, embodied and community-engaged practices to approach fire and climate justice. Contextualized by the Belkin’s current exhibition The Structure of Smoke, which problematizes the poetic, structural and political aspects of fires through the work of sixteen contemporary artists, Smoke Forecast will begin from our own experiences in the places we call home, and our felt connections to place and each other. Can we tap into artistic, bodily and otherwise knowledges and community connections to weather the crises on our doorstep, together?

Seeking to complicate the contradictions of wildness and domestication, shelter and vulnerability, technological progress and social control, the gathering will engage arts-based methodologies for developing richer climate change knowledges, where community members are also co-producers of this knowledge.

The day will include two panels, a walkshop, lunch and an exhibition tour with artists, theorists and community practitioners to highlight ecological and Indigenous knowledges on wildfire in a time of climate change.

Smoke Forecast is free and open to all, but space is limited. Please RSVP by 7 April 2026.

Program

10 am: Welcome

10:15-11:15 am: Wildfire, Smoke, Creativity and Grief Taylor Baptiste, Clint Burnham and Liz Toohey-Wiese, moderated by Amy Harris

11:30 am-1 pm: Forest/Weather: A Climate Justice Walkshop
Elee Kraljii Gardiner, Astrida Neimanis, χʷəy̓χʷiq̓tən/ Audrey Siegl and Ruby Singh
Please dress for the weather; while the walk will be slow and gentle, it will be outdoors

1-2 pm: Lunch

2-3 pm: Developer Lightning Lorna Brown, Amber Frid-Jimenez and Samuel Roy-Bois, moderated by Melanie O’Brian

3 pm: Exhibition Tour
Curatorial tour of The Structure of Smoke at the Belkin with Melanie O’Brian and Tania Willard

Smoke Forecast is organized by the Belkin, Astrida Neimanis and Amy Harris, with additional support from the Pacific Institute for Climate Solutions, the UBC Centre for Climate Justice and the UBC Department of Art History, Visual Art and Theory.

Morris and Helen Belkin Art Gallery
University of British Columbia
1825 Main Mall
Vancouver, British Columbia,
Canada V6T 1Z2 Map
xʷməθkʷəy̍əm | Musqueam Territory

Contact

Telephone: +1 (604) 822-2759
Email: belkin.gallery@ubc.ca

Happy Easter! Joyeuses Pâques!

Two events on October 22, 2025: Belkin Art Gallery (Vancouver, Canada) & the Perimeter Institute (Waterloo, Canada)

Two events on the same day. albeit thousands of kilometres apart, and both of them have a ‘physics’ flavour.

Perimeter Institute for Theoretical Physics (PI) October 22, 2025 event

Usually, the Perimeter Institute announces that tickets will be available at a specific time for an event being held two or more weeks later.Tthis one is coming up next week (Wednesday, October 22, 2025) and tickets are already available, from an October 15, 2025 PI announcement (received via email),

100 Years of Quantum: Perspectives on its Past, Present, and Future

Wednesday, October 22, [2025] at 6:45 pm ET

Join us to mark 100 years since a revolutionary idea changed physics forever.

In July 1925, on the island of Helgoland, Werner Heisenberg made a breakthrough that gave rise to modern quantum theory. A century later, physicists are still exploring what it truly means.

This public event celebrates the quantum centenary with a panel discussion bringing together experts in the history and philosophy of physics and researchers studying quantum foundations, to discuss the past, present, and future of quantum theory. The diverse perspectives of the panellists promise a dynamic and engaging exploration of the most profound and the most puzzling topics in physics today.

Don’t miss out! Free tickets to attend this event in person are available now.

In-Person Tickets

If you didn’t get tickets for the lecture, not to worry – you can always catch the livestream on our website or watch it on YouTube after the fact.

Watch Online

Here’s more from the event registration page,

Date and time

Starts on Wednesday, October 22 [2025] · 6:45pm EDT

Location

Perimeter Institute for Theoretical Physics
31 Caroline Street North Waterloo, ON N2L 2Y5

Agenda

6:00 p.m.

Doors Open


Perimeter’s main floor Atrium will be open for ticket holders, with researchers available to answer science questions until the talk begins.

6:45 p.m. – 6:45 p.m.

Doors Close


Theater doors close to ensure all guests have enough time to enter and be seated by our ushers.

7:00 p.m. – 8:00 p.m.

