LOVE AND ROCKETS OPENING VIVO Media Arts Centre, September 7

Elizabeth Milton (Vancouver), Jennifer Remenchik (Los Angeles) and
Benny Nemerofsky Ramsay (Montreal/Edinburgh)
With music and spoken word by Leanne Betasamosake Simpson (Michi Saagiig
Nishnaabeg)
Curated by Derrick Chang

Opening Reception:  7:30p Thursday September 7

VIVO Media Arts Centre
2625 Kaslo St. Vancouver, BC V5M3G9
Exhibition runs September 8 – 21
Hours TUES-FRI 11am-6pm

LOVE AND ROCKETS* is an exploration of longing and everyday
feelings that provide an outlet for tensions and power dynamics that
exist within interpersonal relationships. As a trope, the overwrought
emotion of love is normally associated with cinematic melodrama that
often results in an excessive display of feelings from both the actors
and the viewers. Within the dynamics of music, film and video, an
intimate relationship emerges that crosses between the individual and
the screen. L&R represents a crucial understanding of how these
ideals are transmitted from the screen to reality and back again and
conversely reified through slippages in fiction and autobiographical
Narrative.

The artists in the L&R screening series confront the way in which we
control the inner monologue that tells us, Dont get so emotional, and
minimizes what are important issues such as respect, freedom, dignity
and power that accompany tensions within relationships, broken
affairs and emotional recovery. As some of the artists in the screening
state, their work often reflects on states of tragi-comic emergence,
emotional growth and medicines for acceptance, connection, intimacy
and love.

DERRICK CHANG is a curator and writer, whose research critically examines the nature
of ethics and politics in artistic practice. His current research and writing extends this
examination to consider the personal and its formal associations in the context of
diverse archeologies of love as mixed subcultures of feeling and emotion.

SWARM 18 – September 7 & 8, 2017

Swarm is a 2-night event that marks the launch of Vancouver’s artist-run centre (ARC) programming season with exhibition openings, performances, screenings and special events. Artist-run Centres (ARCs) are collectives and non-profit organizations, run by artists, supporting new and innovative practices in the arts. With a rich history that spans over forty years, ARCs have had a significant impact on the cultural ecology in Canada and around the world.

Thursday – Mount Pleasant and Beyond

  • *grunt gallery – 350 E 2nd  *UBC MFA student/TA Aileen Bahmanipour showing
  • Malaspina Printmakers – 1555 Duranleau St (Granville Island)
  • VIVO Media Arts – 2625 Kaslo

Friday – Chinatown and DTES

  • 221A – 221 E Georgia
  • Access Gallery – 222 E Georgia
  • Artspeak – 233 Carrall
  • Dynamo – 103 – 30 East 6th
  • Centre A – 229 E Georgia
  • Cineworks – Crab Park E Waterfront, or if rain 235 Alexander
    Gallery Gachet – 88 East Cordova
  • LIVE Biennale – 21 E Pender
  • Or Gallery – 555 Hamilton
  • The Phoenix – 45 West Hastings (back alley entrance)

The Beautiful Brain @ Belkin Art Gallery

The Drawings of Santiago Ramn y Cajal

  • OPENING RECEPTION: Thursday, September 7, 6-9 pm
  • TOURS: Saturdays and Sundays at 1:30 and 3:30 pm beginning Sept. 16
  • SYMPOSIUM with Drs. Alfonso Araque, Claudia Krebs and Larry Swanson at the UBC
    Alumni Centre: Thursday, September 7, 3-5 pm
  • SEMINAR & READING GROUP: Plasticity at SFU Vancouver: Wednesdays, September
    20, October 4, 18, November 1 and 21 at 7 pm
  • LECTURE with Catherine Malabou at the Liu Institute: Thursday, November 23 at 6 pm
  • CONCERT with UBC Contemporary Players: Friday, December 1 at 2 pm

The Beautiful Brain is the first North American museum exhibition to present the
extraordinary drawings of Santiago Ramn y Cajal (1852″1934), a Spanish pathologist,
histologist and neuroscientist renowned for his discovery of neuron cells and their
structure, for which he was awarded the Nobel Prize in Physiology and Medicine in
1906. Known as the father of modern neuroscience, Cajal was also an exceptional artist
and studied as a teenager at the Academy of Arts in Huesca, Spain. He combined
scientific and artistic skills to produce arresting drawings with extraordinary scientific and
aesthetic qualities. A century after their completion, his drawings are still used in
contemporary medical publications to illustrate important neuroscience principles, and
continue to fascinate artists and visual art audiences. Eighty of Cajals drawings are
accompanied by a selection of contemporary neuroscience visualizations by
international scientists.

