Is there some sort of misunderstanding between Toronto’s ArtSci Salon and the Onsite Gallery at OCAD (Ontario College of Art and Design) University)?
Previously, I featured a series organized around the ‘more-than’human’ exhibition at the Onsite Gallery which included events being held by the ArtSci Salon in my February 1, 2023 posting. This morning (April 3, 2023), I received, via email, an April 2, 2023 ArtSci Salon announcement about some upcoming events for the ‘Re-situating: more-than-human’ event series (sigh), Note 1: They’ve added a poet to the Poetry Night, added more detail to the May 2023 excursion, and added a call for projects; Note 2: The Onsite Gallery continues call to it the ‘more-than-human’ exhibition,
Poetry Night Wednesday, April 5  – 7:30-9:30
An immersive poetry performance that involves three poets reading poems and a site-specific live projection mapping response created by artist Ilze Briede (Kavi). Come to this in-depth and unique event of deep listening and embodied experience!
Dr. Madhur Anand, School of Environmental Sciences, University of Guelph Dr. Karen Houle, College of arts, University of Guelph
Liz Howard, Department of English, Concordia University
Projection mapping by Ilze Briede (Kavi) PhD student, York University
Don’t forget next event of the Re-Situating series:
The rare Charitable Research Reserve is an urban land trust and environmental institute in Waterloo Region/Wellington, protecting over 1,200 acres of highly sensitive lands.
This event follows and concludes several interdisciplinary dialogues on ethics of care, ecology, symbiosis, and human-plant relations. We weave together embodied discovery and sensory experience ; listening and thinking about the ethical and material implications of recognizing non-human individuals as valuable ; as well as different disciplines, epistemologies, positionalities. Our goal is to acquire better awareness of the ecological community to which we belong, with the intention of rethinking and resituating the human within a diverse, complex, and multifaceted ecosystem of other-than-human lifeforms.
The day will begin with a panel between artists and scientists investigating the social, economic, and natural complexities affecting both human and plant-life. The afternoon events will include a 30-minute walk through the wetlands at rare (wetland as carbon sinks), a Master Class led by Dr. Alice Jarry (the design of plant-based air filtration), and a rare led walk following the ecological lichen monitoring.
IMPORTANT! Bus will leave for rare at 9 am and will return to Toronto at 5:30 pm.
Please, note: Tickets are limited. Should you not be able to attend, please let us know so we can free up the space for someone else.
We require a nominal registration fee of $5 which will be refunded on the day of the event.
Sunday, May 7  – 9:00 am – 5:30 pm
Meeting place: Onsite gallery, 199 Richmond Street West.
11:00 am-12:30 pm: Panel
Sumia Ali, McMaster University
Grace Grothaus, PhD candidate, York University
Dr. Alice Jarry, Speculative Life BioLab, Concordia University
Dr. Marissa Davis, University of Waterloo
12:30-1:30pm: lunch – catered
1:30-2:15 Wetlands walk
Dr. Alice Jarry, Speculative Life BioLab, Concordia University – Plant based filtration systems
4:30-5:15 The lichen monitoring walk. This program at rare is one of several long-term ecological monitoring programs yielding valuable baseline data and can help to identify critical changes in ecosystem dynamics.
5:30 – return to Toronto
For more information and for media inquiries please contact Roberta Buiani – ArtSci Salon, The Fields Institute firstname.lastname@example.org Jane Tingley – Slolab, York University email@example.com
From the April 2, 2023 ArtSci Salon announcement (received via email),
call for GLAM Incubator projects for 2023 – 2024
For more information about the Call for Projects please visit the GLAM Incubator’s website For specific questions about the Incubator or this year’s call, please email me directly at firstname.lastname@example.org. I am happy to answer any questions you or any potential partner organizations might have.
The GLAM Incubator is a research and support hub that connects galleries, libraries, archives, and museums with industry partners, researchers, and students to advance the development of seedling projects that benefit cultural institutions, industry, and the research and teaching goals of universities worldwide. The overarching goal of the Incubator is to provide support to experimental projects that benefit the GLAM industries and engages students. It provides the broader context and overarching structure for an ongoing series of responsive, finite, cross-sector action research collaborations. A collaboration between the Faculty of Information and the Knowledge Media Design Institute at the University of Toronto, the GLAM Incubator provides space, administrative assistance, research expertise, equipment, event facilitation, limited funding, and knowledge mobilization.
Each year, the GLAM Incubator puts out a Call for Projects from GLAM institutions for small-scale projects that experiment or incubate new programming, service models, interactive experiences, technical services, knowledge media, and user interfaces that will have an impact on GLAM institutions or professions more broadly. Please consult our Call for Projects page for more information.
The GLAM Incubator is a theory and innovation lab dedicated to launching and supporting small-scale projects focused on the development of cutting-edge programming, service models, interactive experiences, knowledge media, and user interfaces that address a specific issue or opportunity associated with emerging technologies within the GLAM sector. The themes and contents of the projects supported by the Incubator evolve in keeping with shifting technological developments and in response to the fluctuating needs and concerns of the various stakeholders involved in the cultural industry sectors (professionals, patrons, funders).
