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 SUMMER SCHOOL FACULTY PARTICIPATING ARTISTS

Donna Lynas Jenny Western Tammi Campbell Sarah Massecar Emily Rosamond
WYSING ARTS CENTRE (CAMBRIDGE, UK) WINNIPEG, MB
Steven Leyden Cochrane Caroline Monnet Tim Schouten
Lotte Juul Petersen Anthony Kiendl Lita Fontaine Sandee Moore Andre Silva
WYSING ARTS CENTRE (CAMBRIDGE, UK) PLUG IN INSTITUTE OF CONTEMPORARY ART (WINNIPEG, MB)
Liz Garlicki Freya Björg Olafson spmb [Karen Shanski + Eduardo Aquino
W/ Adam Robinson]
Yann Chanteigné Tytelman Becky Ip Pam Patterson
CAPC MUSEUM OF CONTEMPORARY ART (BORDEAUX, FR)
Cyrus Smith
Craig Love Bev Pike

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 Tammi Campbell

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 ech, and sallow
Silver bark of be

Cinderella dressed in
yellow
a
Dies iræ! dies ill

Steven Leyden Cochrane

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 Lita Fontaine

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 Liz Garlicki

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 Becky Ip
She’d probably go to South Dakota instead.

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 Craig Love

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 Sarah Massecar

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 Caroline Monnet

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 Sandee Moore

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 Video still from “Ghost Desktop”
part of the AVATAR series

AVATAR FREYA BJÖRG OLAFSON

The AVATAR series explores methods of creating, validating and disseminating one’s identity through the use of technology
and the Internet. The work is inspired by the mantra “I post therefore I am”, whereby Internet users legitimize their existence
by documenting their lives and uploading this media to personal webpages and blogs.

Through AVATAR I am facilitating an inquiry into our desire to share and publicize our lives. In performance the work in
herently becomes a duet with technology as in AVATAR I make use of live video feeds and projections to magnify, manipulate
and effectively broadcast persona and image. This series in progress has manifested in 11”x14” paintings / drawings, a solo
performance, installation, and video work.

During Plug In’s “Summer School” I have been doing significant research, amassing sound and video from various video
sites and online power users. The results of this work in process will premiere in Winnipeg October 15 -18, 2009 as a co-pro
duction between Winnipeg’s Contemporary Dancers, núna (now) and Myself. Video Still from A/S/L (Age/sexlo
cation) part of the AVATAR series.

Video still from “Ghost Desk

top” part of the AVATAR series

Images Below Left to Right: Kitchen , Bedroom. and Living Room, Acrylic on Bristol Paper, 11” x 14” created in 2009

Freya Björg Olafson (B.A. Honors in Dance, MFA in New Media) is an intermedia artist
who works with video, audio, painting and performance. Her work has been presented/ex
hibited internationally at festivals and galleries such as InterAccess Electronic Media Arts
Center (Toronto), The Winnipeg Art Gallery, Plug In Institute for Contemporary Art (Winnipeg), The development of the AVATAR series is supported by The Canada Council for The Arts, The Manitoba Arts Council,
Kling&Bang Galleri (Reykjavik,Iceland), Groundswell New Music Series (Winnipeg), O.K.
The Winnipeg Arts Council and Video Pool New Media Arts Center’s Media Production Fund.
Centrum (Linz, Austria), Akureyrarvaka (Akureyri, Iceland) and Springboard Danse Montréal.

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 Autothanatography: A “Vanitas”?

Sometimes I can hardly use human language to tell how I feel... ‘If I were a dog, I’d be shaking and trembling.’
Animals don’t use words; their bodies speak for them. . . . But I am not an animal. I am a human being, an
articulate one at that, who is challenged to find words to apply to sensations I’ve never had before, challenged to
find meaning and stability despite a changing body. I’m caught in a relentless metamorphosis.
Barbara Rosenblum in Cancer in Two Voices.(1996,166-67)

In using autothanotography as representational narrative, I, as performance and visual artist encounter the hovering
consciousness of death. Performing as a woman with a potentially terminal illness, and as/in feminist performative
praxis, not only enables me to conceive of death, but to apprehend my own identity in anxious and immediate
(un)certainty in time and space.