After countless hours at the microscope, Cajal was able to perceive that the brain was
made up of individual nerve cells or neurons rather than a tangled single web, which
was only decisively proven by electron microscopy in the 1950s and is the basis of
neuroscience today. His speculative drawings stemmed from an understanding of
aesthetics in their compressed detail and lucid composition, as he laboured to clearly
represent matter and processes that could not be seen.

Also presented at the Belkin, Thought Forms is an exhibition of works that includes
abstract paintings and drawings by Lawren Harris alongside illustrations from Charles
Leadbeaters The Chakras (1927) and Annie Besants Thought Forms (1901). These
early twentieth century works sought to visualize states of consciousness as well as
explore themes of spirituality and mysticism. In addition, a selection of Robert Wilsons
contemporary works from his Mind/Brain series will be exhibited.

The exhibition considers the emerging field of art and neuroscience and engages with
interdisciplinary research of scholars from the sciences and humanities alike. A
catalogue published by Abrams accompanies the exhibition, containing reproductions of
the exhibition drawings, commentary on each of the works and essays on Cajals life
and scientific contributions, artistic roots and achievements, as well as contemporary
neuroscience imaging techniques.

The Beautiful Brain: The Drawings of Santiago Ramn y Cajal was developed by the
Frederick R. Weisman Art Museum, University of Minnesota with the Instituto Cajal. The
exhibition at the Morris and Helen Belkin Art Gallery, University of British Columbia is
presented with the Djavad Mowafaghian Centre for Brain Health with support from the
VGH & UBC Hospital Foundation. Additional support is provided by the Canada Council
for the Arts, the British Columbia Arts Council, our Belkin Curators Forum members and
generous donors.

Visit us at:
UBC Morris and Helen Belkin Art Gallery
1825 Main Mall / Vancouver, BC / V6T 1Z2
www.belkin.ubc.ca / e. belkin.gallery@ubc.ca / 604.822.2759
Hours: Tuesday to Friday, 10 am to 5 pm / Saturday and Sunday, noon to 5 pm / Closed
Mondays and Holidays

Bibliography

Artist’s Role

  • Ann Hamilton Making Not Knowing from Learning Mind: Experience Into Art p.66-73
  • Excerpts from AKADEMIE X: Lessons in Art + Life 2015
  • James Elkins (Ed) What do Artists Know? 2012
  • Michael Schwab (Ed) Experimental Systems: Future Knowledge in Artistic Research 2013
  • Estelle Barrett Experiential Learning in practice as research: context, method, knowledge from Journal of Visual Art Practice, Volume 6 Number 2, 2007 p.115-123
  • Janet Eyler Creating Your Reflection Map from New Directions for Higher Education114, Summer 2001 p.35-43

Artist Run Culture

  • Gabriele Detterer The Spirit and Culture of Artist-Run Spaces in Artist Run Spaces:  Nonprofit Collective Organizations in the 1960s and 1970s10-49
  • AA Bronson The Humiliation of the Bureaucrat:  Artist-Run Centres as Museums by Artists first from Museums by artists (Available here)
  • AA Bronson The Transfiguration of the Bureaucrat in Institutions by Artists (Available here)
  • Keith Wallace Artist-Run Centres in Vancouver:  A Reflection on Three Texts in Institutions by Artists (Available here)

