Participants will embark on collaborative adventures influenced by the surroundings, the event, and their overlapping and divergent experiences. In addition to working on their own studio practice and collaborative actions, participants will engage in the production of three major commissions for Scotiabank Nuit Blanche by the lead artists. The Work of Wind is a residency for artists and researchers attracted to the energy of natural and social systems, especially those with aspirations to impact the broader public through creative output.
Residency Rates: $1600 for two weeks private accomodation and shared studio space // $1300 for two weeks shared accommodation and studio space
$600 per individual artist residency, private accommodation and shared studio space // $550 for per individual artist residency, shared accommodation and studio space
Smoke, ink, paper, water, the wind, gravity, thermal activity, human activity, marbling, home-made windvanes, participation, vegetation, feathers, the beach, working outdoors, working indoors, and some basic construction. This residency will engage invisible phenomenon and use them to shape a shared physical experience. Participants will experiment with various methods for revealing and recording the hidden forces and invisible movements of the elemental, namely air and water. These experiments will be punctuated by group discussions, brief presentations, and the construction of a large-
scale collaborative action (or work) designed by the group but composed of individual works by individual participants.
Have Art and Ritual Lost Their Meaning?
A 3-day residency with Mary Mattingly
September 27-29, 2015
Extractive production and excessive consumption have become as violent as military activity. In this workshop we will extract consumption, gift in excess, and discuss ways that art, performance, and ritual can make spaces for mourning environmental loss. Through dialogue, diagramming, making and sharing rituals, we will task ourselves with re-mapping systems of the post-industrial/higher education/military complex, and draft steps towards forming the spaces we want to inhabit. We will spend time assembling a meditative space for a performance on the water that will take place during Nuit Blanche. During our time together we will continually question the following: Can we create more mindful rituals that point towards behaviour change or even policy change? Could we spend more time discussing change with the choir? In an era of schizophrenia,
can art still bring us closer towards embodying the world we want?
A 3-day residency with Ivan Morison
October 2-4, 2015
Forced out of the studio, with the gallery in ruins, you are faced with a mirror of yourself, THE NEW YOU. They are like the old you, only better, smarter. Can you seize control of them, take advantage of their bravery, their better looks and quicker wit? Or do you become someone else’s puppet in turn?
What is going on out there, it’s chaos, the city is cleaving apart. Two layers, overlaid. Which one do you walk within, what do you see? Can we walk within both, can we make others leave their places of security to join us? Can we change their path? Can we operate as a group? Can we transform a city?
Participants will be called upon to work with Ivan Morison to install an ambitious installation for Scotiabank Nuit Blanche and to prepare contributions for a special event the night after at Clint Roenisch Gallery. This residency is based upon a philosophy that learning and insight can best be found through hard labour and shared group endeavours focused towards remarkable end results.
The Cleaving is an experimental residency about shedding identities and reinvention, with the city as a playground, and not a lot of sleep.
Tim Knowles is an artist based in London, UK. His creative practice incorporates chance, process and performance into mark making systems. Art is approached as a generative process aligned with the games and experiments of Situationist and Fluxus artists. In his automatic drawings, formal elements are open to mechanisms or phenomena beyond the artist’s control–seeking to reveal the hidden, or otherwise unnoticed motion of objects. These projects capture ephemeral traces: of footsteps in the forest; the full moon’s reflection on undulating water; or intricate movements of a parcel traveling through the postal system. Marked by a romantic take on conceptualism, he travels with torches through the night landscape and affixes sketching pens to tree branches to create a record of their movement. Like a signature, each system reveals the characteristics of an otherwise unnoticed physical experience. Knowles has exhibited widely, including at MassART, Boston; Art Stations, Poznan; Generali Foundation, Vienna; Plymouth Arts Centre; Hayward Gallery, London; Gallery Skuc, Ljubljana.
Mary Mattingly is an artist based in New York. She creates ecosystems. In 2014 she launched WetLand, an art residency on the water; in 2013 she built Triple Island, a home and community garden on the East River; in 2012 she began the Flock House Project: spherical living-systems choreographed through the United States. In 2015 she will launch Torus in Lake Ontario. Mattingly also founded the Waterpod Project, a barge-based public space containing an autonomous habitat that migrated through New York’s waterways. She has received grants and fellowships from the John S. and James L. Knight Foundation, the Harpo Foundation, New York Foundation for the Arts, the Jerome Foundation, Eyebeam Art+Technology Center, and the Art Matters Foundation. Mattingly’s work has been exhibited at the International Center of Photography, Seoul Arts Center, The New York Public Library, the Palais de Tokyo, and the deCordova Sculpture Park and Museum. She recently participated in MoMA PS1’s EXPO 1 with Triple Canopy Magazine and the smARTpower project in the Philippines with the U.S. Department of State and the Bronx Museum of the Arts.