Public Talk


The talk will begin at 7:00 PM, offering a live stream for virtual attendees. This will include a full presentation in the Theatre as well as a Q&A session.

8:00 p.m. – 8:30 p.m.

Atrium (Optional)


After the talk, head to the Atrium to mingle with other attendees and meet the speaker.

Learn more about panel moderator Adam Becker, author of What Is Real?: https://freelanceastrophysicist.com/

Enjoy! There are still tickets available for in person attendance.

One more note, Adam Becker’s website provides more information such as this,

I’m Adam Becker. I’m a journalist, author, and erstwhile astrophysicist.

My new book, More Everything Forever, is about the terrible plans that tech billionaires have for the future and why they don’t work. Silicon Valley’s heartless, baseless, and foolish obsessions—with escaping death, building AI tyrants, and creating limitless growth—are about oligarchic power, not preparing for the future. According to Elon Musk, Jeff Bezos, Sam Altman, and more, the only good future for humanity is one powered by fantastical technology: trillions of humans living in space, functionally immortal, served by superintelligent AIs. These are wildly implausible and profoundly immoral visions of tomorrow—and in reality, there is no good evidence that they will, or should, come to pass. Nevertheless, these obsessions fuel fears that overwhelm reason—for example, that a rogue AI will exterminate humanity—at the expense of essential work on solving crucial problems like climate change. These futuristic visions cloak a hunger for power under dreams of space colonies and digital immortality. The giants of Silicon Valley claim that their ideas are based on science, but the reality is darker: they come from a jumbled mix of shallow futurism and racist pseudoscience.

My first book, What is Real?, is about the unfinished quest for the meaning of quantum physics. The New York Times liked that one too; they called it “a thorough, illuminating exploration of the most consequential controversy raging in modern science.” If you want a taste of what that book is like, check out this interactive essay based on the book, about the strangest result in all of quantum physics. Errata for the book are here.

The full title of Becker’s latest book (published April 2025) is “More Everything Forever: AI Overlords, Space Empires, and Silicon Valley’s Crusade to Control the Fate of Humanity” and the full title for his 2018 book is “What is Real? The Unfinished Quest for the Meaning of Physics.”

Belkin Art Gallery (University of British Columbia [UBC] in Vancouver, Canada)

There are more events but my interest was this one, from an October 16, 2025 Belkin Art Gallery announcement (received via email) and available online here,

Conversation [Uncanny slippages: Time and transformation] with Bronwen Tate and Adele Ruosi

Wednesday, October 22 [2025] at noon

For this noon-hour conversation in the gallery, Bronwen Tate (School of Creative Writing) and Adele Ruosi (Department of Physics and Astronomy) will speak to Uncanny Slippages: Time and Transformation, bringing physics and poetic form together, addressing themes of materiality, structure, rhythm and metaphor—inviting reflection on scale, pattern and the felt experience of space and matter as they resonate with Akhavan’s practice [Abbas Akhavan: One Hundred Years exhibition, September 5 – December 7, 2025]. This talk is part of a series of noon-hour conversations at the Belkin where UBC scholars discuss productive intersections of their own work and the current exhibition, followed by a discussion that includes the audience.

Be sure to pick up a copy of Bronwen Tate’s text, “The Window and the Bridge.” As part of Akhavan’s work LOOP, local writers were invited to contribute a text using the word “loop” as a catalyst; Tate’s writing will be available only until the end of October [2025].


Bronwen Tate’s text, “The Window and the Bridge” is available at the Belkin (either in the exhibit area or at the front desk).

Ars Scientia Essay Prize (contest): The Art-Science Connection

The contest is for undergraduate students at the University of British Columbia (UBC) and the deadline is Wednesday, April 30, 2025 at 6 pm PT. I’ve got more about the contest from an April 23, 2025 Belkin Gallery (The Belkin) newsletter (received via email and it can be seen here for a limited time)

Ars Scientia Essay Prize: The Art-Science Connection

Deadline: Wednesday, April 30 at 6 pm

$1,000 Prize for the Winning Entry

Ars Scientia, UBC’s interdisciplinary initiative at the intersection of art and science, welcomes all UBC undergraduate students across campus to participate in our 2025 Essay Prize. This is an opportunity to explore the profound and often catalyzing connections between these two fields. If we take the long view, art and science have been considered pursuits comfortably woven together for most of human history. Somehow over the past two centuries we lost sight of that holistic worldview and these disciplines became seemingly incompatible. You are invited to write an essay considering how art and science are inextricably linked in fundamental and generative ways, addressing specific examples you have encountered – in a lab, an experiment; in an exhibition, an artwork; perhaps a thought experiment.

