FAG Satellite @ Access Gallery
August 24th- October 14th
This fall the Feminist Art Gallery (FAG) Satellite @ Access Gallery offers an active and inclusive space for dialogue surrounding Feminist practices, showcasing the work of emerging Canadian Feminist artists: Chase Joynt, Alexis Mitchell, Heidi Nagtegaal, Ariel Smith, Valerie Salez, and Sharlene Bamboat. With a belief in art’s ability to create social change, The Feminist Art Gallery is – a response, a process, a site, a protest, an outcry, an exhibition, a performance, an economy, a conceptual framework, a place and an opportunity. FAG is a Toronto-based gallery in the renovated garage of Allyson Mitchell and Deirdre Logue opened in 2010 with a mission to grow sustainable Feminist art. Proposing an alternative model for artist-run centres, FAG does not depend on formal funding sources nor will it ever be tied to one government or corporate controlling purse string. Instead, FAG has created a web of matronage whereby people and institutions contribute to a pool of resources insuring that artists will always be paid for exhibiting their work.
Commencing on August 24th, in conjunction with the 2nd annual Craft Pride Procession, Mitchell and Logue will carry their Can’t/Won’t banners to Access Gallery and install them on the gallery walls for the duration of the project. During subsequent weeks FAG has invited this broad mix of Canadian Feminist artists to transform Access through installation, screenings, and performances. FAG will also host special events including; a screening of Born in Flames (1983) directed by Lizzie Borden, August 25th; (IN)FORMAL DISCLOSURES: Screening and Artist Talk with Chase Joynt and Alexis Mitchell, September 12th; Un Mask Me, a night of Feminist noise, dance, performance, and drag organized by Heidi Nagtegaal in conjunction with the Olio Festival, September 21st; a FAG/Sweaty Bones dance party, October 13th, and an intramural free university reading course with Randy Lee Cutler and Magnolia Pauker happening simultaneously at FAG Toronto and FAG @ Access. Check www.accessgallery.ca for more details.
FAG @ Access schedule of events:
August 25-September 6
Deirdre Logue and Allyson Mitchell (Toronto) CAN’T/WON’T
Deirdre Logue and Allyson Mitchell are artists and co-founders of FAG Feminist Art Gallery. Logue and Mitchell have aligned development and artistic goals in order to operate FAG on its own terms. Logue is currently the Development Director at Vtape and Mitchell works as Assistant Professor in the School of Women’s Studies at York University. Both have prolific international art practices.
CAN’T/WON’T is a series of four banners that display the following text:
WE CAN’T COMPETE, WE WON’T COMPETE, WE CAN’T KEEP UP, WE WON’T KEEP DOWN
Due to the following circumstances [list umpteen statistics about how gender/”race” and class operate in the art world] we propose these slogans and ask the following questions: “Why would you want to be a winner in this hierarchal structure?” and “How do we both resist and reconcile our participation in this oppressive system?”
CAN’T/WON’T is an acknowledgement of the dilemmas of feminist and queer cultural participation.
We can’t compete so we won’t compete. Instead we will: collaborate, nurture, cultivate, feed, enable
August 25 (7pm)
Born in Flames Screening
Celebrate the launch of FAG Satellite @ Access with a screening of the cult classic 1983 feminist science fiction by director Lizzie Borden in all its 16mm glory. The film will by introduced by FAG Co-founders Deirdre Logue and Allyson Mitchell.
‘Born in Flames poses the question of whether oppression against women will be eliminated under any kind of social system. […] It is a fantasy presenting a group of women who, confronted with the very “ordinary” oppression women have been experiencing for decades, refuse to take it any longer and become armed fighters against the government. Their position is that oppression against women is not eliminated automatically with “socialism” – not only do political values have to change, cultural values must change and become embedded in practice.’ — Lizzie Borden in Heresies #16, 1983
Chase Joynt (Toronto) RESISTERECTOMY
RESISTERECTOMY is a 4-part multi-media moving image installation that challenges the boundaries of a gendered body through the examination and infiltration of, in and on various medical spaces. This project began as a search for counter-narrative to the artist’s experiences of mastectomy and hysterectomy as they relate to gender and embodiment. What was discovered is an artistic and intellectual collaboration that served to collapse the boundaries of a gendered body as they relate to these surgeries; and conversations that complicate the very notion of a counter-narrative in service of greater things lost and now gained. As a transgender man, the artist highlights these surgical experiences as both highly contentious and ultimately pivotal turning points in the formation of their (de)gendered sense of self. The various trajectories illuminated by and through collaboration with UBC Faculty Mary Bryson have underscored the impact of institutions on these narratives; and subsequently inspired a creation of work that exists at the liminal points of transgression, between the management of public bodies and the articulation of private brains.
