Saturday, September 22, 2018 | 1:00-4:30PM
Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art
Concordia University, EV 3.711
1455 De Maisonneuve Boulevard West
Montreal, Quebec H3G 1M8
Anti-Oppression in Practice in Artistic and Academic Settings
Facilitators: Kama La Macquerel and Emily Lee Clare (COCo - Center for Community Organizations)
In this workshop, we will be looking at anti-racist and anti-oppressive practices as they are shaped by visible and invisible power dynamics, with a focus on how these impact artistic, cultural and academic settings . Working with story-telling, scenarios, and other pedagogical tools, this workshop will be both practical and theoretical, offering participants the groundings with which to engage meaningfully with anti-oppression practices within their own contexts.Participants are expected to walk away with: a clearer understanding of power dynamics and how they play out in visible and invisible ways; a better understanding of their own positionalities within their organizing, artistic and living contexts; tools with which to navigate conflictual situations and develop accountability; basic understandings of how oppression works and what anti-oppression looks like; understanding white supremacist legacies of the canon.
Refreshments will be served.
EAHR RESEARCH RESIDENCY: DIVERSIFYING ACADEMIA AT CONCORDIA
In Collaboration with the Concordia Library.
Made possible with the support of Concordia’s Department of Art History.
Researcher-in-Residence 2018: Chelsy Monie
Residency Founder & Coordinator: Kimberly Glassman
Art History Librarian Supervisor: Jenna Dufour
The current vitrine exhibit, Art & Africa: Africans as Critical Producers and Consumers of Art, proudly displays the results of the first-ever EAHR Research Residency: Diversifying Academia at Concordia organized by Concordia's Ethnocultural Art Histories Research Group (EAHR). An annotated bibliography was completed over the summer by Concordia undergraduate student Chelsy Monie, as an extensive open source reference tool that promotes critical engagement with issues of ethnic and cultural representation within the visual arts, further instigating a conversation that opens up fundamental spaces for communities that are often misrepresented and/or erased. Monie specifically focused on locating these critical spaces for Africans in art history and demonstrating that Africans are both the creators and consumers of their own art practices.
Accompanying the bibliography on display is a photographic series entitled, Voiceless Utterance (2018) created by Monie as an artistic response to her research during her residency. The series brings together nine women from across the African continent to represent the ‘new’ Venus, one that is far from her typical position as an archetypal symbol of the ideal - the supposed pinnacle of classical Western femininity. By digitally smearing away their mouths, the artist does not remove their voices, but instead emphasizes their silence. Their erotic bodies simultaneously repel and attract viewers, inviting visitors to think critically about the consumption of contemporary African artistic creations in spaces that are fundamentally Western.
Quotes excerpted from “Portrait of the Artist in the Shadow of Discourse: Narrating Modern African Art in 20th Century Art History” (2007) by Sylvester Okwunodu Ogbechie accompany the photographs. Coming from Nigeria, Ogbechie’s research focuses on the visual culture and art of Africa and its Diasporas, with an emphasis on the values granted to African cultures in the discourse of art history in the age of globalization. His text contextualizes the photographs within a critical discourse of art history that continuously undervalues and negates the works and practices of contemporary African artists. In so doing, Monie calls attention to how African creations are too often rendered voiceless, decontextualized, and misrepresented. Using the epitome of “classical” art, the reclining-nude Venus - whose body represents love, beauty, fertility, and sexuality - Chelsy Monie re-contextualizes a staple of canonical art history.
The full annotated bibliography will be available on the Concordia Library in the Art History Subject Guide as of Thursday, September 13th, 2018. The Residency program is set to recur annually each summer. If you are interested in participating, follow EAHR on Facebook and watch for their next call-out near the end of the Winter Term.
A speaker event also took place on August 30th, 2018 at the VAV Gallery, where the photographic series was first exhibited as part of their Resonance exhibition. Videos of the event will be available here soon.
VIDEO RECORDINGS OF THE EVENT TO COME SOON.
This panel discussion presents four African artists and curators currently living in Canada— Chelsy Monie, Soukayna, Nènè Myriam Konaté, and Kosisochukwu Nnebe—in conjunction with Monie’s photographic series, Voiceless Utterance, featured as part of Galerie VAV Gallery’s exhibition, Resonance // Vernissage.
The panelists shared their experiences as creators, cultural organizers, and consumers working to assert artistic autonomy and agency free of distortion by predetermined ideas about contemporary African art in Euro-American contexts. Their contributions speak volumes to the curatorial challenges of exhibiting the complexities of African artistic practices in today’s contemporary art institutions.
Voiceless Utterance: Speaker Event is presented by EAHR’s 2018 Concordia Library Research Residency: Diversifying Academia in collaboration with the VAV Gallery and Fasa Concordia. EAHR’s activities are made possible with the support of the Gail and Stephen A. Jarislowsky Institution for Studies in Canadian Art and the Department of Art History at Concordia University, Faculty of Fine Arts.
