Interdisciplinary works by
KATE BARRY, LOIS KLASSEN, CARLOS COLN MORENO, TRACEY VATH
a not sent letters set by
JEREMY TODD in collaboration w/
TRACEY VATH, PIETRO SAMMARCO, LOIS KLASSEN & KATE BARRY
VIVO Media Arts Centre, 3625 Kaslo Street, Vancouver
$5-$20 suggested sliding scale donation (toward event production costs)
No one will be turned away due to lack of funds.
Doors open at 7pm. The programme begins at 7:30pm SHARP.
NOT SENT LETTERS & GUESTS form public constellations of engaged
interdisciplinary practice, unmediated by the realpolitik conditions of contemporary art as
a competitive professional sphere. The interrelatedness of art, society and everyday life
is critically explored amongst a diverse plurality of artists and publics. Jeremy Todd
instigates each event as an extension of his ongoing Not Sent Letters project, an
entanglement with the production of meaning, self and cultural memory, involving
image/text epistolary detours online (since 2005), digital shorts, interdisciplinary
performance works and cooperatively realized public events:
http://notsentlettersproject.com
This is the twenty-third NOT SENT LETTERS & GUESTS event.

UNIT/PITT Projects presents an evening in a series of talks called the Spectre of Fascism Free School II, organized by Samir Gandesha and Stephan Collis and sponsored by the SFU Institute for the Humanities. This evening’s talk, given by Laura Marks, is titled Which Came First, Fascism or Misogyny? Klaus Theweleit’s Male Fantasies.

Laura Marks is a writer, a professor of Art and Culture Studies at SFU and leads study in film, video and experimental media.

Unit/Pitt Projects – 236 East Pender St.  Vancouver, BC V6A 1T7

Surrey Art Gallery (13750-88 Avenue, 604-501-5566)
Marianne Nicolson will talk about her practice in relation to her new work, The Way In
Which It Was Given To Us, developed for UrbanScreen. She will be joined in
conversation by writer Siku Allooloo, and artist respondents Brandon Gabriel and Peter
Morin. The event will open with Semiahmoo welcoming remarks by artist Roxanne
Charles, and will be moderated by the Gallerys Curator of Education and Engagement
Alison Rajah. An online publication with a commissioned essay by Siku Allooloo, as part
of the Surrey Art Gallery Presents series, about The Way In Which It was Given To Us
will be available.
This event will be held at the Surrey Art Gallery, and those in attendance will be invited
to view the installed artwork with Nicolson onsite at UrbanScreen.
About the Speakers
Marianne Nicolson is a linguist, anthropologist, and a visual artist of Scottish and
Dzawada’enuxw First Nations descent based in Victoria, BC. The Dzawada’enuxw
People are a member tribe of the Kwakwaka’wakw Nations of the Pacific Northwest
Coast.
Siku Allooloo is a writer who is Inuit/Taino from Denendeh (Northwest Territories). Her
work incorporates inherited legacies of resistance, continuity, and creative expression to
support the revitalization and empowerment of Indigenous communities. Siku holds a
BA in Anthropology and Indigenous Studies from the University of Victoria.
Roxanne Charles is a mixed media artist, curator, and art educator at Surrey Art Gallery.
She is currently completing her MFA at Simon Fraser University. She is of Strait Salish
and European descent and an active member of Semiahmoo Nation.
Brandon Gabriel’Klxlstn is a multimedia visual artist from the Kwantlen First
Nation and works and resides with his wife Melinda and daughter Jamie in unceded
Kwantlen territory. He is a graduate of Kwantlen Polytechnic University and Emily Carr
University of Art and Design.
Peter Morin is a Tahltan Nation artist, curator, and writer currently based in Brandon,
Manitoba. He studied at Emily Carr University of Art and Design and completed his MFA
at UBC Okanagan in 2011. In both his artistic practice as well as his curatorial work, he
explores issues of de-colonization through the practice of Indigenous ways of
knowing/knowledge.
About the Artwork
Referencing the pictograph as a way of recording stories on the land, Marianne
Nicolsons newly created animation with sound for UrbanScreen speaks to the pre-
emption of Indigenous lands. Nicolson has explored the pictograph in previous works,
including in her early large scale mural Cliff Painting (1998) and more recently in her
banner project Inquiry to the Newcomers (2017). The originating images for the latter
work are based on a real pictograph that exists at the mouth of the Kingcome River in
coastal BC, home of the Dzawada’enuxw People, and depicts original contact with trade
ships in 1792. Other Nations local to Surrey share histories of contact, reserve
commissions, and processes of dispossession. The artists UrbanScreen work, The Way
In Which It was Given To Us (2017), is informed by this as well as research into
Kwantlen and Semiahmoo pictographs. Nicolsons work celebrates the re-emergence of
Indigenous Peoples voices while articulating that there can be no true reconciliation
between Indigenous and settler societies without an acknowledgement of Indigenous
Peoples displacement from their lands.
More information about UrbanScreen is available at www.surreyurbanscreen.ca.