Commercial & International Events

  • Michael Turner Whose Business Is It? Vancouver’s Commercial Galleries and the Production of Art in Vancouver Art & Economies205-218
  • Sarah Thornton The Fair in Seven Days in the Art World  76-104
  • Jan Verwoert The Curious Case of Biennial Art in Filipovic, Van Hal, Ovstebo The Biennial Reader
  • Okwui Enwezor Mega-Exhibitions and the Antinomies of the Transnational Global Form in Filipovic, Van Hal, Ovstebo The Biennial Reader
  • Gerardo Mosquera Beyond Anthropophagy: Art, Interantionaization, and Cultural Dynamics in The Global Contemporary and the Rise of New Art Worlds
  • Sara Giannini J’est un autre: Notes on Cannibalism and Contemporary Art from The Global Contemporary and the Rise of New Art Worlds

The Artist’s Studio

  • Daniel Buren Function of the Studio in Museums by artists p.61-67 (on Connect)
  • Rebecca Fortnum Creative Accounting: Not Knowing in Talking and Making from On Not Knowing: How Artists Think 70-87
  • Glenn Adamson and Julia Bryan-Wilson Art in the Making Artists and their Materials: From Studio to Crowdsourcing 2016
  • Caitlin Jones The Function of the Studio (When the Studio is a Laptop) from STUDIO, p.116-121
  • Mary Jane Jacobs and Michelle Grabner The Studio Reader 2010
  • Edited by Jens Hoffman STUDIO (From Whitechapel’s Documents of Contemporary Art series) 2012
  • Twyla Tharp The Creative Habit: Learn It and Use it for Life 2003

Artist as Activist

  • Alfredo Jaar It is Difficult from from Learning Mind: Experience Into Art p.2-89
  • Claire Bishop Antagonism and Relational Aesthetics in October 110, Fall 2004. P.51-79 
  • Renzo Martens and Joe Penney ‘Enjoy Poverty’: Interview with Renzo Martens  (Available here)
  • Marcus Steinweg Art between Affirmation and Critique in Scandalous: A Reader on Art and Ethics p.169-175
  • Boris Groys On Art Activism from e-flux (Available here)
  • Chantal Mouffe Artistic Activism and Agonistic Spaces Art&Research 2007
  • Mick Wilson Autonomy, Agonism, and Activist Art: An Interview with Grant Kester from Art Journal 2006
  • Nicolas Bourriaud Excerpt from Relational Aesthetics (Presses du Réel, 1998, trans. 2002)

The Artist’s Labour

  • Pascal Gielen The Art Scene. A Clever Working Model for Economic Exploitation? from Open 17:  A Precarious Existence, Vulnerability in the Public Domain
  • Claire Fontaine Human Strike has Already Begun in Human Strike Has Already Begun & Other Writings29-33 (Download available here )
  • Pascal Gielen The Murmuring of the Artistic Multitude: Global Art, Memory and Post-Fordism12-32 (On Connect)
  • Turions, Cheyanne Youth in Revolt: Precarious Labour, the Young Curator and Sectorial Burn Out in the Media Arts  (Available here)
  • Andrea Fraser It’s Art When I Say It’s Art, Or… in Museum Highlights, the Writings of Andrea Fraser p.37-44
  • Liam Gillick The Good of Work (Available here)
  • Keti Chukhrov On the False Democracy of Contemporary Art from e-flux (Available here)
  • Bojana Kunst Art and Labour: On consumption, laziness and less work Performance Research 17-6, 2013
  • Hans Haacke All the Art that’s Fit to Show from Museums by artists p.151-152

Studio & Events Analysis

This class requires you to engage in studio visits with your fellow peers in the class, as well as visit at least three art events within the Vancouver, UBC and/or Greater Vancouver art community.  At least one of these visits should be at an institution or event that a peer in the class is involved with, and none of the events can be ones that you are contributing for your own partnership.  This component of the class consists of three parts.


Part 1

External Events – You must attend at least 2 events of various forms, such as an exhibition opening, a screening, an art fair, an artist or art historian or curator talk or tour, a UBC visiting artist/cultural thinker talk, or you may set up a visit with an artist that you are interested in, or is participating in programming at your partnership institution or that you are curious about.  This must go beyond the artist/institution you are working with, and at least one event should be with a peer’s institution/artist from the class. Try and go to very different types of events and spaces for your two events, it can help broaden how you approach, internalize and what you learn from these visits.