Application Deadline: May 5, 2018
Residency Duration: May 14 – June 22 (6 weeks, up to 10 hours/week or 4 weeks, up to 15 hours/week)
Eligibility: Undergraduate students enrolled at Concordia in the Department of Art History
To apply, provide the following by filling out this form by 11:59 PM, Saturday, May 5, 2018: https://docs.google.com/forms/d/e/1FAIpQLSfbDXPPubBgEVw3J3a5Rb6pYeG0KaFgJWBKP87eQunYa49GcA/viewform.
1. Submit your Curriculum Vitae *remove name from file
2. Submit your Project Proposal (300-500 words) by responding to the following question:
What underrepresented area of research in ethnocultural art history do you want to investigate and why?
Diversifying Academia at Concordia: EAHR Research Residency is a paid, self-directed research program aimed at providing valuable training and professional exposure for undergraduate students. Organized by the Ethnocultural Art Histories Research Group (EAHR), the residency promotes critical engagement with issues of ethnic and cultural representation within the visual arts in Canada. We acknowledge the role academia plays in the representation of ethnic and cultural minority art histories; therefore EAHR encourages their emerging researchers-in-residence to make a scholarly commitment to the investigation of underrepresented areas in the history of the arts and visual culture through a critical review of the available print and online sources of a proposed area of research. We welcome art history students from diverse backgrounds who have an interest in making visible marginalized cultural histories of art and visual culture in Montréal.
- Create an extensive annotated bibliography on a proposed area of ethnocultural art history research that is under-represented in both art historical scholarship and the library holdings;
- Attend training workshops;
- And write an article summarizing the research.
- *Optional: in collaboration with EAHR, students are welcomed to organize a follow-up project based on their residency work (ex: seminar talk, guest lecturer, workshop, exhibit, artwork, conference panel, etc.)
- $750 Honorarium;
- Research support from Art History librarian Jenna Dufour;
- CUJAH office space in EV 3.780 and workspace in Concordia Library Reference Department;
- Publication of annotated bibliography on Concordia Library’s website as an open source document for students
and all library users via the Art History subject guide;
- And summary article published in CUJAH Vol. XV.
Building a Safe(r) Classroom Together
Wednesday, April 11, 2018 | 10AM-12PM
Concordia SGW Campus
Jarislowky Institute, EV 3.711
1515 Saint-Catherine St W, Montreal, QC H3G 2W1
IARG and EAHR encourage all faculty members and students working or taking a class in the Department of Art History at Concordia University to attend our scheduled event Building a Safe(r) Classroom Together, taking place on Wednesday, April 11th, 2018 from 10AM-12 PM (Jarislowsky Institute, EV 3.711). This iteration of the event aims to focus on responding to expressed concerns from students in the department regarding how oppression manifests itself in the classroom, specifically when professors are faced with instances of conflict. The event aims to offer an opportunity for students to voice their concerns in a safer space, in hopes to foster positive problem-solving discussions between students and professors to explore these concerns and build towards a healthier future.
The discussion will be moderated by four Art History students - two from each research groups - in order to facilitate a respectful environment. Refreshments (coffee and tea) will be served. If you have any accessibility request or concern in regards to the way this event will be held please reach out to us at the following email addresses: email@example.com or firstname.lastname@example.org. We would be happy to answer your question(s) and to make our event (more) accessible!
This event is co-organized by IARG and EAHR.
IARG is an Indigenous-led group out of Concordia University that works to facilitate fluid spaces of connecting, analyzing, reflecting on, and experiencing the tensions and exhilaration of an ever-changing relationship and balance of power between many nations and cultures. It is our goal to question assumptions and conventions through open discussions that challenge dominant structures. Our focus is threefold: relationships, listening, and Indigenous representation. Realizing that it could become a safer space for exploration for both Indigenous and non-Indigenous experiences, IARG seeks to more directly reflect the needs and concerns of the Indigenous communities and individuals it encounters.
KEYNOTE & PANEL DISCUSSION with deanne bowen, part of the ASIAN CANADIANS IN VISUAL CULTURE CONFERENCE
MARCH 3, 2017
KEYNOTE AND PANEL DISCUSSION as part of the ASIAN CANADIANS IN VISUAL CULTURE CONFERENCE
EV-1.615, Concordia University
This panel seeks to examine cross-cultural anti-oppression alliances and practices between African- and Asian Canadians and Indigenous peoples in light of the Truth and Reconciliation Commission’s 94 Calls to Action in its 2015 report.
Organized and co-presented by EAHR & IARG, this is a special two-part event—a keynote entitled “Shame : Notes from An Exoduster’s Archive” by Black Canadian artist Deanna Bowen, recipient of the prestigious Guggenheim Fellowship in 2016. This will be followed by a panel, with short presentations by social worker Gordon Pon and Metis artist Dylan Miner, ending with a group discussion with the three presenters and audience members.