READ MORE…

From the Belkin Gallery’s Ars Scientia Essay Prize 2025 webpage,

….

Details & Submission

Eligibility: UBC undergraduate students

Prize: $1000 for the winning entry

Publication: The best essay will be published on the Ars Scientia website, featured in the Quantum Matter Institute’s newsletter, and shared through other relevant online platforms.

Length: 1000-word limit

Deadline: 6 PM PDT, Wednesday, 30 April, 2025

How to Submit: email your essay as a PDF attachment to: arsscientia@ubc.ca

As part of Ars Scientia’s mission to foster dialogue between artistic and scientific inquiry, this competition is an invitation for you to explore, challenge, and celebrate creative intersections of art and science. We look forward to your insights!

Good luck.

For anyone who’s curious about Ars Scientia, I have a lot more about this partnership between the University of British Columbia’s (UBC; Vancouver, Canada) Stewart Blusson Quantum Matter Institute (Blusson QMI), Morris & Helen Belkin Art Gallery (the Belkin), and its Department of Physics and Astronomy (UBC PHAS). Just search ‘Ars Scientia’ in this blog’s search engine.

February 1, 2024 talk about ‘CULTUS’: a scifi, queer art installation at the University of British Columbia’s Belkin Gallery in Vancouver, Canada

Spanning religiosity, science fiction, contemporary perspectives on artificial intelligence, and the techno-industrial complex, artist Zach Blas and writer/editor Jayne Wilkinson will be discussing CULTUS, an art installation currently being shown as part of the Belkin Gallery’s January 12 – April 14, 2024 exhibition, Aporia (Notes to a Medium),

Zach Blas, CULTUS , 2023, from the 2024 exhibition at Arebyte Gallery, London, UK. Courtesy of the artist. Photo: Max Colson

Here’s what the folks at the Belkin Art Gallery (Morris and Helen Belkin Art Gallery) had to say in their January 30, 2024 announcement (received via email),

Artist Talk with Zach Blas and Jayne Wilkinson

Thursday, February 1 at 5 pm 

Please join us for a lecture by interdisciplinary artist Zach Blas, with a dialogue to follow with writer/editor Jayne Wilkinson. Blas will discuss his most recent work, CULTUS, the second in a trilogy of queer science-fiction installations addressing the beliefs, fantasies and histories that are influential to the contemporary tech industry. CULTUS (the Latin word for “worship”) considers the God-like status often afforded to artificial intelligence (AI) and examines how this religiosity is marshalled to serve beliefs about judgement and transcendence, extraction and immortality, pleasure and punishment, individual freedom and cult devotion. The conversation to follow will address some of the pressing intersecting political and ethical questions raised by both using and critiquing contemporary image technologies like AI.

This conversation will be audio-recorded; email us at belkin.gallery@ubc.ca if you are interested in listening to the recording following the event.

This talk is presented in conjunction with the Belkin’s exhibition Aporia (Notes to a Medium) and Critical Image Forum, a collaboration between the Belkin and the Department of Art History, Visual Art and Theory at UBC.

For anyone (like me) who’s never heard of either Blas or Wilkinson, there’s more on the Belkin’s event page,

Zach Blas is an artist, filmmaker and writer whose practice draws out the philosophies and imaginaries residing in computational technologies and their industries. Working across moving image, computation, installation, theory and performance, Blas has exhibited, lectured and held screenings at venues including the 12th Berlin Biennale for Contemporary Art, Whitney Museum of American Art, Tate Modern, 12th Gwangju Biennale and e-flux. His 2021 artist monograph Unknown Ideals is published by Sternberg Press. Blas is currently Assistant Professor of Visual Studies at the University of Toronto.

Jayne Wilkinson is a Toronto-based art writer and editor.