Part 2

In class we will be speaking about the role of the studio in artistic practice, and will be participating in peer studio visits with each other, as the artist/maker and as the visitor.  This will happen in class on November 6th.


Part 3

At the end of the course, you will contextualize the experiences of your in class studio visits and art events in an analysis of a maximum of 1000 words.  While the analysis might choose to detail certain elements because they were more influential, try and cover as many of the questions found in the Connect journal as possible. Please submit in the appropriate Connect journal in the text box, or as a word or pdf document, please note the “journal” space as it is completely confidential.  I do provide guiding questions but you can focus on a revelation of the experiences that might focus on only a few of of the questions.  Please answer holistically, in a narrative, towards creating your own story of where you feel you fit in this whole crazy art thing.

Due:  November 27th, through Connect journals, 9am before class starts.

Please note:  For those attending the BAF workshop as one of your events, then you may have an extension to December 1st 11:59pm  through Connect journals

 

Reflection Journals

We will have many reflective moments where we will bring our experiences into the classroom; I welcome and embrace these connections.  Sometimes they will happen in relationship to the readings we are discussing, other times you will be strategically guided through questions, and there will be times where it organically appears through various other class components such as critiques or a talk.  As well, you will be writing out two reflective journals on your own at home.


Reflection Journal #1 – Goal Setting

This first journal asks you about your expectations, and to set individual goals as you embark on this experience.

  1. Briefly explain your overall impression and resulting expectations of what community engaged experiential learning might look like, and what insight you hope it will give you.
  2. This is an ideal time to pause and articulate personal, academic, and professional goals that you hope to achieve by the end of the course. This intentional creation of personal learning goals will help you to more fully collaborate with your partner while taking an active role in your own learning. Below are some guiding questions that you might find useful in writing one of each type of goal. Instead of simply listing the goal, provide some background/context to make it clear why this goal is important to you, and what it will mean to you if you achieve it. Setting goals that are achievable within the frame of the course is important. Consider how you will know if you have achieved them, how can you measure them?  What will that look like to you?

PERSONAL
How might this experience inform my identity as an artist and/or arts professional?
What personal characteristics do I hope to better understand and develop through this experience?

ACADEMIC
What histories, theories or models do I hope to learn more about?
What knowledge do I hope to gain about artistic practice as research?

PROFESSIONAL
What skills do I hope to gain through this experience that will help me in my future art  or related career?
How can I ensure this experience allows me to gain the skills I need to embark on a career in the arts?

Due:  To be completed by 9am on September 25th, (no extensions) before class starts, in the Journal section in Connect.  Journals are completely confidential.  In some cases, you may not be able to meet with your partner institutions until after the due date.  Please email me ahead of time to let me know if this is the case, and you will be granted an extension to accommodate this.


Post-Reflection

A post-reflection written journal will be distributed through Connect for you to self-reflect on your entire experience. You will be asked three leading questions that you should aim to respond with deep introspection and thought.  Your ability to disseminate and articulate your experience will result in life-long learning skills, wherein you will get the tools you need to see real life experiences as learning experiences.
Due: December 8th, midnight

 

Creative Response Prompt

The final day of class will be a celebratory event where we will present, in a visually creative execution, a response that highlights an aspect of your partnership. The work can be done in pairs, and we will each present the work to the class explaining how your experience(s) informed this work.  You must record and describe this work on your blog, as well as bring it into the final class for presentation.  As an optional token, you may want to gift this creative response to your supervisor at the partnership as a way to say thank you for the experience.

Due:  December 5th 2017 (3:30-5pm in 3rd floor Audain)

 

Final Synopsis or Blog Posts

Your CBEL Project Grade will take into account and be an accumulation of all CBEL components of the course, including presentations, reflections, your outline, peer, self and institutional evaluations, etc…  Part of this grade will use your project synopsis as a guide to understand the work you did, and what was learned.  You have a choice of the form of your synopsis, it can consist of gradual contributions and updates to your blog section throughout the term, (at least three) or it can consist of a 3-4 page paper due at the end of the term.


