This is a conversation between Coll Thrush, Kamala Todd & attendees. Creating home and a sense of place means building relationships. How well do we relate/give back/listen to the land and waters that are our home? This is a conversation towards decolonizing the city, asking questions about learning the laws and expectations and responsibilities before we assume permission and right mindedness to “come ashore” and be good visitors. This conversation will be held at the Mount Pleasant Community Centre, in collaboration with the Contemporary Art Gallery.
Carmen Papalia and Joulene Tse Parent will discuss issues of cultural accessibility and human rights in the city, including Tse’s ongoing research on the history of Indigenous workers on the waterfront, as well as Papalia’s projects leading up to and including his recent conceptual work Open Access, a new, relational model for accessibility that sets a precedent for considerations of agency and power in relation to the disabling social, cultural, and political conditions in a given context.
Presented as part of Flotilla: National Conference of Artist Run Centres, this last Session of The Foreshore Part I is co-presented by Marie Burge and Journée sans culture. Burge will review the history and concrete engagement work of the PEI Working Group for a Livable Income to establish Basic Income Guarantee (BIG) as a formal public program in PEI. Journée Sans Culture will discuss the methods, aspirations, and challenges that have shaped the group’s activities since 2015.
Presented as part of Flotilla: National Conference of Artist Run Centres, this second last Session of The Foreshore Part I is co-presented by Lindsay Dobbin and Harmony Wagner. Drawing upon a lifelong relationship with sound, landscape and water, artist and musician Dobbin will share stories about their creative practice of listening, and how it is a method to deeply communicate with, and be in relation to, the living land. Wagner will speak to how our bodies navigate this ever-changing, yet cyclical state, as seen through the lens of Traditional Chinese Medicine and Martial Arts.
Anchored in the waters of False Creek with views to the last remaining undeveloped waterfront of Northeast False Creek, the camera obscura offers participants a multi-sensory experience, connecting with real time in the act of seeing a highly detailed reflection of the water and landscape that is both familiar and remarkable at the same time. Light entering a simple lens fitted within the dark, tent-like structure, projects a real-time image of the surrounding environment, where, upside down and backwards, it falls onto a screen. With distant viaducts turned on end, and the water rising, the elusive image conjures the conditions of the foreshore as a place of constant flux and asks what is, as yet, unseen?
Since the summer of 2016 John and Carol have been working on a series of musical investigations into water-related themes, including polar ice melt, acid rain, and most recently, the foreshore of False Creek. Sawyer draws on a wide range of text sources, including wikipedia entries, interviews, and romantic verse to create improvised melodies interspersed with quotes from art songs and popular music, in conjunction with Oliver’s real-time improvised soundscapes and electric guitar. Melt is an informal presentation of their work-in-progress.
Papalia will present on his last few years of practice-based research on the topic of organizing for accessibility and mutual aid. Papalia will discuss projects leading up to and including his recent conceptual work Open Access; a new, relational model for accessibility that sets a precedent for considerations of agency and power in relation to the disabling social, cultural, and political conditions in a given context.
Based on her work with Upper Fraser First Nations in natural resource management, Tung will discuss the tension between their interests and those of environmental assessment processes. Exploring what is made visible and invisible, and for who, Michelle will share her experience on how themes of access, connection, and translation can provide creative spaces to advance the interests of Aboriginal communities.
Based on her experience as a Stevedore and member of the International Longshore and Warehouse Union Brooke will discuss some of the history of the union as well as how the shift toward exclusion and security in the ports and shipping industry obscures our understanding of the movement of goods, the people who do that work, and their experiences.
Lee Podesva will share some thoughts on ebbing as a means for developing a vocabulary of value that turns away from the principles of gain, growth, and accumulation, among other economic delusions. This discussion will also share very preliminary research on tides, especially low tides, to open up a space of practice that knits corporeal, terrestrial, and celestial contexts with social realities. Let us consider what an alternative vocabulary of value might look like. What forms might it take economically, aesthetically, psycho-spiritually?
In an approach to decolonization in tentacular thinking, an approach to staying with the trouble, making oddkin, and in a pitch darkness cast by the Enlightenment, Laiwan will speak nearby with recent research navigating creative practice that is, where and what is, distinct from human exceptionalism and instrumental logic.
Plowright will discuss his work with armed groups (some labelled ‘terrorists’), and the attempts to come to an understanding of them as human beings, rather than as monsters, criminals or deviants.
Laiwan is an interdisciplinary artist, writer and educator with a wide-ranging practice based in poetics and philosophy. Born in Zimbabwe of Chinese parents, her family immigrated to Canada in 1977 to leave the war in Rhodesia.
Ferreira da Silva will comment on what might become possible when thinking reaches beyond the limits of reflection. Reading Octavia E. Butler’s female characters, Dana (Kindred), Lauren Olamina (Parable of the Sower) and Anyanwu (Patternist Series) as black feminist poethical renderings of the Real, she explores the imagination’s capacity to explore the body’s hidden treasure, which is the otherwise of the world as we know it.
Chambers considers that describing dance as ephemeral calls its value into question. It is not only the erasure of embodied experience as a tool for cognition, but more importantly how it functions as a rich, living archive for personal and cultural history, ritual and resistance.