Performative Art Symposium: Tempaurality

Wednesday, October 3, 2018 — 1:30 pm - 6:00pm
Alberta University of the Arts

Panel #1: Listening Awry
Moderator: Mark Clintberg
Jim Drobnick coined the term “listening awry” to describe attending to things from an angle, and from an “interested” rather than objective perspective. This panel brings together five artists (Jin-me Yoon, Suzanne Kite, Nathan Young, Joshua Rios and Anthony Romero) in M:ST’s biennial who listen awry to contest institutionalized histories. Crossing disciplinary boundaries as well as space and time, this panel will unpack the politics of aurality. For these artists, listening is inherently performative and has a distinctly social orientation. As Drobnick says, “We exist in a noisy ball, and we contribute to its racket; by listening awry we may also reflect upon the myriad meanings of murmurs and cacophony, and how the act of hearing is itself conscious, implicated, and subject to cultivation.”

Panel #2: wnoondwaamin | we hear them
Moderated by exhibition curator Lisa Myers
The exhibition wnoondwaamin | we hear them calls for the occupation of sound waves in exploring the capacity of these energies to access and be in conversation with human knowledge and memory. Through a discussion with artists Autumn Chacon, Melissa General and Suzanne Morrissette, this panel will consider the many resonances of sound in their art practices and reflect on their work in this exhibition. The discussion will bring forth concepts including the materiality of sound, what can be accessed through the transmission and reception of sound, and the politics of being, or not being heard.

~Symposium Schedule~

1:30pm 〰 Doors
2:00pm 〰 M:ST Panel Discussion: Listening Awry
3:00pm 〰 Question Period
3:30pm 〰 Break
4:00pm 〰 wnoondwaamin Panel Discussion
5:00pm 〰 Question Period
5:30pm 〰 Reception

Jin-me Yoon is a Korean-born, Vancouver-based artist. Since the early 1990s, her lens-based practice has critically examined the construction of self and other in relation to her own direct and inherited history, as well as within broader geopolitical contexts. Unpacking stereotypical assumptions and dominant discourses, Yoon’s work has examined gender and sexuality, culture and ethnicity, citizenship and nationhood. Adopting a wider and wider lens over time, her practice has become a deep investigation into entangled local and global histories existing at specific sites within the context of transnationalism.

Presented in over 200 solo and group exhibitions, Yoon has shown her work across North America, Asia, and Australia, and in select institutions worldwide. She has delivered 80 guest lectures throughout Canada and the United States, and in Korea, Mexico, Ireland, Japan, Spain, and India. Her work is held in 17 Canadian and International public collections, including the National Gallery of Canada, Royal Ontario Museum, Vancouver Art Gallery and Seoul Museum of Art. This year, Yoon was a finalist for the prestigious Scotiabank Photography Award.

Kite aka Suzanne Kite is an Oglála Lakȟóta performance artist, visual artist, and composer raised in Southern California, with a BFA from CalArts in music composition, an MFA from Bard College’s Milton Avery Graduate School, and is a PhD candidate at Concordia University. Kite’s scholarship and practice highlights contemporary Lakota epistemologies through research-creation, computational media, and performance. Recently, Kite has been developing a body interface for movement performances, carbon fibre sculptures, immersive video and sound installations, as well as co-running the experimental electronic imprint, Unheard Records. For the inaugural 2019 Toronto Art Biennial, Kite, with Althea Thauberger, produced an installation, Call to Arms, which features audio and video recordings of their rehearsals with Her Majesty’s Canadian Ship (HMCS) York, which also consisted of a live performance with the conch shell sextet, who played the four musical scores composed by Kite. Kite has also published extensively in several journals and magazines, including in The Journal of Design and Science (MIT Press), where the award winning article, “Making Kin with Machines,” co-authored with Jason Lewis, Noelani Arista, and Archer Pechawis, was featured. Currently, she is a 2019 Pierre Elliott Trudeau Foundation Scholar.

Nathan Young (born 1975, Tahlequah, OK) is a multidisciplinary artist and composer working in an expanded practice that incorporates sound, video, documentary, animation, installation, and experimental and improvised music. Nathan’s work often engages the spiritual and the political and re-imagines indigenous sacred imagery in order to complicate and subvert notions of the sublime. A 2016-2018 Tulsa Artist Fellow, Nathan is a founding and former member for the artist collective Postcommodity (2007-2015) and holds an MFA in Music / Sound from Bard College’s Milton-Avery School of the Arts.