The Incubator will use its resources and infrastructure to run multiple projects concurrently. In addition to meeting the above criteria, projects will demonstrate a capacity to engage a diversity of stakeholders, as well as new and existing community partners. Projects will be “small-scale,” with a well-bounded research design (e.g. a study addressing a specific issue or timed opportunity faced by a community or industry partner) and short-term (1-3 years) duration. Active projects will be set up in a “doored lab,” either dedicated or shared. The Incubator will purchase or assist with the purchase of technological equipment and software required for the research. It will assist with administrative tasks and knowledge mobilization activities, as described in more detail below. It will provide in-kind support to help project leads secure external grants to fund other costs associated with the research (including research assistant salaries, conference travel, etc.). In exchange, project leads and their teams will ensure that a significant proportion of the research activities occur within that space.
Project teams must participate in an annual Symposium and engage their research and results in Incubator-supported knowledge mobilization activities, public or community outreach activities, and student engagement opportunities, where applicable.
Incubator projects will be selected through an application process.
Two-page description of the project that includes an explanation of the project’s purpose and impact on a GLAM industry or profession;
Resume(s) of the lead applicant(s);
A list of collaborators including brief biographies or descriptive information
Sustainability for continuing the project after incubation
A list of potential equipment, space, administrative, and funding needs.
We also welcome inquiries from potential applicants.
Enjoy the events and good luck with your submission to GLAM.
Should you be interested in an ArtSci Salon event (and part of whatever this series and exhibition is being called), titled ‘On Ethics of Care’, held in late March 2023, there’s an embedded two hour video on their ‘Re-situating: more-than-human’ webpage,
Toronto’s Art/Sci Salon’s January 30, 2023 announcement (received via email) lists information for two organizations, the Onsite Gallery’s events and the Salon’s own events.
This gallery is located in Toronto, Ontario at 199 Richmond St. W. From the homepage, “It is the flagship professional gallery of OCAD [Ontario College of Art and Design] University and an experimental curatorial platform for art, design and new media.”
From the Onsite Gallery ‘more-than-human‘ event page. First, there’s the exhibition (Note 1: I found the gallery’s event page I’m using here more informative than the email announcement; Note 2: I have not included the images featuring the artists and their work),
February 01 to May 13, 2023
Curated by Jane Tingley
Core exhibition of the CONTACT Photography Festival
more-than-human presents media artworks at the intersection of art, science, Indigenous worldviews, and technology that speculatively and poetically use multimodal storytelling as a vehicle for interpreting, mattering, and embodying more-than-human ecologies. The artworks in this exhibition aim to critically and emotionally engage with the important work of decentering the human and rethinking the perspective that sees nature as a lifeless resource for exploitation. Many of the artworks use technological and scientific tools as entry points for witnessing and interacting with these more-than-human worlds, as they help visualize phenomena beyond human sensory perception while nevertheless situating us within them. Combined, the artworks in the show weave a story that tells a tale of symbiosis, intersections, and more-than-human relationality. They incorporate scientific, philosophical, and Indigenous perspectives to create an experiential tapestry that asks the viewer to reconsider, reorient, and rethink relationships with the more-than-human.
Jane Tingley is an artist, curator, Director of the SLOlab: Sympoietic Living Ontologies Lab and Associate Professor at York University. Her studio work combines traditional studio practice with new media tools – and spans responsive/interactive installation, performative robotics, and telematically connected distributed sculptures/installations. Her works is interdisciplinary in nature and explores the creation of spaces and experiences that push the boundaries between science and magic, interactivity, and playfulness, and offer an experience to the viewer that is accessible both intellectually and technologically. Using distributed technologies, her current work investigates the hidden complexity found in the natural world and explores the deep interconnections between the human and non-human relationships. As a curator her interests lie at the intersection art, science, and technology with a special interest in collaborative creativity as impetus for innovation and discovery. Recent exhibitions include Hedonistika (2014) at the Musée d’art contemporain (Mtl, CA), INTERACTION (2016) and Agentsfor Change (2020) at THE MUSEUM (Kitchener, CA). As an artist she has participated in exhibitions and festivals in the Americas, the Middle East, Asia, and Europe – including translife -International Triennial of Media Art at the National Art Museum of China, Beijing, Elektra Festival in Montréal (CA) and the Künstlerhause in Vienna (AT). She received the Kenneth Finkelstein Prize in Sculpture (CA), the first prize in the iNTERFACES – Interactive Art Competition (PT).
Ursula Biemann is an artist, author and video essayist. Her artistic practice is research oriented and involves fieldwork from Greenland to Amazonia, where she investigates climate change and the ecologies of oil, ice, forests and water. In her multi-layered videos, she interweaves vast cinematic landscapes with documentary footage, science fiction poetry and academic findings to narrate a changing planetary reality. In 2018, Biemann was commissioned by Museo de Arte, Universidad Nacional de Colombia in the co-creation of a new Indigenous University in the South of Colombia led by the Inga people in which she contributes the online platform Devenir Universidad. Her recent video installation Forest Mind (2021) emerges from this long-term collaboration. She has published numerous books, including Forest Mind (2022) and the audiovisual online monograph Becoming Earth on her ecological video works between 2011-2021. Biemann has exhibited internationally with recent solo exhibitions at MAMAC, Nice and the Centre culturel suisse, Paris. She is appointed Doctor honoris causa in Humanities by the Swedish University Umea, and has received the 2009 Prix Meret Oppenheim, the Swiss Grand Award for Art, and the 2022 Zurich Art Award.
