CANADA 389 Exhibition
@ Studio XX in partnership with Atelier Céladon
Vernissage: Fri. Dec. 2, 5 - 7pm
Exhibition: Dec. 1 - 4, 11am - 8pm
PRIYA ZOE JAIN
MARY SUI YEE WONG
With texts by Nick Cabelli, Melinda Pierre-Paul Cardinal, Gianna Mardakis, and Gabrielle Montpetit
The Ethnocultural Art Histories Research Group (EAHR) is proud the group exhibition Canada 389, featuring the work of four artists who engage with complexities of commemoration, race and ethnocultural representation in Canada. This exhibition seeks to expand our understanding of diversity and national identity by addressing histories of inclusion and exclusion in the realm of what constitutes the nation state in the public imaginary.
The year 2017 will mark significant historic anniversaries for Quebec and Canada, including the 150th anniversary of Canadian Confederation (1867), the 375th anniversary of the City of Montreal (1642), the 70th anniversary of Canadian Citizenship Act (1947), and the 50th anniversary of Expo 67. Bearing in mind an ethics of commemoration, this exhibition asks how contemporary art can help us to understand the responsibility to commemorate as a critical practice especially when historical facts of racism in Canada force us to confront the underrepresentation of culturally-diverse communities in official national histories. Canada 389 is a clear reference to the year 1648 when the first Black slave, a young 8 or 9 year-old boy given the name of Olivier Le Jeune, was sold in Montreal (New France). The exhibition unfolds as a generative space to develop and trigger a conversation concerning identity issues that confronts the present and the future with notions of stereotypes, acculturation, ethnic visual markers, reclamation of histories, and hidden and undocumented sites.
Artist Talk with Golboo Amani
(a presentation in partnership with SAVAC and Articule)
Date: October 27, 2016
Time: 1:00 - 2:30PM
Location: EV 1.605 at Concordia University
Golboo Amani is a Toronto-based interdisciplinary artist who creates works focused on process and research through a variety of medium including photography, performance, space intervention, digital media and participatory practice. She received her Bachelor of Fine Arts from Emily Carr University and her Master of Visual Studies at the University of Toronto. Her work has been shown nationally and internationally in venues including the Hemispheric Institute at FOFA (Montreal), FADO Emerging Artists Series (Toronto), TRANSMUTED International Festival of Performance Art (Mexico City) and the LIVE Biennale of Performance Art (Vancouver).
Montreal (QC) - Ethnocultural Art Histories Research (EAHR) is delighted to present Dissonant Integrations, a group exhibition and video program investigating disruption as a tool to challenge dominant representations of race, ethnicity and other forms of fixed identities. Featuring twelve artists and collectives based in Canada and the United States, Dissonant Integrations seeks to expand our understanding of diversity through artworks that disrupt ethnic and/or racial stereotypes, and redress essentialist narratives of cultural identities and representations.
From photography and video to sculpture, the selected artists work in a range of media and draw on various creative practices, such as upcycling, auto-ethnography and appropriation. Exploring themes of displacement, immigration and diaspora, the artists use irony, humor and experimentation to navigate between public and self-representation, national and global identity, the familiar and the unfamiliar. By unraveling the everyday challenges faced by ethnocultural communities, these artists engage with pressing social-political issues that continually fuel and challenge contemporary art discourse.
Dissonant Integrations marks the fifth-year anniversary of Ethnocultural Art Histories Research Group (EAHR) since its founding in 2011 and demonstrates EAHR’s ongoing pursuit to facilitate opportunities for exchange and creation in the examination of issues of ethnic and cultural representation within the visual arts in Canada. EAHR is a community of students and researchers from across Canada, including Concordia University, McGill University and University of Montreal.
Ifeoma U. Anyaeji, Victor Arroyo, Pansee Atta, Minhee Bae, Richenda Grazette, Fanny Latreille Beaumont, Nathalie Lemoine, Eva-Loan Pontom-Pham, Shay (Shawn M. & Ayse B.), Team Sagittarius, Alisi Telengut, Karen White.
EAHR would like to thank the generous support of the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, the Fine Arts Student Alliance, the Concordia Council on Student Life, Concordia’s Department of Art History and Art History Graduate Student Association, Concordia Student Union, Z Art Space, Kafein, articule and OPTICA.