Josh Rios is a pedagogue, a media artist and a cultural critic whose projects address the history, the archives and the aftermath of Latin American subjectivity and US-Mexico relations studied from the crossroads of globalization, modernity, postmodernism and neocolonialism. The projects of Rio put forward moments of inter-cultural rapprochement, archival indeterminism and anxiety generated by the contestation of the hegemonic notions of social identity in the United States. Recent performances, projects and presentations have been seen at the Art Institute of Chicago (Chicago), the Andrea Meislin Gallery (New York), the Bemis Center for Contemporary Arts (Omaha), the Museum of Fine Arts (Boston) and at the University of Houston (Houston). Among his most recent writings,A Possible Future Return to the Past published in Somatechnics by Edinburgh University Press. His projects include a performance for the Decoloniality Symposium : Aesthetics and Methodologies at Tufts University (Boston) and a performance and lecture at the School of Visual Arts (New York).

Anthony Romero is an artist, author and organizer committed to documenting and supporting artists and communities of color. His individual and collaborative works have been presented nationally, including at Links Hall (Chicago), Judson Memorial Church (New York), and Temple Contemporary (Philadelphia). Recent projects include The Social Practice That Is Race book essay , written in collaboration with Dan S. Wang and published by Wooden Leg Press and Buenos Dias, Chicago!, a two-year performance project commissioned by the Museum of Contemporary Art in Chicago and produced in collaboration with the Mexican performance group Teatro Linea of ​​Sombra. He is a co-founder of Latinx Artists Retreat, a teacher at the Tufts University School of Fine Arts and a faculty member at the Jonathan M. Tisch College of Civic Life.

Kite (né en 1990 à Sylmar, Californie) est une artiste de performance, une artiste visuelle et une compositrice Oglala. Élevée dans le sud de la Californie, elle a obtenu un baccalauréat de la CalArts en composition musicale et une maîtrise de la Milton Avery Graduate School du Bard College. Elle est présentement candidate au doctorat à l’Université Concordia. Sa recherche se déploie autour de l’épistémologie des Lakotas contemporains par la recherche-création, les médias informatiques et la pratique de la performance. Récemment, Kite a entrepris la mise au point d’une interface corporelle pour la performance gestuelle, la création de sculptures en fibre de carbone et la conception d’installations vidéo et sonores immersives.

Nathan Young (né en 1975 à Tahlequah, Oklahoma) est un artiste multidisciplinaire et un compositeur dont la pratique intègre le son, la vidéo, le documentaire, l’animation, l’installation et la musique expérimentale et improvisée. Le travail de Nathan implique souvent le spirituel et le politique, redéfinissant ainsi l’imagerie sacrée des autochtones pour complexifier et détourner la notion de sublime. Lauréat 2016-2018 d’une bourse d’artiste de Tulsa, Nathan est un ancien membre et un fondateur du collectif d’artistes Postcommodity (2007-2015). Il détient aussi une maîtrise en musique/son de la Milton-Avery School of the Arts du Bard College.

Josh Rios est un pédagogue, un artiste en arts médiatiques et un critique culturel dont les projets abordent l’histoire, les archives et les lendemains de la subjectivité latino-américaine et des relations États-Unis/Mexique étudiés à partir des croisements entre la mondialisation, la modernité, le postmodernisme et le néocolonialisme. Les projets de Rio mettent de l’avant des instants de rapprochement inter culturels, l’indéterminisme archivistique et l’anxiété générée par la contestation des notions hégémoniques de l’identité sociale aux États-Unis. Des performances récentes, des projets et des présentations ont été vus au Art Institure of Chicago (Chicago), à la Andrea Meislin Gallery (New York), au Bemis Center for Contemporary Arts (Omaha), au Museum of Fine Arts (Boston) et à l’Université de Houston (Houston). Parmi ses plus récents écrits, on trouve l’essai A Possible Future Return to the Past publié dans Somatechnics par Edinburgh University Press. Ses projets comprennent une performance pour le symposium Decoloniality : Aesthetics and Methodologies at Tufts University (Boston) et une performance et conférence à la School of Visual Arts (New York).

Anthony Romero est un artiste, un auteur et un organisateur engagé dans la documentation et le soutien aux artistes et aux communautés de couleur. Ses œuvres individuelles et collaboratives ont été présentées à l’échelle nationale, notamment au Links Hall (Chicago), au Judson Memorial Church (New York) et au Temple Contemporary (Philadelphie). Parmi ses récents projets, notons l’essai sous forme de livre The Social Practice That Is Race, écrit en collaboration avec Dan S. Wang et publié par Wooden Leg Press et Buenos Dias, Chicago !, un projet de performance sur une durée de deux ans commandé par le Museum of Contemporary Art de Chicago et produit en collaboration avec le collectif de performance mexicain Teatro Linea de Sombra. Il est cofondateur du Latinx Artists Retreat, enseignant à la School of the Museum of Fine Arts de la Tufts University et membre de faculté à la Jonathan M. Tisch College of Civic Life.

Performative Art Symposium: Tempaurality


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