Heather and Ivan Morison are an artist duo based in Brighton, England, and Arthog, Wales. They have established an ambitious collaborative practice over the past decade that transcends the divisions between art, architecture and theatre. They make art as an active engagement with materials, histories, sites and processes, producing sculpture, plays, photographs, installations, buildings, and site-specific projects internationally. Their central preoccupation has always been how we navigate catastrophe and the essential violence of change, from a wider social view to how individuals transcend moments of personal calamity. Heather and Ivan Morison’s work has been exhibited widely including at Tate Britain, Tate Modern, The Barbican, The Vancouver Art Gallery, and the 52nd Venice Biennale where they represented Wales. They are represented in Canada by Clint Roenisch in Toronto.
Christine Shaw is the Director/Curator of the Blackwood Gallery and Assistant Professor in the Department of Visual Studies at the University of Toronto Mississauga. She collaborates on alternative education and curatorial projects, including the Toronto School of Creativity & Inquiry (2005-10), and, currently, Letters & Handshakes. She holds an MFA from Western University and a PhD in Social and Political Thought from York University. Recent projects include Paris/Toronto: The Ecology of an Art Scene, Precarious: Carol Condé and Karl Beveridge, and FALSEWORK with Allora & Calzadilla, Adrian Blackwell, Cyprien Gaillard, Mary Mattingly, and Wages for Facebook. Shaw is Curator of The Work of Wind for Scotiabank Nuit Blanche 2015.
The Work of Wind
In The Work of Wind, the Beaufort Scale of Wind Force becomes a diagram of prediction and premonition of the 21st century. Created by the British sea admiral Sir Francis Beaufort in 1807, the scale is a 13-part index capturing wind’s potential to compose at sea and decompose on land. Less than one km/h is Beaufort 0, “Calm,” with the description, “sea like a mirror; smoke rises vertically.” By force 4, “Moderate Breeze,” with a velocity of 20-30 km/h the wind creates “small waves; raises dust and loose paper.” By force 10, “Storm,” the wind moves between 88-102 km/h, and “the tumbling of the sea becomes heavy; trees uprooted, structural damage occurs.” The scale was used for the practical navigation of 19th century ocean space. Drawing on the language of the scale – drifting, tumbling, scattering, swaying, impeding, damaging, breaking, uprooting –The Work of Wind unfurls the 13 forces from 0 (Calm) to 12 (Hurricane) along Toronto’s shoreline. From works of manifest tangibility and poetic materiality to more activist, conceptual approaches, the combined effects of this exhibition offers an operatic experience of the elemental forces, compositional forms, and geopolitical processes of our contemporary times. Artists: Carlos Amorales, Marguerite Humeau, Tim Knowles, Brandy Leary, Los Carpinteros, Mary Mattingly, Christof Migone, Heather and Ivan Morison, Tomas Saraceno, Jon Sasaki, Charles Stankievech, Kika Thorne, Robert Wysocki.
Scotiabank Nuit Blanche
Scotiabank Nuit Blanche is Toronto’s annual all-night celebration of contemporary art, produced by the City of Toronto in collaboration with Toronto’s arts community. Since 2006, the event has featured more than 1,000 official art installations, created by 4,400 artists and has generated over $227 million in economic impact for Toronto. The event has received many accolades including most recently the Economic Developers Council of Ontario (EDCO) Awards of Excellence for Public-Private Partnerships, Sponsorship Marketing (SMA) Award of Distinction for Festivals, Best Free Cultural Happenings in Now Magazine's annual "Best Of" poll for a seventh year in a row and number seven All-Time Favourite Festivals, Fairs and Events in Field Day's fourth annual Toronto entertainment survey. Look for information and updates at http://www.scotiabanknuitblanche.ca
, on Facebook at facebook.com/sbnuitblancheTO
and Twitter at @sbnuitblancheTO
Image credits: Tim Knowles, Fluid Dynamics, photo montage, 2015; Mary Mattingly, Pull, 2014, photo: David B. Smith; Heather and Ivan Morison, Journée des Barricades, 2008.