Should you be interested in attending the talk and/or the exhibition, here are some directions, from the Belkin Gallery’s Visit webpage,

Directions

The Morris and Helen Belkin Art Gallery is located at the University of British Columbia Vancouver campus, 1825 Main Mall, Vancouver BC, V6T 1Z2

Open in Maps

By Public Transit

TransLink offers many routes to UBC, including several express services (44, 84, R4, 99). The UBC Bus Loop is the last stop for each of these buses, and is located in the central area of campus near the AMS Nest. To get to the gallery, walk west on University Boulevard. (about 1 block) until you reach Main Mall. Turn right onto Main Mall and continue for about 3 blocks until you reach Crescent Road. We are located on your left at the corner of Main Mall and Crescent Road, near the Flagpole Plaza.

By Car

From downtown Vancouver, proceed west on West 4th Avenue, which becomes Chancellor Blvd and then merges with NW Marine Drive. Continue west on NW Marine Drive, to the Rose Garden Parkade (on your left).

From the airport, proceed to SW Marine Drive. Stay on SW Marine Drive, which eventually merges with NW Marine Drive. Continue just past the Museum of Anthropology (on your left) to the Rose Garden Parkade (on your right).

Accessibility

Entrance

The Belkin is wheelchair accessible. The main entrance is located on the east side of the building next to Main Mall. For people requiring wheelchair or easier accessibility, use the ramp from Crescent Road to access the main gallery doors.  This entrance is level and accessible and has both a revolving door and a powered wheelchair-accessible door.

Washrooms

Washrooms are all-gender and include two multi-stall washrooms with wheelchair-accessible stalls and one stand-alone washroom that is wheelchair accessible.

Seating

Portable gallery stools are available for use.

Large Print Materials

Large print materials are available.

ASL Interpretation

ASL interpreters are available upon request for Belkin programs and events. To request interpretation for an event or tour, please contact us in advance.

Service Animals

Service dogs are welcome to accompany visitors.

Scent

The Belkin’s office is scent free. Occasionally, there are works or projects that are scent-focused.

Please ask our staff if you require any assistance or have any questions.

Admission to the gallery is free.

‘Drift: Art and Dark Matter’ at Vancouver’s (Canada) Belkin Art Gallery from 10 September – 05 December 2021

The drift in “Drift: Art and Dark Matter” (at the Belkin Art Gallery) comes from a mining term for an almost horizontal passageway or tunnel in a mine. (This makes sense when you realize SNOLAB is one of the partners for this show. For anyone unfamiliar with SNOLAB, there is more coming shortly.)

The show itself appears to be a suite of multimedia installations from four artists, which were first shown at the Agnes Etherington Art Centre at Queen’s University, Ontario.

Image: Josèfa Ntjam, Organic Nebula, 2019, photomontage, mixed techniques. Collection of the artist [one of the Drift show artists]

For anyone who’s primarily interested in the show’s Belkin Gallery appearance, scroll down to the “Drift moves to the Belkin in British Columbia” subhead where you’ll find an invitation to the show’s opening and more about the BC collaboration. **As of Sept. 9, 2021, I have updated the ‘questions’ subsection (scroll down to ?) with newly arrived answers.**

Drift: the show and the art/science residencies at Queen’s University

This show, which ran from 20 February to 30 May 2021, had its start at Queen’s University (Ontario) where it featured astroparticle physics, art/science residencies, and artists Nadia Lichtig, Josèfa Ntjam, Anne Riley and Jol Thoms, (from the Drift: Art and Dark Matter exhibition webpage on the Agnes Queen’s University site; Note: The Agnes is also known as, the Agnes Etherington Art Centre), Note: A link has been removed,

Some kind of invisible matter is having a gravitational effect on everything. Without the gravity of this “dark” matter, galaxies would fly apart. Observational data in astroparticle physics indicate that it exists, but so far dark matter hasn’t been directly detected. Given the contours of such an unknown, artists Nadia Lichtig, Josèfa Ntjam, Anne Riley and Jol Thoms reflect on the “how” and “why” of physics and art as diverse and interrelating practices of knowledge. Through open exchange between disciplines, they have created works that are sensory agents between scientific ideas of dark matter and the exploration of that which has never been directly sensed.

Drift: Art and Dark Matter is a residency and exhibition project generated by Agnes Etherington Art Centre, the Arthur B. McDonald Canadian Astroparticle Physics Research Institute and SNOLAB. Four artists of national and international stature were invited to make new work while engaging with physicists, chemists and engineers contributing to the search for dark matter at SNOLAB’s facility in Sudbury, two kilometres below the surface of the Earth.