Lindsey french (she/they) is a settler artist, educator and writer whose work engages in multi- sensory signaling within ecological and technological systems. She has exhibited widely including at the Museum of Contemporary Art (Chicago), the International Museum of Surgical Science (Chicago), Pratt Manhattan Gallery (New York), the Miller Gallery for Contemporary Art (Pittsburgh), and SixtyEight Art Institute (Copenhagen). Recent publications include chapters for Ambiguous Territory: Architecture, Landscape, and the Postnatural (Actar, 2022), Olfactory Art and The Political in an Age of Resistance (Routledge, 2021), Why Look at Plants (Brill, 2019), and poetry for the journal Forty-Five. They earned an interdisciplinary BA in Environment, Interaction, and Design (Hampshire College), and an MFA in Art and Technology Studies (School of the Art Institute of Chicago). Newly based in the prairie landscape of Treaty 4 territory in Regina, Saskatchewan, french teaches as an Assistant Professor in Creative Technologies in the Faculty of Media, Art, and Performance at the University of Regina.
Grace Grothaus Is a computational media artist whose research explores ecosystemic human and plant relationships in relation to the present global climate crisis and speculative futures. She is interested in art’s potential to foster empathy with more-than-human worlds. Frequently collaborative, Grace works with scientists, engineers, musicians and other visual and performing artists. Her research-creation is expressed as physical computing installations which take place both outdoors or in the gallery and often center around the sensing and visualization of invisible environmental phenomena. Her artworks have been exhibited widely including at the International Symposium of Electronic Art (Barcelona, ES & Durban, SA), Environmental Crisis: Art & Science (London, UK), Cité Internationale des Arts (Paris, FR), and the World Creativity Biennale (Rio de Janiero, BR). Grothaus has received numerous awards including from the United States National Foundation for Advancement in the Arts. Currently she is working towards a PhD in Digital Media from York University where she has been named a VISTA scholar and a Graduate Fellow of Academic Distinction.
Dolleen Tisawii’ashii Manning is an interdisciplinary artist and Queen’s National Scholar in Anishinaabe Language, Knowledge, and Culture (ALKC) in the Department of Philosophy and Cultural Studies at Queen’s University. Manning has expertise in Anishinaabe ontology, mnidoo interrelationality, phenomenology, and art. A member of Kettle and Stoney Point First Nation, her primary philosophical influence and source of creativity is her early childhood grounding in Anishinaabe onto- epistemology. She is Principal Investigator of Earthdiver: Land-Based Worlding (MITACS), and Co-Investigator on Pluriversal Worlding with Extended Reality. Manning co-directs the cross- institutional Peripheral Visions Co-Lab (York and Queen’s). She is an affiliate of Revision Centre for Art and Social Justice, and Fellow of The International Institute for Critical Studies in Improvisation (IICSI).
Mary Bunch is a media artist, Canada Research Chair, and Associate Professor, Cinema and Media Arts at York University. Through theoretical inquiry and collaborative research creation, Bunch mobilizes queer, feminist, disability and decolonial frameworks to better understand peripheral worldmaking imaginaries in media arts and intermedial performance. She is co-editor of a special issue on Access Aesthetics in Public, Principal Investigator on the research creation project Pluriversal Worlding with Extended Reality (SSHRC Insight) and co-investigator on Earthdiver: Land- Based Worlding (MITACS). Dr Bunch is co-director of the Peripheral Visions Co- Lab, Executive Committee member of Sensorium: Centre for Digital Arts and Technology, a core member of Vision: Science to Applications (VISTA), a Fellow at the Bonham Centre for Sexual Diversity Studies, and an Affiliate of Revision Centre for Art and Social Justice.
Suzanne Morrissette (she/her) (she/her) is an artist, curator, and scholar who is currently based out of Toronto. Her father’s parents were Michif- and Cree-speaking Metis with family histories tied to the Interlake and Red River regions and Scrip in the area now known as Manitoba. Her mother’s parents came from Canadian-born farming families descended from United Empire loyalists and Mennonites from Russia. Morrissette was born and raised in Winnipeg and is a citizen of the Manitoba Metis Federation. As an artistic researcher Suzanne’s interests include: family and community knowledge, methods of translation, the telling of in-between histories, and practices of making that support and sustain life. Her two recent solo exhibitions, What does good work look like? and translations recently opened in Toronto (Gallery 44) and Montreal (daphne art centre) respectively. Her work has appeared in numerous group exhibitions such as Lii Zoot Tayr (Other Worlds), an exhibition of Metis artists working with concepts of the unknowable, and the group exhibition of audio-based work about waterways called FLOW with imagineNATIVE Film + Media Art Festival. Morrissette holds a PhD from York University in Social and Political Thought. She currently holds the position of Assistant Professor and Graduate Program Director for the Criticism and Curatorial Practices and Contemporary Art, Design, and New Media Histories Masters programs at OCAD University.
