We are all to some extent Institutionalized & No one should stay in an Institution for more than 5 years – paraphrasing @cck (Chris Creighton-Kelly )
Scenes, from the truly Caring and Repairing, VerbFrauTV (Margret Dragu & Special Guests) #theStage
Sealed Yoga essentials and Frugal Friday Performance, with Guest
Additional links: Chris Creighton-Kelly interviewed by Lenore Keeshig during a TIA House symposium called "Wisdom Council" in September 2019:
Thank you @ywk
Chris Creighton-Kelly brings us a provocative presentation, filled with questions and authenticity. Blurring the lines and smoothing between performative moments and reflection of recent community moments - in short a gift. #theStage https://livebiennale.ca/2021/ https://fb.watch/93QmIFZ5BP/
With the LIVE Assembly on it's way, we thought we'd share with you some of our guests!
Margaret Dragu works in video, installation, web/analogue publication & performance. Spanning relational, durational, interventionist and community-based practices, she has shown in Canada, USA & Europe. Dragu is celebrating her 50th year as working artist.
To read more about Margaret, peruse our event schedule, register for the event, or sign up for our newsletter:
https://livebiennale.ca/2021/
Daina Warren is from the Akamihk (Cree) Nation in Maskwacis (Bear Hills), AB. She was awarded two Canada Council’s Aboriginal Curatorial Residencies the first to work with grunt gallery, Vancouver BC (2000-2001) and a second residency at the National Gallery of Canada in Ottawa, Ontario (2010-2011).
To read more about Daina, peruse our event schedule, register for the event, or sign up for our newsletter:
https://livebiennale.ca/2021/
Chipo Chipaziwa was born in Kuala Lumpur, Malaysia. Chipaziwa’s work addresses the duality of subjectivity and objectivity; the notion of identity and its fluidity, and the performativity of the African [female] body.
[Image Description: portrait of Chipo Chipaziwa]
To read more about Chipo peruse our event schedule, register for the event, or sign up for our newsletter:
https://livebiennale.ca/2021/
“Mending” (2009) by Margaret Dragu
This work was part of a series of pieces centered around “verb actions” developed by Margaret Dragu in collaboration with Paul Couillard. In this piece, Dragu films herself repeating the action of “mending,” overlapping the subsequent iterations to create layers of actions that slowly deteriorate and obscure with each repetition.
More videos and archival information on our website, link in bio!
Archival footage by Elisha Burrows.
In this segment of Annotating the Archive, Yasmine speaks to Guadalupe Martinez about her performance during the LIVE biennale in 2011.
More videos and archival information on our website,:
https://livebiennale.ca/2021
Filmed and edited by Yasmine Whaley-Kalaora (@ywk). Archival footage by Elisha Burrows.
Tomorrow marks Day 1 of our three day event! Make sure to register at https://livebiennale.ca/2021/ to tune in live on Ohyay and receive an invitation to the LIVE Platform where you can discuss the day's topics and other art related things!
For those of you who wish to just watch, the stream will be hosted on the LIVE Biennale Facebook page!
We look forward to seeing you there!
“SECOND WALK: assembled meanings for home” (2011) by Guadalupe Martinez
Part of a residency at GAM Gallery, “Second Walk” is a durational performance, taking place over 12 hours. During this performative walk, Martinez collected objects from sites surrounding the gallery and her Vancouver residence. The objects were brought back to the gallery and arranged as an installation.
Archival footage by Elisha Burrows.
In this segment of Annotating the Archives, Yasmine speaks to Margaret Dragu (@ladragu) about her performance during LIVE biennale in 2009.
More videos and archival information on our website, link in bio!
Interview filmed by Brady Marks (@furiousgreencloud) and edited by Yasmine Whaley-Kalaora (@ywk). Archival footage by Elisha Burrows.
Our public posts are now LIVE on https://livebiennale.ca/2021/, let the public experiment begin.
Welcome to the LIVE Platform an ad free user moderated social media platform supported by LIVE Biennale.
PS, we have mobile apps too...
Lesson 1. Always share your visualization/sonification of data with the community the data comes from before the general public, and get their feedback.
Lesson 0. Data incompleteness, can be manipulated to lie.
Wanted to share the 12th issue of UBC's UJAH (Undergrad Journal of Art History). This issue contains a paper I wrote last fall on the ReMatriate Collective, (@rematriate_), as well as many more interesting papers and artist profiles written by students and recent grads.
You can get the full journal PDF here:
https://static1.squarespace.com/static/53e07029e4b0130e4212e72c/t/6152add72c05423a43b3483e/1632808470428/UJAH-2021_compressed.pdf
CALL FOR RESPONDERS
The responder’s role is to witness 4 specific events in this series (and any other they may choose to attend) and then formulate their musings into a 1500-2000 word text, drawing connections between them and providing insights in relation to key formal, conceptual, creative, aesthetic, and political concerns.
Responders are paid $1000 each.
Expressions of interest and CV to symposium@cmagazine.com by October 8, 2021. #call #art #canada
Picture of the geometric cover of a hardcover book bearing the author's name (Jer Thorp) and the title, Living In Data, despite the technological subject the colours are earthy and warm.
Though we are unable to meet in person this year, LIVE Biennale is still dedicated to bringing a meaningful experience centered around identifying new ways of caring in our communities! We invite you to join us from November 4th-6th at the LIVE Assembly, an online event where participants can join us online for a gathering that features artists and those involved in the art community. For more information please register for the event at https://livebiennale.ca
Brady is a #ComputationalArtist, who is concerned with our technological entanglement, and creates media configurations that express a middle way between technological fetishism and dystopian fantasies.