OPTION 1:  BLOG CONTRIBUTIONS         

You may fulfill your project synopsis throughout the course by adding at least four more blog posts/contributions during the term, the posts must be at least a couple of days apart.  However, required posts and final resume line do not adhere to the same scatter.  This option is less summative and more accumulative, and thus may consist of blog posts that report on a specific detail, moment, or event that you participated in.  Since these blog visits will record the ‘during’ of the partnership, that means the posts may consist of just about any moment or idea that may come at different intervals of the course.

Overall, the contributions should show a varying of approaches, particularly;  images, some auto-ethnographic accounts of your process through the partnership, and connections to readings through quotes, class discussions or other class work.

You can include:

  • Interim written or creative reflections on new revelations or insights of the art world.
    You may use the general guideline by Kolb’s (1984) cycle of reflection, which consists of: “What? (did you notice) “So What?” (could it mean) followed by “Now What?” (will you do with that information, how will you use, apply or process it?).  The final question is the most evolved handling in the process.
  • Profile/research of the community (geographical or cultural) you are working in/with and how this relates to in class conversations, readings, or other research.
  • Images of your work space, with a description of what you saw/heard or even tasted, impressions of how the space functions, surprises that defied expectations about how the space was set up, and can even include further questions you wish to uncover.
  • You may wish to add notices of when the trajectory of your project changed, why it changed, and how you will prepare and adapt for that change.
  • An image of an object you created or an event you were part of that is captioned by details, and described skills you utilized and/or gained to complete the task.
  • Quotes or details of a shift, summary of conversation with co-workers, supervisor, or even with yourself, biography posts/pages on people, artworks, books you are working with or learning about.
  • Post describing insights of how class work (in this class or other classes) has been activated in your partnership time, how, what that means, and how you can continue to use these influential cross-overs in your thinking. Please include quotes.
  • A curation of vital links & resources you’ve amounted.
  • You may also want to get some ideas from the hard copy synopsis prompt below.

Beyond the minimum extra four posts, you are to also provide a post that contains a fully developed resume line(s) that details the name of the space, title of role, etc… and underneath that heading, write a brief summary of key skills and professional characteristics that you utilized in the position.  Including the resume post, which will indicate the end of your blog updates, you should have at least seven, but more if you like, authored posts scattered throughout the term to opt for this method.

The blogs will be visited intermittently throughout the course, but will ultimately be graded for the December 6th deadline.  Please remember to categorize your posts with your partnership label so that I can see when I click on your menu link.

 


or  (you only need to do one!)


OPTION 2:  FINAL SYNOPSIS/REPORT

You must hand in a 1000-1500 word (hardcopy) project synopsis to aid in communication and clarity of the components and overall growth of your partnership project.  For this report, I highly recommend that you re-visit your initial outline that you handed in, and revise it to show the tasks, changes and evolution of the partnership engagement project itself, for the second part of the paper please delve into larger understandings and growth. This report should develop a cumulative understanding that summarizes experiences of the term.

Guidelines of what should be covered in the report:

  • Describe exactly what you did for the project. You can figure out how to organize this (if it was many components) in the best way possible to communicate the areas you covered.
  • The description can be modeled from your initial outline that you handed in, and you can actively update it.  Or you can start from scratch.
  • What you did may have changed, this was very much expected — don’t worry or see it as anything but an exercise in being flexible!
  • If your role changed, how did it differ from your initial project plan?  How come?  What did you do with that challenge? How did you feel about it?
  • If your schedule changed, how did it differ from your initial timeline?  Why did it change?
  • Describe the geographical and cultural location of your partnership/institution and how this informed your impression and type of work, name critical outlooks on the successes and limitations of the integration of the community you were in.
  • Detail the relationship you had with your co-workers, peers in the class, supervisor, or other personnel that you encountered in the position, did you have any opportunities or challenges with relationships? Looking back, how do you think you could improve next time?
  • List skills you previously had that you utilized for the project, and how you used them.
  • List new skills you had to gain to complete the project, and describe how you felt about that.
  • Dissect when and how these skills may be useful in the future.
  • Detail lessons learned, new insights, and applications of your partnership overall, including a critique of your improvement/progress throughout the project.
  • Develop an analysis of the ‘real world’ experience as an academic enterprise, therefore approach affective (doing & feeling) responses towards cognitive execution. Therefore, describe ways the experience connected to course learning outcomes and content? Readings and discussions?  What concepts and principles does it illustrate?
  • As well, describe any challenges you encountered, or things you had to figure your way through. Describe your decision-making/research process, what steps and what strategies did you take?  What problems did you encounter and how did you overcome?
  • Did you take any risks and get out of your comfort zone? When and how did it feel?  What did you learn and what will you do with that new understanding?
  • You may want to wrap up the paper by describing how you would assess your own progress, growth, strengths and weaknesses. How valuable was this experience to your learning? What did you learn through it?  Now that you have finished, what would you do differently?
  • At the end of the synopsis, also include a resume line that details the name of the space, title of role, etc… and underneath that heading, write a brief summary of key skills and professional characteristics that you utilized in the position.
    (Think of this final component as how you would write out this experience on your resume!)
  • As this is a hard copy document, print images alongside to visually illustrate the space you worked in, the project you worked on, or yourself in context of the space, activities and actions.

