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thirstDays no.12
love, intimacy and (com)passion, in a geopolitical context
A monthly series of video, film, performance and ceremony events
Project curator/artist-in-residence Jayce Salloum
THURSDAY JANUARY 26 7.30pm
Curated by Elisa Ferrari + Stacey Ho
Featuring/works by Lee Ann Brown, Lindsay Dobbin, Katherine Kline, Britt Kramvig, Sonnet L’Abbé, Guadalupe Martinez, Margrethe Pettersen, Jayce Salloum, Kristin Tårnes, Hildegard Westerkamp, T’uy’t’tanat-Cease Wyss, Alize Zorlutuna
This program began as a consideration of affinities outside of the human realm, between plants and animals, objects and machines. However, this initial concept soon took on the shape of our conversations and shared interests—subjects such as walking, wandering, and listening. Writing on Margrethe Pettersen’s work, Britt Kramvig challenges the division of entities into nature and culture, rooting our need for holistic environmental awareness in Sami ontology. She writes “our ears have become dull to the sounds of the land speaking through our feet, it is now incumbent upon us to remember.” This has resonance not only in practices of deep listening but also in performance art practices that are invested in healing the fraught relationship between the land and the body.
~ Elisa Ferrari + Stacey Ho
Stream it LIVE at:
thirstDays.vivomediaarts.com
ONLINE
fb event page: www.facebook.com/thirstDays#12
fb project compilation page: www.facebook.com/thirstDaysVIVO
#thirstDaysVIVO
thirstDays is a project conceived as the rain falls and covers us in a slick substance transduced from the skies, moist. How can this, how can we, contribute to the establishing of a momentum that may have once been here in waves or pieces but over time was squandered, and defeated, with the imposition of capital triumphantly declaring its colonial (un)consciousness in our enclave by the water. Surrounded by a possible serene beauty, grief and sadness, love and hate, what encounters do we inscribe into our psyches and into our beings, what can art do to fulfil a mandate of hope and agency. What can we contribute.
The project takes inspiration from the patterns of existence to look at the mechanisms which we are part of, and relate them to all we end up being, sharing, denying, repressing and preserving. We seek that which compels us: love, intimacy and (com)passion, explorations of the commons/(un)commons; empathy and subjectivities; nourishing sites and situations; modes of agency; and subjectivities of place.
We insist on diversity and threads of collaboration, strands of ‘collectivity’/affinity, emphasizing works that have a specificity of location with resonances/meanings for others within reach and beyond. There is a socio-psycho imperative here at this site – Vancouver – grounded in what is missing and manoeuvering the gaps while referencing the historic in the present(ness) – and of the moment – with the critical reimagining of the repressed and the projection of empathy and action. – Jayce Salloum
VIVO is located in the homelands of the xʷməθkʷəy̓əm (Musqueam) Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaɬ (Tsleil-Waututh) peoples in a warehouse space at 2625 Kaslo Street south of East Broadway at the end of E 10th. Transit line 9 stops at Kaslo Street on Broadway. From the bus stop, the path is paved, curbless, and on a slight decline. The closest skytrain station is Renfrew Station, which is three blocks south-east of VIVO and has an elevator. From there, the path is paved, curbless, and on a slight incline. There is parking available at VIVO, including wheelchair access parking. There is a bike rack at the entrance. The front entrance leads indoors to a set of 7 stairs to the lobby.
A wheelchair ramp is located at the west side of the main entrance. The ramp has two runs: the first run is 20 feet long, and the second run is 26 feet. The ramp is 60 inches wide. The slope is 1:12. The ramp itself is concrete and has handrails on both sides. There is an outward swinging door (34 inch width) at the top of the ramp leading to a vestibule. A second outward swinging door (33 inch width) opens into the exhibition space. Buzzers and intercoms are located at both doors to notify staff during regular office hours or events to unlock the doors. Once unlocked, visitors can use automatic operators to open the doors.
There are two all-gender washrooms. One has a stall and is not wheelchair accessible. The other is a single room with a urinal and is wheelchair accessible: the door is 33 inches wide and inward swinging, without automation. The toilet has 11 inch clearance on the left side and a handrail.
To reach the bathrooms from the studio, exit through the double doors and proceed straight through the lobby and down the hall . Turn left, and the two bathrooms will be on your right side. The closest one has a stall and is not wheelchair accessible. The far bathroom is accessible.
Stacey Ho lives on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaʔɬ (Tsleil-Waututh) peoples. Their practice considers intersections of culture, history, and embodiment from a feminist perspective while incorporating language, sound, and gesture. Their work has been presented at Art Metropole, Justina M. Barnicke Gallery (Toronto), Galerie oqbo (Berlin), Artcite (Windsor), RAM Galleri (Oslo), Or Gallery and the Vancouver Art Gallery. They organize Slow Wave Small Projects, a one-week Gulf Island retreat that re-imagines approaches to learning and art-making from feminist, activist, and land-based perspectives.
Elisa Ferrari is an artist and curator, and holds a BFA (University of Architecture of Venice) and a MAA (ECUAD). She works with text, image, and sound. To consider acts and implications of retrieval, she produces projects that manifest as installations, sound walks, artist books, and performance; often addressing or incorporating archival fragments. She is part of – – / dashes, a sound performance collaboration with John Brennan. She is currently collaborating with Stacey Ho on a book of graphic scores for deep listening and sound making.
Jayce Salloum is a Vancouver-based photographer and video artist known for installation works that sensitively investigate historical, social and cultural contexts of place. The grandson of Lebanese immigrants, Salloum studied in the United States and began his artistic career in 1975. The central themes played out in his work include questions of exile, ethnic representation and notions of identity. In 2014, Salloum won a Governor General’s Award in Visual and Media Arts. https://twitter.com/JayceSalloum