The title Drift draws from the mining term for a horizontal tunnel, in this case the hot underground passageway in the copper and nickel mine stretching between the elevator and the clean lab spaces of SNOLAB. The project thereby begins from a reflection on the forms and energies that connect physics to art, labour, landscapes, cultures and histories.

We acknowledge the support of the Canada Council for the Arts, Ontario Arts Council, an agency of the Government of Ontario, City of Kingston Arts Fund through the Kingston Arts Council and the George Taylor Richardson Memorial Fund at Queen’s University.

Partners

The Arthur B. McDonald Canadian Astroparticle Physics Research Institute is the Canadian hub for astroparticle physics research, uniting researchers, theorists, and technical experts within one organization. Located at and led by Queen’s University, the McDonald Institute is proud to have thirteen partner universities and research institutes across the country, all of which are key players in Canada’s past and future innovation in astroparticle physics.

VISIT site >

SNOLAB is a world-class science facility located deep underground in the operational Vale Creighton nickel mine, near Sudbury, Ontario in Canada. The combination of great depth and cleanliness that SNOLAB affords allows extremely rare interactions and weak processes to be studied.  The science programme at SNOLAB is currently focussed on sub-atomic physics, largely neutrino and dark matter physics. SNOLAB seeks to enable, spearhead, catalyze and promote underground science, while inspiring both the public and future professionals in the field.

VISIT website >

SNO stands for Sudbury Neutrino Observatory according to the information in my June 6, 2019 posting about a then upcoming talk tiled, Whispering in the Dark: Updates from Underground Science. More recently, I noted that TRIUMF’s (Canada’s national particle accelerator centre) new Chief Executive Officer, Nigel Smith, was moving to Vancouver from Sudbury’s SNOLAB in my May 12, 2021 posting.

Drift’s online exhibition at the Agnes can still be accessed and there is lots to see.

There’s a little more to be had from the Drift: Art and Dark Matter exhibition webpage on the Agnes website,

Artist Biographies

Nadia Lichtig is an artist currently living in the South of France. In her multilayered work, voice is transposed into various media including painting, print, sculpture, photography, performance, soundscape and song—each medium approached not as a field to be mastered, but as a source of possibilities to question our ability to decipher the present. Visual and aural aspects entangle in her performances.

Lichtig studied linguistics at the LMU Munich in Germany and at the Ecole des Beaux-Arts de Paris, France with Jean-Luc Vilmouth, where she graduated with honours in 2001, before assisting Mike Kelley in Los Angeles, USA the same year. She taught at the Shrishti School of Art and Technology, Bangalore, India as a visiting professor in 2006, at the Ecole des Beaux-Arts of Valence in 2007, and is professor of Fine Arts at the Ecole Supérieure des Beaux-arts of Montpellier (MOCO-ESBA), France since 2009. She has collaborated with musicians who are also visual artists, such as Bertrand Georges (Audible), Christian Bouyjou (Popopfalse), Nicolu (La Chatte), Nina Canal (Ut) and Michael Moorley (The dead C). Nadia Lichtig worked and works under several group names and pseudonyms (until 2009: EchoparK, Falseparklocation, Skrietch, Ghosttrap and Nanana).

Josèfa Ntjam was born in 1992 in Metz (FR), and currently lives and works in Paris. Ntjam is part of a generation of artists who grew up with the internet, communicating and sending images by electromagnetic wave. Working with video, text, installation, performance and photomontage, Ntjam creates a story with every piece that acts as a reflection of the world around her. Drawing connections to science fiction and the cosmos, Ntjam has said of her work, “I sat there some time ago with Sun Ra in his Spaceship experimenting with a series of alternative stories. An exoteric syncretism with which I travel as a vessel in perpetual motion.”

Ntjam studied in Amiens and Dakar (Cheikh Anta Diop University) and graduated from l’Ecole Nationale Supérieure d’Art, Bourges (FR) and Ecole Nationale Supérieure d’Art, Paris-Cergy (FR). Her works and performance have been shown at numerous venues such as the 15th Biennial of Lyon, DOC! Paris, a la Zentral (CH), Palais de Tokyo, Beton Salon, La Cite internationale des arts, la Bienanale de Dakar (SN), Let Us Rflect Festival (FR), FRAC de Caen, and CAC Bretigny.