Joel Ong (PhD, MSc.Bioart) is a media artist whose works connect scientific and artistic approaches to the environment, developed from more than a decade of explorations in sound, installation and socially conscious art. His conceptual explorations revolve around metaphors of distance, connectivity, assiduously reworking this notion of the ‘environment’ – how different tools and scales of observation reveal diverse biotic and abiotic relationalities, and how these continually oscillate between natural and computational worlds. His works have been shown at internationally at the Currents New Media Festival, Nuit Blanche Toronto, Seattle Art Museum, the Gregg Museum of Art and Design, the Penny Stamps Gallery and the Ontario Science Centre etc. Joel is Associate Professor in Computational Arts and Director of Sensorium:The Centre for Digital Arts and Technology at York University, in Toronto, Canada. His research has been funded by such as SSHRC, eCampus Ontario, Women and Gender Equality Canada.
Rasa Smite and Raitis Smits are Riga and Karlsruhe based artists and co-founders of RIXC Center for New Media Culture in Riga [Latvia], co-curators of RIXC Art and Science Festival, chief-editors of Acoustic Space, as well as co-chairs of recently founded NAIA – Naturally Artificial Intelligence Art association in Karlsruhe, Germany. Together they create visionary and networked artworks – from pioneering internet radio experiments in 1990s, to artistic investigations in electromagnetic spectrum and collaborations with radio astronomers, and more recent “techno-ecological” explorations. Their projects have been nominated (Purvitis Prize 2019, 2021, International Public Arts Award – Euroasia region 2021), awarded (Ars Electronica 1998, Falling Walls – Science Breakthrough 2021) and shown widely including at the Venice Architecture Biennale, Latvian National Museum of Arts, House of Electronic Arts in Basel, Ars Electronica Festival in Linz, and other venues, exhibitions and festivals in Europe, US, Canada and Asia. More recently they both also have been lecturers in MIT ACT – Art Culture Technology program (2018-2021), Boston.
Rasa Smite holds a PhD in sociology of media and culture; her thesis Creative Networks. In the Rear-View Mirror of Eastern European History (11) has been published by The Amsterdam Institute for Network Cultures. Currently she is a Professor of New Media Art at Liepaja University, and Senior Researcher at FHNW Academy of Art and Design in Basel, Switzerland.
Raitis Smits holds his doctoral degree in arts, and he is a Professor at the Art Academy of Latvia. In 2017 Raitis was a Fulbright Researcher in the Graduate Center of NYC.
Artists Rasa Smite & Raitis Smits, Grace Grothaus, Suzanne Morrissette and Lindsey french introduce their works exhibited in more-than-human and engage in a discussion about their practice. Moderated by Jane Tingley.
Forest Mind (31 minutes) tackles the underlying concepts that distinguish the Indigenous knowledge systems from that of modern science, gauging the limits of rationalism which has dominated Western thinking for the last 200 years.
Artists Joel Ong, Jane Tingley, Dolleen Tisawii’ashii Manning and Mary Bunch introduce their artworks their works exhibited in more-than-human and engage in a discussion about their practice. Moderated by Lisa Deanne Smith.
I got a notice (via email) from Toronto’s ArtSci Salon about Sensoria: The Art and Science of Our Senses 2022. This looks interesting and it is confusing as to which site is hosting which installations/art pieces. It starts nice and easy and then … Here’s more from the notice,
Sensoria: the Art & Science of Our Senses is a multi-site exhibition and symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada.
Held simultaneously in both locations, the exhibition and symposium will engage multi-sensory research that revitalizes our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
The exhibition component is co-curated by distinguished curator Nina Czegledy (Agents for Change: Facing the Anthropocene, 2020 & Leonardo/ ISAST 50th Celebrations, 2018) and Sensorium director Joel Ong. Czegledy brings together an international network of artists and scholars who explore the intersection of art, science and the senses. Sited concurrently in both Poland and Toronto, the exhibition will explore the dissociative potential of contemporary technologies on the senses, treating it not only as a social crisis but also an opportunity for creative play and experimentation. It aims to engage a conversation about the senses from the perspective of art, but also science, incorporating artists that straddle the boundaries of knowledge production in a variety of ways.
The event will be complemented by a workshop by Csenge Kolozsvari.
Kolozsvari brings together somatic practices (crawling side by side, drawing, moving with bags full of water, walking backwards, playing with breath, touching textures, voicing etc.) with the concept of the schiz, cut, or interval, following philosophers Deleuze and Guattari in their book Anti-Oedipus. The aim is to build practices that do not presuppose where bodies begin and end, and to agitate the habitual narratives of bodily borders and edges as solid and knowable.
The symposium leverages the exhibition content as the starting point for more in-depth conversation about the connective aesthetics of everyday sensing and the knowledge-creation potential of artists and scientists collaborating in innovative ways. The socio-political turbulences we have experienced worldwide during the last decade have created unprecedented social and personal strife. While connections are sustained now amongst virtual networks that straddle vast spaces, how might we consider the sharing of intimate senses through smell, touch, and bodily movement as a form of mutual support? The symposium explores questions such as these with keynote presentations by Ryszard Khuszcynski [I believe this is the correct spellling: Ryszard Kluszczyński], Chris Salter and David Howse, as well as roundtables between artists and scientists, and performances by Csenge Kolozsvari and York University’s DisPerSions Lab (led by Doug Van Nort). All aspects of the symposium will be presented with virtual components, so as to allow both in-person engagement in Toronto and virtual presence in Gdansk and elsewhere.