My struggle is to translate the physical trembling like that of an animal into a visual/performative language.
Does this trembling body-self find a language aimed at deferral–avoidance, diversion, or delay, or genuine
engagement? Experiential need and renditions of time do fail to coincide. Repeatedly, I experience my efforts to
capture my experiences as but moment-by-moment wrestling matches with the angel of death, urgent capturings of
time in temporary oases of semi-comprehension. To think that these even adequately represent the angst of impending
death perhaps speaks to nothing more than artistic vanity.

However, combining the visual and performative in representation makes active use of the body-self,
enabling me to re-activate and multiply my subject positions. Each moment of successive re-presentation appears in
temporary relation to each other; I use time but am also suspended in time and yet not entirely reliant upon time
for interpretation or meaning. Meaning is enacted through a self-reflexive praxis in and through subject positions in
“memento mori”.

My intent is not to normalize death but rather to

engage with it as complex intra- and inter-cultural
autobiographical site. Are these performances
but conceits, acting as nothing more than
vanitas or do such elucidations enable a
re-visioning of death at-the-edge, as if in
a moment of extreme and painful clarity?

While here at Plug In ICA, I have been developing three

performative works:

Canto 2: The Descent ... to the Lighthouse, a performance

dance-macabre which was performed as workshop as
Lighthousekeeping at aceartinc

Canto 3: The Gates of Hell, post-mortem and skull photo-

scans and video (rat)

Canto 4: Playing at Death’s Border, 100 figurative

drawings.

As a feminist, I address these concerns with a particular bias which is personal

and political, and bring to this my challenges as a person living with cancer and a disability.
This work speaks to the problematic of the autobiographical of/in pathology and death.

Pam Patterson focuses her research, art and teaching, on the body and/in culture. She is Director, Women in
Action, Centre for Women’s Studies in Education, OISE/UT which presents exhibitions, screenings, performances
and interdisciplinary arts-based workshops and teaches at York University and in the Art Gallery of Ontario studio
Pam Patterson program. As a performance and visual artist, Patterson exhibits and performs internationally

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 Bev Pike collaborated with a number of Canadian feminist artists in
creating the first draft of the Feminist Artist Advice Column
[http://agony-aunts.blogspot.com]. We designed it to provide women
with solutions to persistent systemic bias towards artwork by men.
Future plans include posting statistics to show women’s representa-
tion in art galleries, collections, art schools as well as on arts coun-
cil juries and as grant recipients. Women’s successes are remark-
able for two things: how much change has yet to happen before
women receive anything close to half of all art opportunities; and
how good so much of our (invisible) art is when compared to, on
the whole, that before our very eyes. This blog addresses the hid-
den assumption, “Women artists don’t really make interesting art
like men do” by asking instead, “How come visual arts profession-
als do not make gender equity imperative in everything they do?”
To this end, Agony Art Aunts across the country will propose inci-
sive theories and witty subversions.

Bev Pike
Bev Pike is a Winnipeg polymath who studies baroque traditions and
the politics that engender them. Since 1993, she has been exhibiting her
large-scale paintings from two series, Microscopic Remains and Hysteria
Chronicles, across Canada. This work investigates perceptual regimes that
create spectacle, extend beyond the frame and engage the viewer in a
complex special relationship. Pike also writes satire and has produced two
artist-books, entitled Autobiography of an Eccentric Line and Swallowing
Safety Pins, with Lives of Dogs press in Winnipeg. Her work can be found
in collections such as the Canada Council Art Bank, Museum of Contem-
porary Canadian Art, National Library at the Victoria and Albert Museum
(UK), National Museum of Women in the Arts (US), and others in Canada
and the UK. In addition, she has volunteered for artist-run centres since
1983. For the Plug In ICA Summer School, Pike will work on developing
particular feminist community-wide strategies, as well as on her new sub-
aquatic painting, Hymenal View of Ice.

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 Emily Rosamond

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 Timothy Richard Schouten

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 Andre Silva

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 Cyrus Smith

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 AUTOGRAPHS AUTOGRAPHS

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 9/7/09 4:53:57 PM
P L U G I N I C A
L O N E N O C A R
U N I T A R M
G E T S
S U M M E R S C H O O L
U N E A S E C O E R C E
M E R î T S H E X A U V
M A î T R E O R A C L E

MAGIC SQUARES BY CRAIG LOVE

E S T R U S O C U L A R
R E S E S N L E V E R S

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