Anne Riley is a multidisciplinary artist living as an uninvited Slavey Dene/German guest from Fort Nelson First Nation on the unceded Territories of the Musqueam, Squamish and Tsleil-waututh Nations. Her work explores different ways of being and becoming, touch, and Indigeneity. Riley received her BFA from the University of Texas at Austin in 2012. She has exhibited both in the United States and Canada. Currently she is working on a public art project commissioned by the City of Vancouver with her collaborator, T’uy’tanat Cease Wyss. Wyss and Riley’s project A Constellation of Remediation consists of Indigenous remediation gardens planted throughout the city, decolonizing and healing the dirt back to soil. The duo was longlisted for the 2021 Sobey Art Award.

Riley’s that brings the other nearly as close as oneself, included in the 2015 exhibition Every Little Bit Hurts at Western Front, foregrounded touch, impression and embodied experience. It featured a wall drawing created by the artist rubbing, dragging and moving her body across the gallery wall wearing raw-dyed denim. “I’m interested in queer touch as a radical act,” she says. “It’s not always possible because of fear. But I’m also investigating first touch between mother and child. I have the same hands as my mother and my great grandmother.”

Jol Thoms is a Canadian-born, European-based artist, author and sound designer. Both his written and moving-image work engage posthumanism, feminist science studies, general ecology and the environmental implications of pervasive technical/sensing devices. In the fields of neutrino and dark matter physics he collaborates with renowned physics institutes around the world. These “laboratory-landscapes” are the focus of his practice led PhD at the University of Westminster. In 2017 Thoms was a fellow of Schloss Solitude and resident artist at the Bosch Campus for Research and Advanced Engineering.

Thoms graduated with an Honors BA in Philosophy, Art History and Visual Studies from the University of Toronto (2009) and later studied under Prof. Simon Starling at the Städelschule in Frankfurt (2013). Between 2014 and 2016 he developed and taught an experimental creative-research program for architecture students at the University of Braunschweig with then interim director Tomás Saraceno. In 2016 Thoms won the MERU Art*Science Award for his film G24|0vßß, which was installed in the Blind Faith: Between the Cognitive and the Visceral in Contemporary Art group exhibition at Haus der Kunst, Munich.

Drift moves to the Belkin in British Columbia

An invitation (also received via email) to the show’s launch in BC is for the evening before the show officially opens,

Thursday 9 Sep 2021, 6 pm

Please join us for the opening of Drift: Art and Dark Matter  with a performance-conversation between artists Denise Ferreira da Silva and Jol Thoms. This event is free and open to the public, but space is limited due to COVID-19 safety protocols. To ensure a spot, please RSVP to belkin.rsvp@ubc.ca.

Opening remarks will begin at 6 pm, followed by a conversation with Ferreira da Silva and Thoms who will touch on intersections between the films Soot Breath / Corpus Infinitum (2021) and n-Land (2021), both of which will play throughout the evening on the Belkin’s Outdoor Screen.

Soot Breath / Corpus Infinitum (2021) is a film collaboration between Arjuna Neuman and Denise Ferreira da Silva. Moving across scales geologic, historic-cultural, quantum and cosmic, the work reimagines knowledge and existence without the limits of European and Colonial constructions of the human.

n-Land (2021) is an audio-visual composition by Jol Thoms. Examining context and agency through scales at once geologic, cosmic and human, the piece probes the ecological ethics of our time through a holographic, multi-dimensional view of the SNOLAB site.

The official dates for Drift are Friday, September 10, 2021to December 5, 2021.

As best as I can tell from the Morris & Helen Belkin Art Gallery (the Belkin) homepage description of ‘Drift’, the show will comprise the original series of installations from the four artists featured at the Agnes. The new work from art/science residencies at the University of British Columbia (UBC), where the Belkin is located will be featured in artist talks and in a symposium to be held in November 2021.

Here’s how the newest residencies are described and a list of the various supporting agencies in an undated announcement on the Galleries West website,

As a complement to the Drift exhibition, the Belkin is collaborating with the Stewart Blusson Quantum Matter Institute (SBQMI) and the Department of Physics and Astronomy at UBC on Ars Scientia [emphasis mine], an interdisciplinary research project fusing the praxes of art and science that will include artist-scientist residencies and a research symposium.