Now for details about the Gdansk portion, from the LAZNIA Centre for Contemporary Art (LCCA) event page, (Note 1: This is quite lengthy. Note 2: If you follow the link to the LCCA event page, you may need to click the English language option [upper right hand corner of the screen] and, then, scroll down to click MORE at the bottom of the left text column.)
Dates of the exhibition: 16 September–30 October 2022 Location: CCA Laznia 1 oraz CCA Laznia 2 Curator: Nina Czegledy
Exhibition: September 16-October 30, 2022 Places: Laznia 1 ( Jaskółcza 1) and Laznia 2 (Strajku Dokerów 5), Gdańsk
Opening: September 16, 2022 – time. 19.00 (Laznia 1, Dolne Miasto) – time. 20.30 (Laznia 2, Nowy Port)
During the vernissage, we provide transport by bus from Łaźnia 1 to Łaźnia 2 and back.
Artists: Guy van Belle | Karolina Hałatek | Csenge Kolozsvari | Hilda Kozari | Agnes Meyer-Brandis | Gayil Nalls | Raewyn Turner and Brian Harris | Artur Żmijewski
Sensoria, The Art & Science of Our Senses
Sensoria, The Art & Science of Our Senses a multi-site project is focused on multisensory perception in the arts and the sciences. The cross-disciplinary initiative explores our sensory world through scientific, social, cultural and scholastic interpretations. The exhibitions, performances and the symposium link LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland (1) and Sensorium: Centre for Digital Art and Technology at York University, Toronto, Canada (2) in a cross-institutional and inter-cultural collaboration. The participation of international artists in the exhibition and symposium span the globe from New Zealand to Finland to the Czech Republic and reflect on the effects of recent ecological and socio-cultural alterations on sensory organisms in humans and other species.
We perceive the world through our senses, yet for a long time the senses were treated as independent perceptual modules. Contemporary research confirmed that our senses are fundamentally interrelated and interact with each other (3). Moreover, our perception of visual, auditory or tactile events change as a result of information exchange between receptors (4). The impact of radical changes such as the constraints of the COVID 19 Pandemic caused extensive psycho-emotional stress and has affected every aspect of our life from geopolitics to economies to the arts and sciences including sensory awareness (5). Considering implications of COVID-19 for the human senses Derek Victor Byrne noted that initial work has shown short- and likely longer-term negative effects on the human senses (6). Curatorial reflection of these issues presented in the last years became essential.
The way that we perceive our environment via our sensory systems has been frequently a source of controversy concerning one of the basic characteristics of our existence. (7).
As David Howes observed ”The perceptual is cultural and political, and not simply (as psychologists and neuroscientists would have it) a matter of cognitive processes or neurological mechanisms located in the individual subject” (8)
With the changing notions of the constitution of sentient beings a revision of knowledge – led to a closer engagement with the traditional experience by indigenous peoples. The benefits of Nature on our sensorial being are well known, however it is important to remember that our attitude to, and representation of Nature is always closely linked to political, religious, environmental and social considerations. In investigating sensory awareness the impact of the geographical, cultural and social context on individual sensory perception cannot be underestimated (9).
Curatorial research and development of the Sensoria project since 2019 was aimed to present the theme in an unconventional way. International artist residencies, workshops, presentations and thematically related round table discussions in collaboration with local Polish academic and corporate research institutions were offered before the Pandemic in 2019 and 2020. Strategically, the exhibitions now focus on a “return” to the sensory capacity of the body after the last two and a half years of telematic and virtual modes of communication that have biased the audio-visual spectrums of sensory experience.
While the estrangement of the senses have been exacerbated by technologies in the way media elements have contributed to the dissociation of the senses from one another and a subsequent bias of audio-visual content in our digital and virtual environments, the SENSORIA exhibition adapt what Caroline Jones (10) has described as the “creatively dissociated self”. In her landmark exhibition “Sensorium” of 2006 , she considers the dissociative potential of contemporary technologies on the senses as an invitation to engage in creative play and experimentations around this prospect. In this way, SENSORIA builds on the unique interests of the artists curated around the olfactory, tactile and sonic senses; and explores the tensions of telematic/virtual co-presence over two geographically separate galleries.
The exhibition’s primary goal is to create a broad visibility for the wide variety of art project concerning sensory perception. It aims to engage a conversation about the senses from the perspective of art, but also science, incorporating artists that straddle the boundaries of knowledge production in a variety of ways. In Poland, the exhibition linked established European artists with local Polish ones; the Toronto hub similarly links international artists in the main hubs with local artists. In this way, the exhibition forges networks across continents and ideas, bringing a range of different perspectives together to explore how our globalized world has both linked and disconnected us from one another. In addition, being situated simultaneously in both sites, Sensoria also builds on the unique interests of the artists curated around the olfactory, tactile and sonic senses; and explores the tensions of telematic/virtual co-presence over two geographically separate galleries. Sensoria artists, curated through a collaborative process with the project’s lead curators and team members, have been invited to considered site-specific adaptations of their internationally renowned artworks. In this way, the goal of the project is to revitalize our sensory connections to our immediate surroundings, through and despite technological tools, networks and latencies; and to share in a collective experience and discussion of them. In addition, the symposium component hosted by Sensorium at York University focuses on a “return” to the sensory capacity of the body after the last two and a half years of telematic and virtual modes of communication that have biased the audio-visual spectrums of sensory experience. The constraints of the Pandemic have precipitated our current estrangement from our sensuous surroundings, and with the gradual and tentative reopening of regulations in North America, Europe and the world this Spring, we expect a resurgence in a desire for people to engage once again with the multi-sensory sensorium, prioritizing the senses of smell, touch and taste that have broadly been neglected in collective experience. The Sensoria symposium will feature artists, curators and theorists through a series of keynote lectures, performances and artist panels.
