Tag: Collaboration

Club Ami — Les manœuvres de la côte

Over 2022 and into 2023, along with other artists Maude Arès, Damián Birbrier and Adam Kinner, I took part in visits and workshops at Club Ami in preparation for their 40th anniversary exhibition at Maison de la Culture de Côte-des-Neiges. I noticed early on how the staff and members of Club Ami were negotiating around this project with great care and generosity the delicate puzzles of the past and the present, history and urgency, and the tensions around representation. My contribution was the Big Book, a device that could simply function as a series of surfaces to accommodate an archive of old and new work of various members. It was made of repurposed electrical conduits, textiles, caster wheels and wood.

Details below…

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Call for Submission

(photo Michael McCormack)

The below text was included in a zine called “Preposterous Portability,” put together by Hannah Jickling and Helen Reed’s class at the School Of Visual Art (SOVA) in Dawson City, Yukon, in dialogue with the “Readymade Institution” class instructed by Michael McCormack and Michael Eddy at NSCAD University.  Hannah and Helen’s class collected the contributions that addressed the theme of portable and alternative gallery space (as did our course), and assembled them into printed form with a limited run, including screen-printed covers, in February 2021.

 

published April 14th, 2021

“Wir meinen: die Selbstrasierer sind die Helden alle Zeiten und Länder”

Photographs and documentation of actions and installation, video

Developed as a commission for the McKinsey & Co. offices in Frankfurt (2006), published in Informal Architectures: space and contemporary culture (Black Dog Publishers, 2008)

Dieter Rams, designer whose domestic furnishings and appliances made the Braun company famous, lives on a mountain on the edge of Frankfurt, in a house he designed which functions like a living museum to his own products. Taking his living/working environment as a kind of role model for collective production, we developed models for co-habitation in the studio as well as in-situ, staking out his house from the woods across the street. Eventually we made it inside to interview him.

 

World Portable Gallery Convention 2012

Exhibition realized in cooperation with Eyelevel Gallery, September 2012.

The World Portable Gallery Convention 2012 was an international convention on portable galleries and alternative spaces hosted by Eyelevel Gallery during the month of September 2012.

Against the backdrop of the construction of a massive $164-million convention centre in downtown Halifax—and therefore a huge emphasis on the economic potentials of convening and networking—the project celebrated the variety of spaces artists and others have initiated with the smallest of means.

Investigations were thereby conducted into topics including scale, autonomy, mobility, intimacy, as well as transitions from alternative to established, and the pathways between DIY and entrepreneur.

For a PDF of the book (size: 80 mb) documenting the project, click here

Smaller-size excerpts:

Introduction
Radical Napkin Theology

For more details on the project, click here

For a specially-edited issue of CTRL+P online journal, click here

Installation view, from left to right: Museum of Mental Objects (Judy Freya Q. Sibayan); Nasubi Gallery (Ozawa Tsuyoshi) showing Ken Lum; background: Gallery Deluxe Gallery (Paul Hammond and Francesca Tallone) showing Chris Foster; foreground: Reduce Art Flights (Gustav Metzger).

DIY MoMO Guidelines for the Museum of Mental Objects.

Nasubi Gallery showing Ken Lum.

Gallery Deluxe Gallery showing Chris Foster’s Convoy.

RAF campaign making appearances across the city.

Installation view, from left to right: Coat of Charms (Hannah Jickling) showing F* Mountain; Nanomuseum (Hans Ulrich Obrist) showing the shop (Vitamin Creative Space) presented by Matt Hope.

 

Out on the town: Coat of Charms showing F* Mountain’s Observer of Beautiful Forms; Nanomuseum making an appearance on morning TV.

Alopecia Gallery (Gordon B. Isenor) showing Duke and Battersby’s Heroin Song.

Installation view: Feral Trade Café (Kate Rich)

Velcro Gallery (Craig Leonard with Beck Osbourne) showing Open Call.

P.R. Rankin Gallery (Elizabeth Johnson and Michael McCormack) collected after-hours phone messages.

Michael McCormack introducing the panel “Expose Your Self.”

MediaPackBoard (Valerie LeBlanc and Daniel Dugas) on a tour around the Nova Centre construction site.

Site of the Nova Centre, circa September 2012.

Vegetarians

Two-person exhibition realized in cooperation with Erik Blinderman.
Video (Michael) and photography and sound installation (Erik).
Kuenstlerhaus, Vienna, AT, 2010.

VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
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VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV

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Instructions for Open Participation

Performance, text and participation (2012)
As part of the event Under the Fig Tree, Above the Date Tree at HomeShop, July 7th 2012, and installed until August 19th. Another version appeared as part of the project Friends of Freiheit in North Adams, MA, June 2012.

Instructions for Open Participation begins with, as the title suggests, a set of instructions for open participation I had written in advance. Initiating the event, the vinyl-cut lettering is separated out into syllables and/or characters and mixed up.

Working with the resulting fragments, people are invited to participate in the formulation of what they think should constitute instructions for open participation.

The resulting instructions are adhered to the shopfront window.

Some weeks later (on August 4th, 2012), interested passersby inquire about the text on the window. They are invited to reconfigure or add to the instructions for open participation.

I am delighted to participate with them, but I refuse to tell them what my original instructions are. We work on it for several hours on it until we are satisfied that our instructions for open participation are more clear and coherent than the previous version.