Room 102p – Frederic Lasserre Building – 6333 Memorial Road, UBC   ahva.ubc.ca
Event is free and open to the public, Joan Carlisle-Irving Lecture Series
UBC Department of Art History, Visual Art and Theory
Digital technology derives its name from the Latin digitalis, meaning finger or fingers
breadth. A series of associations and transmutations incrementally led this term from its
original use, which posited the physical body as a reference point and measure of
things, to its common meaning today: discrete, discontinuous, abstract representations
or manifestations of electronic data. This talk explores the social, ethical, and
epistemological consequences of distancing the digital from its embodied roots.
Kris Paulsen is Associate Professor of History of Art and Film Studies at The Ohio State
University, where she teaches classes on new media, contemporary art, and curatorial
studies. Her first book, Here/There: Telepresence, Touch, and Art at the Interface was
published by The MIT Press on the Leonardo Book Series in 2017. From 2012-2016 she
was the Co-Director of The Center for Ongoing Research and Projects (COR&P), an
experimental art space in Columbus, Ohio.

Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or Baghdad and died before dying in 1989 in Evanston, Illinois. He was most recently a participant in the Sharjah Biennial 11, the 9th Shanghai Biennale, Documenta 13, Art in the Auditorium III (Whitechapel Gallery) and Six Lines of Flight (SF MOMA). In 2011, he was a guest of the Artists-in-Berlin Program of the DAAD.

• Jalal Toufic on “The Withdrawal of Tradition Past a Surpassing Disaster”
  Tuesday, October 17, 7pm @ Djavad Mowafaghian World Art Center, SFU Vancouver
• Book Launch and Talk for Jalal Toufic’s What Was I Thinking (Sternberg Press, 2017)
  Wednesday, October 18, 3pm @ Vancouver Art Gallery, 750 Hornby St.

Emily Carr University Room D1359 | Sculpture Studio – 520 East 1st Avenue
Jade Yumang’s work primarily focuses on the concept of queer form through sculptural abstraction, installation, and performance. He received his MFA with departmental honors from Parsons School of Design in 2012 and his BFA Honours from the University of British Columbia as the top graduate in 2008. Born in Quezon City, Philippines, he grew up in Dubai, United Arab Emirates, and immigrated to Vancouver, BC, Canada. Currently a sessional instructor in the Department of Art History, Visual Art and Theory at the University of British Columbia, Yumang is also part of the New York–based collaborative duo Tatlo, with Sara Jimenez. His work has been exhibited at the Brooklyn Museum; Museum of Arts and Design; Leslie-Lohman Museum of Gay and Lesbian Art; ONE Archives; International Print Center New York; Invisible-Exports; the Center for Book Arts; Künstlerhaus Bethanien; Equity Gallery; Box 13 Artspace; Eastern Edge Gallery; the Kitchen; and Centro de Desarrollo de las Artes Visuales.  Twilight Hour is a series of talks for students and the public with guest artists hosted by the Painting, Drawing and Sculpture areas through the Audain Faculty of Art.