Speaking of Photography 2015-16 // Lecture by Julie Crooks, Rebanks Postdoctoral Fellow, Royal Ontario Museum
Speaking of Photography 2015-16
Honouring Black History Month/Mois de l'histoire des Noirs
Topic: “Fugitivity”: Cultivating the Black Subject in 19th-century Photography in Southern Ontario
Lecture by Julie Crooks
Rebanks Postdoctoral Fellow, Royal Ontario Museum
Location: EV-1.605, York Amphitheatre
Building on her previous research on the work of West African photographer Alphonso Lisk-Carew, Julie Crooks looks at studio portrait practices from a Black Atlantic context where portraiture was used for commemoration and in the formation of new social identities. Her lecture will examine the ways in which Blacks, by the mid- to late nineteenth century, in settlements throughout Southern Ontario, adopted photography as a critical and powerful tool for self-representation. Former fugitive slaves and their descendants used photography to “disrupt ” fixed notions of the abject black body, thereby cultivating new articulations of their mutable subjectivities. Since the majority of the migrants were self-manumitted slaves from the United States, Crooks offers the concept of “fugitivity” as a critical framework. Her work explores both the Alvin McCurdy archive and the digital collection at Brock University, considering both as “fugitive archives” (built by the original collectors with defiance and resistance), in order to preserve, salvage and recover the histories of black Canadian communities whose stories and material artifacts are often left untold or subject to erasure.
Julie Crooks is a Rebanks Postdoctoral Fellow at the Royal Ontario Museum researching the various engagements of black/African audiences with the African Gallery and the photographic history of Blacks in Canada. Crooks received a PhD from the Department of History of Art and Archaeology at the School of Oriental and African Studies (SOAS), University of London. Her research focuses on historical photography in Sierra Leone, West Africa and the diaspora.
Speaking of Photography is organized by the Department of Art History at Concordia University. The series, now in its ninth year, is made possible by the generosity of an anonymous donor, with additional support from the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art; Ciel Variable magazine; and Château Versailles Hotel. Visit the Speaking of Photography website at any time for current details, additional information, and descriptions of past lectures. (http://speakingofphotography.concordia.ca/index.php/component/content/article/17-lectures/current-year/102-fugitivity-cultivating-the-black-subject-in-19th-century-photography-in-southern-ontario)
All lectures in the 2015-16 series will be held in EV-1.605, the York Amphitheatre, on the ground floor of the Engineering, Computer Science and Visual Arts Complex, 1515 Ste-Catherine Street West. Metro Guy-Concordia.
Lectures are free and open to the public.
Image: Small Tintype of Young Black Woman, Seated, 1860-1870. Richard Bell Family Fonds, Brock University.
EAHR @ ARTEXTE: Uncovering Asian Canadian and Black Canadian Artistic Production
Exhibition and catalogue launch
When: Thursday April 2, 2015: 5-7PM
Where: Artexte, 2 Ste. Catherine St. E., Room 301 (Metro: St-Laurent)
Admission is free
Join the Ethnocultural Art Histories Research group (EAHR) as we proudly launch two new exhibitions and a corresponding catalogue, EAHR @ ARTEXTE: Uncovering Asian Canadian and Black Canadian Artistic Production. The exhibitions and catalogue are the culmination of an intensive research-based residency at Artexte, which has focused on promoting the representation and visibility of artworks and artists from Asian Canadian and Black Canadian communities – two ethnocultural communities that have been historically underrepresented in Canada’s art scene. Both exhibitions will be presented at Artexte and in the Department of Art History at Concordia University from April 1st – 30th, 2015. The catalogue will be available both online and at the launch party.
With Artexte’s support, this research has fostered connections between the two projects by tracing the strategies employed by artists to resist misrepresentations about Asian Canadians and Black Canadians in visual culture, emphasizing the importance of continuing to fight back against negative tropes. Along with the exhibitions and corresponding catalogue, the results of EAHR’s research residency will be presented in the form of two comprehensive bibliographies that will serve as valuable tools for the advancement of scholarship on ethnocultural art histories.
The exhibition and catalogue launch will take place on April 2nd 2015 at 5:00pm. Copies of the publication will be available at the reception.