We acknowledge the support of the Canada Council for the Arts, Ontario Arts Council, an agency of the Government of Ontario, City of Kingston Arts Fund through the Kingston Arts Council and the George Taylor Richardson Memorial Fund at Queen’s University. The project is curated by Sunny Kerr, Curator of Contemporary Art at Agnes Etherington Art Centre. The Belkin gratefully acknowledges [emphasis mine] the generous support of the Canada Council for the Arts, the Province of British Columbia through the BC Arts Council, UBC Grants for Catalyzing Research Clusters, and our Belkin Curator’s Forum members.

Ars Scientia

There’s a brief description of Ars Scientia in the graduate school webspace located on the UBC website. Emily Wight’s March 22, 2021 article for the Stewart Blusson Quantum Matter Institute (SBQMI) provides more detail about Ars Scientia (the first para. is the least interesting),

The Stewart Blusson Quantum Matter Institute (Blusson QMI) has partnered with the Morris & Helen Belkin Art Gallery (the Belkin) and UBC’s Department of Physics and Astronomy (UBC PHAS) in Ars Scientia, a new project that connects physicists and artists in an effort to find shared ways of communicating about science and explaining the world around us. The partnership was recently awarded two years of funding through the UBC Research Excellence Cluster program.

Though the project is in its early days, the team at Ars Scientia is already working quickly to partner scientists with artists who will conduct six-month residencies in order to explore the potential for academic art-science collaborations; much of the cluster’s early programming will be in support of DRIFT: Art and Dark Matter (DRIFT), an exhibit set to debut at the Belkin in September 2021. DRIFT is a collaborative exhibit that has linked artists and scientists in exploring ways of describing that which exists beyond the limits of our language and understanding; most recently, the exhibit connected the Agnes Etherington Art Centre at Queen’s University, the Arthur B. McDonald Canadian Astroparticle Physics Research Institute, and SNOLAB.

This partnership is a promising early step in Blusson QMI’s mission to engage meaningfully with the art community and external audiences, and an opportunity for an enriching exchange of knowledge and perspective. Students in particular will benefit from this exchange; by inviting artists into labs and research spaces, trainee scientists will gain valuable insight into how someone with different expertise might interpret their work, and how to communicate more effectively about their research. New programs are under development and will be announced soon.

Ars Scientia is co-led by Andrea Damascelli, UBC PHAS [Dept. of Physics and Astronomy] Professor and Blusson QMI Scientific Director; Jeremy Heyl, UBC PHAS Professor; and Shelly Rosenblum, Curator of Academic Programs at the Belkin, and supported by a team of staff including Program Manager James Day.

Art/science residencies in BC

I found this undated announcement on the Belkin Art Gallery website,

Ars Scientia: Merging Artistic Practice with Scientific Research

The long search for dark matter has put the spotlight on the limitations of human knowledge and technological capability. Confronted with the shortcomings of our established modes of detecting, diagnosing and testing, the search beckons the creation of new ways of learning and knowing. Fusing the praxes of arts and science in the emergent fields of interdisciplinary research, Ars Scientia, a tripartite partnership between UBC’s Stewart Blusson Quantum Matter Institute (SBQMI), the Department of Physics and Astronomy and the Belkin, presents an opportunity to foster new modes of knowledge exchange across the arts, sciences and their pedagogies. Funded by UBC’s Research Excellence Cluster program, Ars Scientia will conduct rich programming and research to address this line of inquiry over the next two years beginning in 2021.

The Ars Scientia research cluster has begun this interdisciplinary work by partnering scientists with artists to conduct six-month residencies that explore the potential for academic art-science collaborations. [List is not complete] Artists Justine A. Chambers, Josephine Lee, Khan Lee and Kelly Lycan have partnered with physicists Rysa Greenwood, Alannah Hallas, Daniel Korchinski, Kirk Madison, Sarah Morris and Luke Reynolds to identify areas of collaborative research in pursuit of both scientific and artistic aims. The residencies will culminate in a research symposium where collaborative findings will be shared, set to take place in November 2021 [emphases mine].

Much of the early programming of Ars Scientia will be in support of Drift: Art and Dark Matter (7 September-5 December 2021) at the Belkin, a residency and exhibition project generated by Agnes Etherington Art Centre, the Arthur B. McDonald Canadian Astroparticle Physics Research Institute and SNOLAB.