Sincere thanks to the LAZNIA Team, especially Lila Bosowska and Aleksandra Ksiezopolska for our curatorial collaboration in the difficult times of the last three years. Sincere thanks to Ryszard Kluszczyński for advising the Sensoria project.
Respectful acknowledgements to Jadwiga Charzynska Director of Laznia.
Last but not least deepest thanks to Prof. Yu-Zhi Joel Ong for his role in expanding Sensoria into an international cross-institutional collaboration.
2 Sensorium: Centre for Digital Art and Technology at York University (Sensorium) Toronto, Canada. https://sensorium.ampd.yorku.ca/
3 Burston, D and Cohen J. 2015 Perceptual Integration, Modularity, and Cognitive Penetration In: Cognitive Influences on Perception: Implications for Philosophy of Mind, Epistemology, and Philosophy of Action (pp.123-143). Oxford University Press
4 Masrour F, Nirshberg, G, Schon Nm Leardi J and Barrett Emily Revisiting the empirical case against perceptual modularity Front Psychol. 2015; 6: 1676. Published online 2015 Nov 4. doi: 10.3389/fpsyg.2015.01676
5. Tasha R Stanton, T,R and Spence Charles. The Influence of Auditory Cues on Bodily and Movement Perception. Front. Psychol., 17 January 2020 Sec. Perception Science https://doi.org/10.3389/fpsyg.2019.03001
6. Byrne, V Effects and Implications of COVID-19 for the Human Senses, Consumer Preferences, Appetite and Eating Behaviour: Volume I Foods. 2022 Jun; 11(12): 1738. Published online 2022 Jun 14. doi: 10.3390/foods11121738
7. Mc Cann, H. Our sensory experience of the pandemic https://pursuit.unimelb.edu.au/
8 Howes, D Architecture of the Senses. https://www.david-howes.com/DH-research-sampler-arch-senses.htm
9 D B Rose Val Plumwood’s Philosophical Animism: Attentive Inter-actions in the Sentient World Environmental Humanities 3(1):93-19
10 Jones C. The Mediated Sensorium. https://citythroughthebody.files.wordpress.com/2013/08/sensorium.pdf
Descriptions of the artworks presented at Sensoria:
Agnes Meyer Brandis Berlin based artist contributes One Tree ID and Have a tea with a Tree“ to the Sensoria exhibition. One Tree ID is a biochemical and Biopoetic Odour Communication Installation The project One Tree ID transforms the ID of a specific tree into a perfume that can then be applied to the human body. By applying it, a person can invisibly wear not just characteristics of the tree he/she is standing next to, but also use parts of its communication system and potentially have a conversation that – although invisible and inaudible by nature – might still take place on the biochemical level plants use for information exchange. VOC and Have a tea with a Tree provides a booking link to a personal video conference with up to 16 trees. The trees will participate in real time. Address for conference booking: www.teawithatree.com. The internet protocol is secured.
Polish artist Karolina Hałatek will present “Ascent” – a large-scale site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany. Most importantly, Ascent offers a unique immersive experience, that invites the viewer to become its central point, and transforms the perception of the viewer on a sensual level. The light and the fog create a monumental dynamic space that is participatory, the space that opens up a new dimension and directs the attention toward the bodily sensations in the explicit environment. The viewer is free to approach the work according to its own sensual response, but direct interaction can offer the potential to evoke a new perceptual imagination.
Bodylandscapes by Csenge Kolozsvari is a single channel video piece feeling-with the fascial planes (connective tissues) of bodies; thinking them beyond human scales and temporalities, as constantly emerging fields. The camera is a listening device for the softness of skin-talk; a composition of detailed skin-textures and close-ups of body parts that are imperceptibly transitioning into one another, following creases and swellings, creating landscapes in-the-making. The video is a proposition for remembering the ecological ways of our belonging, of other ways of knowing, connecting into the vastness that surrounds us and moves across us, of becoming-environment once again.
Artur Zmijewski a Polish artist asked a group of visually impaired people to paint the world as they see it. The result is compiled in Blindly a video with sound. Some of the volunteers were congenitally disabled; others became blind in their lifetime. In the film they draw self-portraits and landscapes, occasionally asking the artist for instructions or giving verbal explanation for their decisions. Their paintings are clumsy and abstract. It is however not the resulting works but the process of making them that is at the core of the film.
Hilda Kozari leads a 3 hour-long memory workshop with visually impaired participants and Emilia Leszkowicz a local neuroscientist coordinated with the Education Department of LAZNIA. The workshop is focused on, triggering smell memories and discussions of the scents and the memories triggered by them. Tactility is also a theme of this workshop for the visually impaired participants which is conveyed via felt discs in various sizes. From the different sizes of the discs it is possible to form the Braille verbs and messages.