The exhibitions will be on display at the following locations on the indicated dates:
"[Dis]Identifications: Challenging Dominant Narratives of Black people in Canada"
Exhibition: Artexte, April 1-15, 2015; Concordia, April 16-30, 2015
"Tracing Asian Canadian Art Histories and Aesthetic Alliances"
Exhibition: Concordia, April 1-15, 2015; Artexte, April 16-30, 2015
2 Ste. Catherine St. East
EAHR gratefully acknowledges Bryan Jim (Image CONNEXXION) for the design of the catalogue, along with the support of Artexte, the Concordia University Department of Art History, and the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art. The catalogue and launch party are made possible with the further support of the Faculty of Fine Arts Dean’s Discretionary Fund.
The Ethnocultural Art Histories Research Group (EAHR) is delighted to present the second event of its Speaker Series for the 2014-2015 academic year. Join us the evening of Thursday November 27th, 2014 in The Gail and Stephen A. Jarislowky Institute for Studies in Canadian Art at Concordia University for a public lecture by artist Anahita Norouzi. Norouzi will examine her artistic practice in order to discuss critical reflections on the relativity of place-identity, which is defined through the concept of ‘insideness’, and the way it transforms through geographical displacement. Norouzi will focus on issues related to the politics of identity, of history, of religion, and of the body. Self-representation is an integral component of her work and serves as a vehicle to reflect on her living experience in a hegemonic political system.
EAHR presents this artist talk in collaboration with SAVAC (South Asian Visual Arts Centre). The evening following Norouzi’s discussion, SAVAC will also be presenting the 10th iteration of its annual experimental film program, Monitor, at Articule artist run centre. More details on this event can be found at: www.savac.net/monitor-10-at-articule .
Anahita Norouzi is an Iranian born, Montreal based artist who graduated from Soureh University in Tehran in 2007 and Concordia University in 2013. Norouzi’s practice engages with a variety of media, primarily photography and video. In her art practice, self-representation is an integral component as she frequently uses self-portraiture as means of engaging with various contemporary social situations. By merging the images and voices of personal experiences with the socio-cultural reflections, her body of work revolves primarily around the idea of questioning the representation of the position one holds as a minority within a socio-political system. Since 2010 she has travelled frequently to Iran to conduct her research and gather material for her work. Norouzi has participated in several group exhibitions, including “MOP CAP Art Prize”, London and Dubai (2013), “POV realities revisited”, Belgium (2012), “14”, Montreal (2011), “Regards Tehran, Virtual or Real”, Tehran (2012), “Baz in Che Shuresh Ast”, Tehran (2011), “New Folder 1”, Tehran (2010), the 10th and 11th Biennial of Iran Photography, Tehran (2006 and 2008).
For the past 20 years, SAVAC (South Asian Visual Arts Centre) has been presenting evocative, critical, challenging and innovative work locally, nationally and internationally. SAVAC showcases work by South Asian artists in a variety of spaces and locations, ranging from the unconventional space of a taxi-cab, to the institutional space of a public museum. SAVAC plays a vital role in the visual arts sector in Canada by advocating for South Asian artists and culturally diverse issues and practices.
This EAHR Speaker Series event is made possible with the support of The Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art and the Department of Art History at Concordia University.
Thank you to our sponsors, volunteers and our faculty advisor, Dr. Alice Ming Wai Jim.
Stay in touch! Find us on Facebook and Twitter @EAHRConcordia.
For more information: http://savac.net/eahr-speaker-series-anahita-norouzi/
Anahita Norouzi, "Tehran, the Apocalypse", Iran/Canada (2012)
The Ethnocultural Art Histories Research Group (EAHR) proudly presents the second annual academic conference Cultural Convergences II: Alliances, on Friday September 26 and Saturday September 27, 2014 at Concordia University, York Auditorium, EV-1.605, with keynote speaker, equity studies scholar Charles Smith (University of Toronto Scarborough).
The theme of the conference, Alliances is directed toward an exploration of the term “alliances” and its implied ideology, along with how our current understanding of the concept affects art, culture, and community. This conference features academics, artists, graduate and undergraduate students speaking to issues of cultural diversity in the visual arts in Canada. Three panel discussion and two performances address issues including representation, cross-cultural exchange and collaboration that are critical to deeper understandings of the notion of alliance today.