Due:  At grand finale party (last day of contact) hard-copy form.

 

Project Outline

After you have met with your partner and written notes of the project purpose and plan, you will write a ‘plan of attack’ or project outline that organizes the components needed to complete the project.  You will be doing one outline per pair if you are doing your project together, and one outline each if you are doing your project individually.

This outline should not only specify important dates and tasks, it should also outline your own personal goals with the projects, skills you will utilize to complete tasks, as well as skills you will need to gain to accomplish parts of the project, and how you will gain those skills.  This outline can take on whatever form you feel it needs to take to truly get involved and work through the components of the project, and your place in doing them.  It can be reflective and journalistic as well as practical and organized.

Please consider:

  • Take the time to reflect on your expectations and assumptions, what will it be like?
    Revisit this after the meeting and process what differed, was not what you expected, and what was? What might this mean to the process of the project?
  • Reflect on how this project will function in a larger context (for the gallery, the artist, for the class, for you!)
  • How does this project fit into the goals of the organization/artist you are working with?
  • What expectations does the partner have for the project?
  • Are there important deadlines and dates?
  • Is there a set schedule for being on site and for checking in?  Otherwise, how will the project schedule run?
  • Who will you be working with directly?
  • Will and how will feedback be provided as the project develops?
  • What is the best method of communication with the Centre/artist?  How frequently?

Due:  October 2nd  9am – Project Outline is due at the start of class on your blogs. In some cases you may not be able to meet with your partner institutions until after the due date, please email me ahead of time to let me know if this is the case and you will be granted an extension to accommodate this.

Partnership Poster Presentation

The poster presentation should be done with all who are linked to the same institution or artist.  If you are independent in your partnership, you will be making your poster alone, and if you are paired you will be working together on one poster.  You are to research and prepare a (minimum) 20-24 inch poster on your partner gallery or artist.  Showcase the institution or artist by giving a succinct historical account, and valuable information for knowledge sharing with your peers.  For an institution you are expected to display operational capacities, history and mandate.  For artists you should dissect ways in which the artists’ history and interests have evolved by way of their participation in the art world.  This can include mapping pivotal moments in their career trajectory (such as their first published catalogue, or their move to a specific subject matter or technique, etc) that have signified growth.

You may include images and design strategies in the execution, but it should contain enough information to get a good degree of knowledge, first and foremost.  Please go beyond just regurgitating history and facts, find ways to contextualize the institution or artist, their trajectory, contribution and function within the Vancouver art community, and make it fun!  As well, examine how it structures itself internally or personally, its mandate/focus, funding and administrative structures, (and other insights you feel are pertinent to how one this Institution functions) relate to its place in the larger Vancouver art community context.  The poster should think of your student colleagues as the main audience for the purpose of knowledge sharing.

You may also bring in catalogues, pamphlets, books, etc. to accompany the presentation time.

Please also provide a summary post tagged by your gallery category, of your partner on your blog, accompanied by a small version of the poster for your peers to download.

Due:  October 16th in class & on blog

You can use the Bining lab, info here, or you can use a poster printing place.  This one is available in the Woodwards building, info here.