The findings and results of the workshop material to be transferred on the Sensoria exhibition walls. The multisensory installation is accessible for visually impaired visitors during the exhibition. For other visitors for rethinking perception, enjoying the smell and touch of the installation and seeing the Braille signs as spatial, visually fascinating structure. It is hoped that this is an opportunity recognising the visually impaired as active members of the community.
Gayil Nalls from New York city brings her World Sensorium project to Sensoria World Sensorium which was officially part of New York City’s millennium event “Times Square 2000: The Global Celebration at the Crossroads of the World,” where for 24 hours around New Year’s Eve, the peoples and cultures of nations around the world were celebrated through sight, sound, and—with World Sensorium— scent. World Sensorium is a large-scale, transdisciplinary, olfactory artwork comprised of botanical substances formulated by country population percentages into a single global essence. The phytoconstituents are those most valued by humanity since ancient times, plants established through ethnobotanical research and a global survey process with world governments. Discussion of the World Sensorium link between psychology and olfaction, and the phenomena of odor-evoked memory follows. Individuals attending are invited to participate in ‘Experience World Sensorium:Poland “ and have a chance to dive beneath the insightful a fragmentary memoir of their own experience at a future date.
Raewyn Turner & Brian Harris, New Zealand based artists present Read Reed at Sensoria. Read Reed proceeds from the mythological story of the discretion of Midas’s hairdresser who, feeling that he may betray Midas’s trust, dug a hole in the earth and spoke into it whereby he laid his secret, only to have the secret broadcast to the world via the whispering reeds which grew over the hole. ReedRead relates to data misinterpretation, hidden secrets and the desire for vast wealth. The artists are using the story of secrets whispered into a hole in the earth and the inevitable leakage and exposure of secrets as a starting point. Data from any source including reeds swishing in the wind may be formed into letters and words that relate to digital capitalism and the obscuring of knowledge through the unknowns of ambiguity, uncertainty and risk. Both the clandestine nature of pervasive monitoring and the authorization for increasing the scope and breadth of collected information originates with NSA’s aspiration to sniff it all, know it all, exploit it all etc., and is part of creating the conditions for digital capitalism.
Guy Van Belle in collaboration with Krzysztof Topolski and the Gdansk University Choir present Fanfara Gdansk performance using a simple and open setup for the participatory visitors/performers. For centuries the arts were rather interested in the non-human expressions around or communication and phenomena that we faintly or hardly understand. To quote Paul Demarinis “Music is sound to my ears”. The sound score gives an indication of discrete and continuous time, pitches and amplitudes, complexities and silences, some combinatory ideas, etc. in the form of sounds you can listen to, sing/play along with it or counter, imitate and enrich it… The expressivity and performativity aims at providing a real time interpretation of the sound score.
The Fanfara Gdansk performance consists of a backtrack with recorded and computer generated birdsongs, which is transmitted over local FM, and received by the musicians on headsets from their phones, tables, portable radio receivers. All musicians are ‘singing’ along with the birdsongs, but they can also bring additional small handheld objects that produce sound: battery operated electronics; resonating objects, … some megaphones and small amplifiers will be available, but all wearable. The singers from the choir move slowly in formation together with the additional musicians and participatory audience, towards the entrance of the exhibition. Any single movement from the musicians and the audience influences the position of the others.
There’s more about the Toronto portion of the exhibitions, etc. on York University’s Sensorium Centre for Digital Arts and Technologies’ events page, Note: This is where it gets a little confusing as it seems that some of these artists are displaying the same pieces in two different cities at the same time: World Sensorium has a version in Poland and a version in Toronto; Read Reed is in Poland and ReedRead is in Toronto; I’m not sure about One Tree ID, which seems to be in two places at once,
SENSORIA: the Art & Science of Our Senses is a multi-site exhibition and symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada. Held simultaneously in both locations, the exhibition and symposium will engage multi-sensory research that revitalizes our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
September 26 – October 14, 2022 Gales Gallery, York University 105 Accolade West Building, 86 Fine Arts Road, Toronto, ON
Held at the Gales Gallery, the Sensoria exhibition will feature the works:
One Tree ID. Agnes Meyer-Brandis, SunEaters. Grace Grothaus, World Sensorium. Gayil Nalls, Emergent: A Mobile Gallery featuring “The Connection”, Michaela Pňaček, Roberta Buiani, Lorella Di Cintio and Kavi ReedRead. Raewyn Turner/ Brian Harris Kinetic Shadows. Hrysovalanti Maheras Marching Choir Guy Van Belle
Running from Oct. 4–5 (9am – 12noon EST), The symposium will feature keynote lectures by Ryszard Kluszcynski , Chris Salter and David Howse; roundtable discussions by the artists/theorists/scientists Agnes Meyer-Brandis, Gayil Nalls, Rasa Smite, Katarzyna Pastuszak, Grace Grothaus, Katarzyna Sloboda, Raewyn Turner/Brian Harris, Hilda Kosari [a web search suggests that Kozari is a more correct spelling] and Agnieszka Sorokowska.