Dr. Vittorio Urbani, Director of Nuova Icona, in conversation with grunt gallery Director Glenn Alteen will discuss the work of two artists present in Venice this Summer: Falvio Favelli with an independently funded installation, and Giorgio Andreotta Calò, part of the Italian Pavilion in the current 57th Venice Biennale.  Urbani will use the two exhibition and his own experience of curator and manager in the Biennials of Venice and Istanbul, to talk about the value of larger exhibitions in relationship to smaller international collaborations within the context of globalism and the local. The focus would be on “strategies for survival” among artists: the Biennials and what is left out of it …  Vittorio Urbani, an independent curator and manager of contemporary art projects based in Venice, Italy, has been organizing contemporary exhibitions and curating art books and catalogues since 1993 as director of the non-profit organization Nuova Icona – associazione culturale per le arti.

“Sweet Talk: Commissions (Beirut 1994)“ Exhibition:  October 12 – December 9, 2017
Audain Gallery:  Goldcorp Centre for the Arts, 149 West Hastings Street

Walid Raad in Conversation with Jayce Salloum on Beirut Tuesday, October 10, 7pm
Walid Raad’s work engages how forms of violence affect bodies, minds and culture.
Moreover, it queries the instability of documents, the role of memory and narrative in
conflict discourses, and the construction of histories in the face of ongoing
catastrophe. Raad’s practice includes photography, video, sculpture, and
performance, and relies on formal and conceptual conventions borrowed from
investigative journalism, documentary, narrative fiction, and comedy.
Raad’s Sweet Talk is an ongoing set of self-assigned photographic commissions that
look at the city of Beirut through thousands of negatives and digital files produced
since the mid-1980s. Since the end of the Lebanese wars (approximately 1975-
1991), Beirut’s ravaged downtown has been under reconstruction. In 1994, a
Lebanese company for the development of Beirut Central District was established,
launching the largest urban redevelopment project of the 1990s.
The works in Sweet Talk: Commissions (Beirut 1994) present images – preserved
referents – from Raad’s self-assigned commissions to consider the persistence of
ruins and effects of the war through the city’s redevelopment. The works at the
Audain Gallery present Beirut as shifting and transitory, rising and falling. They
unfold, double and mirror to reveal images of a city that is haunted psychologically
and materially. In theorist/artist Jalal Toufic’s words, ruins are “places haunted by the
living who inhabit them”; they are “anachronistic”, “resist the passage of time”, and
point to a “labyrinthine temporality”. Sweet Talk offers a way to think through to
Vancouver’s continuous expansion that elides its traditions pre-city. Raad undertook
research in Vancouver as part of his 2016 SFU Audain Visual Artist in Residence.
Raad was born in Chbanieh, Lebanon and works in New York where he is Professor
of Art in The Cooper Union. Solo exhibitions include the Louvre, Paris; Museum of
Modern Art, New York; Kunsthalle Zurich; Whitechapel Art Gallery, London; and
Hamburger Bahnhof, Berlin. His works have been shown in Documenta, Venice
Biennale, Whitney Biennial, Sao Paulo Bienale, Istanbul Biennial, and Homeworks.
He is a member of the Home Workspace Program in Beirut and The Gulf Labor
Coalition.  Continue reading →

Grand Luxe Hall, Western Front – 303 8^th Ave East, Vancouver  Free Admission
Scriveners Monthly presents an evening with thinker and artist Jalal Toufic, who will
give the lecture “The Dancers Two Bodies.” Produced in partnership with the Audain
Visual Artist in Residence program and SFU Galleries, Jalal Toufic’s talk
accompanies Walid Raad’s exhibition at the Audain Gallery. Toufic and Raad are
contemporaries whose art and writing are, almost uncannily, aligned; their works
destabilize narratives of history by way of fictive philosophical and logical
constructions which fold time. Each artists work engages a divergent range of
topics, but repeatedly returns to query the history of Lebanon and its civil wars.
Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or
Baghdad and died before dying in 1989 in Evanston, Illinois. He was most recently a
participant in the Sharjah Biennial 11, the 9th Shanghai Biennale, Documenta 13, Art
in the Auditorium III (Whitechapel Gallery) and Six Lines of Flight (SF MOMA). In
2011, he was a guest of the Artists-in-Berlin Program of the DAAD.
Co-presented with the School for Contemporary Arts Audain Visual Artist in
Residence Program and SFU Galleries.