 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.
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MARCH 3, 2017 KEYNOTE AND PANEL DISCUSSION as part of the ASIAN CANADIANS IN VISUAL CULTURE CONFERENCE EV-1.615, Concordia University 6:00-8:30PM 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. FACEBOOK EVENT  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).  Concordia hosts the first Asian Canadians in Visual Culture Conference
Conference/Workshop 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, alice.jim@concordia.ca 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).  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.
 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). About SAVAC: 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. www.savac.net 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. |
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