In addition, Csenge Kolozsvari will be leading the Schizo-Somatic Workshop on Oct. 3, 2022. Please click on the hyperlinks for separate registration.
Tuesday, Oct. 4: 9am – 130pm EST 9:00 : Introductions and land acknowledgement (Joel Ong) 9:05 : Introduction from Sensoria Curator (Nina Czegledy) 9:10 : Introduction from LAZNIA (Jadwiga Charzynska, Director) 9:30 : Keynote 1 —Professor Ryszard Kluszcynski 10:30 : Sensoria Panel 1 — Agnes Meyer-Brandis, Gayil Nalls, Rasa Smite, Katarzyna Pastuszak, Grace Grothaus (Discussant) 12:00 : Lunch Break 12:30 : Keynote Performance 1 — Csenge Kolozsvari [Sensorium Flex Space] + Q&A 1:30 : End
Wednesday Oct 5th 9am – 130pm EST
9:00 : Introductions and land acknowledgement 9:10 : Curatorial presentation (Toronto curatorial team) 9:30 : Keynote 2 — Professors Chris Salter and David Howse 10:30 : Sensoria Panel 2 — Katarzyna Sloboda, Raewyn Turner/Brian Harris, Hilda Kosari, Agnieszka Sorokowska, Hrysovalanti Maheras (Discussant) 12:00 : Lunch Break 12:30 : Keynote Performance 2 — Doug Van Nort Telematic Orchestra [DisPerSions Lab] + Q&A 1:30 : Ending Notes
SENSORIA: the Art & Science of Our Senses is a multi-site exhibition and symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada. Held simultaneously in both locations, the exhibition and symposium will engage multi-sensory research that revitalizes our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
The exhibition is co-curated by distinguished curator Nina Czegledy (Agents for Change: Facing the Anthropocene, 2020 & Leonardo/ISAST 50th Celebrations, 2018) and Sensorium director Joel Ong, with the support of assistant curators Eva Lu and Cleo Sallis-Parchet. Sensoria explores the intersection of art, science and the senses, bringing together an international network of artists: Guy van Belle, Roberta Buiani, Lorella Di Cintio, Grace Grothaus, Kavi, Hrysovalanti Maheras, Agnes Meyer-Brandis, Gayil Nalls, Michael Palumbo, Michaela Pnacekova, Raewyn Turner and Brian Harris. Sited concurrently in both Poland and Toronto, the exhibition will explore the dissociative potential of contemporary technologies on the senses, treating it not only as a social crisis but also an opportunity for creative play and experimentation. It aims to engage a conversation about the senses from the perspective of art, but also science, incorporating artists that straddle the boundaries of knowledge production in a variety of ways.
The symposium leverages the exhibition content as the starting point for more in-depth conversation about the connective aesthetics of everyday sensing and the knowledge-creation potential of artists and scientists collaborating in innovative ways. The socio-political turbulences we have experienced worldwide during the last decade have created unprecedented social and personal strife. While connections are sustained now amongst virtual networks that straddle vast spaces, how might we consider the sharing of intimate senses through smell, touch, and bodily movement as a form of mutual support? The symposium explores questions such as these with keynote presentations by Ryszard Khuszcynsk [Kluszcynski]i, Chris Salter and David Howse, as well as roundtables between artists and scientists: Agnes Meyer-Brandis, Gayil Nalls, Rasa Smite, Katarzyna Pastuszak, Grace Grothaus, Katarzyna Sloboda, Hilda Kosari [Kozari], Agnieszka Sorokowska, Hrysovalanti Maheras, Raewyn Turner and Brian Harris. All aspects of the symposium will be presented with virtual components, so as to allow both in-person engagement in Toronto and virtual presence in Gdansk and elsewhere.
The event will be complemented by a workshop byCsenge Kolozsvari. Kolozsvari’s Schizo-Somatic Session brings together somatic practices (crawling side by side, drawing, moving with bags full of water, walking backwards, playing with breath, touching textures, voicing etc.) with the concept of the schiz, cut, or interval, following philosophers Deleuze and Guattari in their book Anti-Oedipus. The aim is to build practices that do not presuppose where bodies begin and end, and to agitate the habitual narratives of bodily borders and edges as solid and knowable.
Csenge Kolozsvari’s performance The Power of the Spill is a multidisciplinary live performance working at the intersection of digital and imaginary technologies. It uses live video feedback, algorithmic processes of image (Hydra), sound as well as a movement-choreography informed by somatic practices. This project is a study on visual perception and how it affects our ways of making sense of the world, aiming to create an alternative lens that acknowledges the vitality of objects, a topology that is cross-species, the ways seemingly separate entities are in constant exchange, towards a more ecological way of being. The performance is in collaboration with Kieran Maraj, with original live coding by Rodrigo Velasco. Performance will be followed by a Q&A with the artist.
Doug Van Nort’s performance The Telematic Orchestra
The sense of touch (or tactility) is not highlighted in the image for the poster but there are some workshops which incorporate that sense.
I apologize for the redundancies and for not correcting or noting the errors in the various texts and with people’s names.
One final note, York University’s Sensorium Centre for Digital Arts and Technologies was last mentioned here in an October 26, 2020 posting about an ArtSci Salon event.