KEYNOTE: ROLAND SINTOS COLOMA, "Queering Asian Canada: Archives, Fantasies and Utopic Counterpublics"
MARCH 2, 2017
KEYNOTE: ROLAND SINTOS COLOMA
"Queering Asian Canada: Archives, Fantasies and Utopic Counterpublics"
Presented as part of the Asian Canadians in Visual Culture Conference/Workshop
EV-1.615, Concordia University
4:00 - 5:30PM
This presentation will examine the interlocking pivots of race, sexuality, and diaspora to delineate the conceptual and agentic possibilities of queering Asian Canada. The notion of queering Asian Canada refers not only to the analysis of the experiences and representations of lesbian, gay, bisexual, and transgender Asians in Canada, but also to the deconstruction of normalized discourses and structures that condition and produce minoritized subjectivity. Analysis will include Joella Cabalu’s documentary It Runs in the Family (2015), Richard Fung’s lm Re:Orientations (2016), and the South Asian Visual Arts Centre’s Not a Place on a Map: The Desh Pardesh Project (2016).
ASIAN CANADIANS IN VISUAL CULTURE CONFERENCE/WORKSHOPFINAL PROGRAMMarch 2-4, 2017 | Concordia University
Concordia hosts the first Asian Canadians in Visual Culture Conference
Asian Canadians in Visual Culture
When: March 2–4, 2017
Where: Concordia University, EV Building, 1515 de Maisonneuve Blvd, W. (metro Guy-Concordia)
Admission is Free. Wheelchair accessible.
For complete program: http://www.ethnoculturalarts.com/
Montreal, February 23, 2017: The Canada 150: Asian Canadians in Visual Culture project is proud to present the first Asian Canadians in Visual Culture conference/workshop, at Concordia University, from March 2 through 4, 2017. Featuring two keynote evenings and a full day of workshop presentations, the conference welcomes scholars, students, and cultural workers engaged in Asian Canadian Visual Culture Studies research, creation, and cultural engagement.
The three-day meeting considers Canada’s 150th anniversary in 2017 as a key moment to address the representation of Asian Canadians in visual culture—their presence, visibility, contributions and challenges— through interdisciplinary dialogue across the visual arts, film and cinema, journalism, politics, and popular culture as well as community-based initiatives.
Our proceedings start with the firm acknowledgement of the history of engagements between Indigenous peoples, racialized settler immigrants, and European settlers from contact to present-day. The two evening public keynotes and panel set the tone and provide the critical framework for the discussions over the three days of the conference and workshop sessions.
For Day 1, March 2, the conference begins with an opening and networking reception, 2:30pm-4:00pm, on the second floor atrium of the EV Building, followed by a keynote lecture, 4:00pm-5:30pm, in the York Auditorium (EV-1.615), by Filipino diasporic studies scholar Roland Sintos Coloma whose presentation, “Queering Asian Canada: Archives, Fantasies, and Utopic Counterpublics,” will speak to experiences and representations of lesbian, gay, bisexual, and transgender Asians in Canada
Day 2, March 3, starts with a full day of workshops, 9:00am-5:00pm, on the challenges of intersectionality studies and controversial topics in Canadian and Quebec visual culture concerning Asian Canadians, in the Jarislowsky Institute (EV-3.725). Our second keynote and panel, 6:00pm-8:30pm, will focus on cross-cultural anti-oppression alliances and practices between African- and Asian Canadians and Indigenous peoples in light of the Truth and Reconciliation Commission of Canada’s Calls to Action. The keynote lecture, “Shame: Notes from An Exoduster’s Archive” by Black Canadian artist Deanna Bowen, will be followed by panel presentations by Métis artist and scholar Dylan Miner and anti-oppression social studies scholars Gordon Pon and Doret Phillips.
The conference will wrap on Day 3, March 4, with an open plenary for conference participants.
This conference is organized as a part of the SSHRC-funded collaborative research project, Canada 150: Asian Canadians in Visual Culture, initiated by Alice Ming Wai Jim (Concordia University), Ming Tiampo (Carleton University), Christopher Lee (University of British Columbia), and Alexandra Chang (New York University). The project brings together researchers, cultural practitioners and community organizers through a series of workshops, conference meetings, and public lectures in New York, Montreal, and Ottawa.
The Montreal conference is made possible with the generous support of the Ethnocultural Art Histories Research Group (EAHR), the Indigenous Art Research Group (IARG), the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, the Department of Art History, and the CANADA 150 Asian Canadians in Visual Culture Project. The project organizers thank the staff of Concordia University and our many volunteers for their devoted assistance.
Contact: Alice Ming Wai Jim, email@example.com
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).