September 12 (7pm)
(IN)FORMAL DISCLOSURES: Screening and Artist Talk
Through a presentation of their newest works, alongside the projects of Feminist Art Gallery contemporaries, Toronto-based media artists Chase Joynt and Alexis Mitchell ask us to question what it means to create documentary works that seemingly utter personal truths. How do the voice and the body formally function in these works as way to disclose, claim and/or queer stories of the self? What does it mean to fictionalize, satirize and/or illustrate personal experiences or utterances as a way to transform their potential interpretations by the public? Join us for snacks, screenings, and serious fun.
(IN)FORMAL DISCLOSURES is presented by the Feminist Art Gallery Satellite Project at Access Gallery in collaboration with Dr. Mary K. Bryson (http://www/http://www.queercancer.org), the Institute for Gender, Race, Sexuality and Social Justice (GRSJ http://www.grsj.arts.ubc.ca/), and Critical Studies in Sexuality (http://csis.arts.ubc.ca/) at the University of British Columbia.
September 13- 15
Alexis Mitchell (Toronto) Performing CAMP
Performing CAMP engages 3 types of camp environments in order to re-evaluate and re-tell traditional Jewish narratives. Using a queer reading of the Purim story, the censored passages in Anne Frank’s diary, and an analysis of the cultural and historical significance of a haircut, the work reveals the ways in which secrets haunt the surface of our contemporary cultural moments. Performing CAMP is framed through a play on the word ‘camp’ utilizing a camp sensibility amidst an analysis of temporary built environments. Through this frame I engage with what narratives we choose to tell and what we labour to keep hidden.
September 16 & 30
Pleasure & Protest, Sometimes Simultaneously: A Free School
Organized by RL Cutler and Magnolia Pauker
Pleasure and Protest, Sometimes Simultaneously (PPSS) in collaboration with the Feminist Art Gallery (FAG) Satellite @ Access Gallery August 24th- October 14th will initiate a collaborative and transdisciplinary free school reading course happening simultaneously at FAG Toronto and FAG @ Access Gallery in Vancouver. Readings will be explored in an atmosphere of shared spacetime.
Pleasure & Protest, Sometimes Simultaneously: Free Pussy Riot
1-3 pm Sunday September 16
Inaugural Statement by Avital Ronell, live via the internet!
Readings from the media on Pussy Riot
Pleasure & Protest, Sometimes Simultaneously: Feminism as a Transformational Politic
1-3 pm Sunday September 30
Coming to Feminism: A Performative Reading
Shared reading of bell hooks’ “Feminism as a Transformational Politic” (copies of the reading will be made available)
Heidi Nagtegaal (Vancouver) The School of the Free Hammock
The School of the Free Hammock (TSOTFH) is a non-coercive mentorship, conversation, and community based education project. Launched by Heidi Nagtegaal in 2012, TSOTFH uses Hammock Residency as a base, and partners with other spaces to provide access to materials, according to need and ingenuity. There are no limits on the number of mentors, spaces, or people you partner with. Use as many or as little as you need. Build Spaces. Embody Them. TSOTFH offers an alternative form of post-graduate education for fine arts and culture.
September 21 (9pm)
Performance Night with Olio Festival
The stylus is in the groove, orbiting in a night of feminist noise, dance, and performance at Access Gallery presented in conjunction with the FAG Satellite, including Mirae Rosner + Heidi Nagtegaal,Eden Veaudry, Bushtit, and Dance Troupe Practice.
By donation (recommended $10)
September 26-October 02
Ariel Smith (Ottawa) Little girl/ugly girl/not bad/just evil girl
Three of Smith’s video-based installations will be presented, all of which examine concepts of feminine monstrosity and the abject. Smith employs aesthetic strategies reminiscent of horror genre and symbolic representations of archetypical girlhood to explore and subvert such themes as demonic possession at the onset of menses, vagina dentata as self-defense, loss of innocence and the often-terrifying reality of growing up female.
Valerie Salez (Canada) In the shadow of our own dust
In a hybrid practice that combines ritual with drawing, sculpture, video and installation, Salez presents ceremony as the original social/relational art practice. She approaches the work from a point beyond political rhetoric. True accessing and re-connection with sacred realms cannot include political do’s, don’ts and boundaries. It belongs to everyone, everywhere and is as inherent a right as breathing. The artist does not view this as ‘new age’ but as a practice that is age old. Critical irony and the imposition of any one religious or spiritual doctrine is not found in her work. Instead it rises out of a primordial sense that reaches back so far it cannot be named. Blood and bones simply know it to be.
Sharlene Bamboat (Toronto) The Queen’s Punishment
In The Queen’s Punishment, Bamboat’s multi-day cumulative performance examines the waning of sovereignty and nationalism in a period where symbols, such as the Canadian penny are phased out of the public realm. Through a humourous performance, Bamboat and Her Majesty, Queen Elizabeth II together enact labourious tasks over three days.
Access Gallery gratefully acknowledges the Canada Council for the Arts, BC Arts Council, City of Vancouver, our members and volunteers. Access is a member of the Pacific Association of Artist Run Centres.