There is what seems to be a more complete list of the participants in the Belkin/Blusson residency on the same webpage as the undated announcement of the above,

  • Justine A. Chambers
  • Andrea Damascelli
  • James Day
  • Rysa Greenwood
  • Jeremy Heyl
  • Daniel Korchinski
  • Josephine Lee
  • Khan Lee
  • Kelly Lycan
  • Kirk Madison
  • Susana Mendez Álcala
  • Sarah Morris
  • Marcus Prasad
  • Luke Reynolds
  • Shelly Rosenblum
  • Emily Wight

You’ll notice two things should you go to the undated announcement. First, some of the names are clickable; these are the artists’ biographies. Second, Emily Wight who wrote the March 22, 2021 article for the Stewart Blusson Quantum Matter Institute (SBQMI) is also on the list. I also noticed that a couple of the names belong to people who are staff members, James Day (Ars Scientia Program Manager) and Marcus Prasad (from his personal website: Academic Programs Assistant at the Belkin Assistant Project Coordinator for Ars Scientia).

?

On Thursday, Sept. 2, 2021, I emailed some followup questions for the folks at the Belkin. Sadly, I failed to take into account that long weekend, which gave them very little time to respond before I planned to post this. Should I receive any replies, I will update this posting.

*ETA September 9, 2021: Marcus Prasad, Academic Programs Assistant at the Belkin Assistant Project Coordinator for Ars Scientia, very kindly sent answers to the questions:

Here are the questions:

  • Would you have any details about the talks, projects, and/or symposium?

*One of Ars Scientia’s main projects is a residency program between UBC physicists and 4 artists who have been paired up or grouped together to think through an arts-science collaboration. As practicing professionals in their respective fields, they have been asked to think about points of intersection and difference in their disciplines, as well as to formulate new ways of knowing and learning from each other. The intent of this residency program is to provide time and space for these collaborations to unfold in whatever way the participants desire. We plan to have a symposium/gathering event at the end of November where findings from these collaborations can be presented in a large discussion. While this research cluster is topically related to the Drift exhibition at the Belkin, it is somewhat of a separate entity. Programming in the research cluster complements the Belkin’s exhibition, but will continue over the next couple of years after Drift has left the gallery. [emphases mine]

  • Will there be an online version of the BC work? (e.g., the Agnes had and still has an online version of the show.)

*I am unsure what kind of online presence the Belkin will have for the works in the exhibition specifically, but documentation of related events and programming is often made available on their website.

  • I noticed that Emily Wight who wrote the March 22, 2021 article about the show for the ‘Stewart Blusson’ is also listed as one of the participants. The only (more or less) relevant online reference I could find for Ms. Wight was at Carleton University for a student art show. Is this the same person? Is she an artist and/or writer who’s participating in the residency?

*Emily Wight is part of the steering committee for Ars Scientia, along with myself, James Day, and Susana Mendez Álcala. Shelly Rosenblum, Andrea Damascelli, and Jeremy Heyl are the cluster co-leads, and the rest of the listed names are either artists or physicists participating in the residency.

**Note: Susana Mendez Álcala is the Large Grants and Awards Officer at the SBQMI.

  • Will there be some talks that focus on astrophysics? e.g., Might someone from TRIUMF such as the new CEO, Nigel Smith who came here from the SNOLAB give a talk? [See my May 12, 2021 posting about TRIUMF’s new Chief Executive Office {CEO}]
  • Following on that thought, will there be any joint events with other organizations as there were with The Beautiful Brain show? [See my September 11, 2017 posting titled: “Art in the details: A look at the role of art in science—a Sept. 19, 2017 Café Scientifique event in Vancouver, Canada” for more about that exhibit and its associated events ?

*To my knowledge, we have not planned for a talk with TRIUMF as of yet. The QMI is working on programming with the H.R. MacMillan space centre for Dark Matter Days, however, and we do plan to expand our reach to other organizations in the second year of our cluster.

**Prasad also had this to say: “… we are in the midst of getting an Ars Scientia website up, so there’ll be more concrete information on there to come.”

**Thank you to Marcus Prasad for the answers and for clearing up a few matters that I had not thought to ask about.**

One comment: I have had difficulties accessing the Belkin Gallery website, e.g., most of Wednesday, Sept. 1, 2021 and on the morning of Friday, September 3, 2021. Hopefully, they’re experiencing just a few glitches and nothing more serious.

There you have it.