The two-day event kicks off on FRIDAY, September 26, 5-9pm, with two exciting performances by Toronto-based artist Alvis Parsley and Montreal-based artist Kama La Mackerel, followed by a discussion by the local Montreal Qouleur Qollective, discussing the work of building communities that centralize the experiences of self-identified Two-Spirited and LGBTQ Indigenous people and people of colour.
The second day, Saturday September 27th, is a full day of thought-provoking panel discussions featuring emerging scholars from different Montreal universities from 9:30am to 4:30pm. This will be followed by the conference keynote address by Charles Smith, Lecturer in Cultural Pluralism in the Arts, University of Toronto Scarborough who will be presenting a lecture entitled “Black Heterogeneity: Moving Beyond Transactions into a New Space.”
The closing reception is jointly hosted by EAHR and the Art History Graduate Student Association (AHGSA) and will take place on the 11th floor lounge of the EV building at Concordia University from 6:00pm to 9:00pm. Faculty and graduate students affiliated with the Department of Art History programs will also be in attendance.
Cultural Convergences II: Alliances is made possible with the support of The Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, The Concordia University Small Grants Program, and the Department of Art History at Concordia University. EAHR also gratefully acknowledges its sponsors, volunteers and faculty advisor, Dr. Alice Ming Wai Jim.
"CRISIS OF NARRATIVE" Vitrine Exhibit, Concordia Department of Art History
Adrian Gorea · Aditi Ohri · Stephanie Raudsepp · Solafa Rawas · Alisi Telengut
"To raise the question of the nature of narrative is to invite reflection on the very nature of culture and possibly, even on the nature of humanity itself. So natural is the impulse to narrate, so inevitable is the form of narrative for any report on the way things really happened, that narrativity could appear problematical only in a culture in which it was absent..."
Hayden White, The Content of the Form: Narrative Discourse and Historical Representation (Baltimore: John Hopkins University Press, 1987) 1.
Crisis of Narrative presents artwork by five Concordia students: Adrian Gorea, Aditi Ohri, Stephanie Raudsepp, Solafa Rawas, and Alisi Telengut. Through their practice, these artists examine the role of storytelling in the representation and definition of reality. More specifically, this exhibition explores the crisis of narrative generated by exclusionary institutional discourses within the field of Canadian visual arts, negotiating the transmission of knowledge, issues of place, identity, gender and history.
The vitrine will be up from March 15th to April 15th 2013 in the Art History Department vitrine on the 3rd floor of the EV building.
This exhibition seeks to investigate the role of narrative in the representation and definition of reality. More specifically, it explores the function of narrative in the transmission of knowledge and its negotiation of issues of place, identity, gender, history, hegemony, and representation within the visual arts. Narrative represents systematic ways for articulating knowledge. "Even when we look at something as static and as completely spatial as a picture," author H. Porter Abbott writes, "narrative consciousness comes into play." As taxonomical, static definitions, grand narratives perpetuate the dichotomies that inform power hierarchies, thus producing an oppressive relationship between dogmatic narratives and the realities of cultural pluralism. The works in this exhibition respond to this crisis of narrative wrought by exclusory institutional discourses upon which many of our contemporary social and cultural systems are founded.
Narrative seen in this way moves towards encompassing the heterogeneity of knowledge. The varied works and strategies deployed by the five Concordia students presented here, feature diverse voices that critique narrative as a "discursive reproduction of power, abuse and social inequality."" Rather, they express negotiations of the struggle to articulate cultural identities.
H. Porter Abbott, The Cambridge Introduction to Narrative (New York: Cambridge University Press, 2008), 6.
Teun A van Dijk, Discourse and Power (New York: Palgrave McMillan, 2008), 1.
EAHR Curators: Carolina Garcia Amatos Cécile Charvel • Samantha Wexler . Rajee Jejishergill • Adrienne Johnson
Katerina Korola Sara Catherine de Montigny Racher. Genevieve Wallen Brittany Watson
This exhibition was made possible with the support of The Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, the Fine Arts Student Alliance (FASA), the Concordia Council for Student Life (CCSI) and the Department of Art History at Concordia University.