Calgary’s animation community celebrates 30 years in the making
By: Metro Published on Tue May 19 2015
Painstaking focus, unfiltered imagination and voluntary confinement sum up a day in the life of an animator.
Tyler Longmire, production coordination for the Quickdraw Animation Society, said the meticulous work of local animators is now open to the public with an animation exhibit celebrating Quickdraw’s 30th anniversary.
“With animation you basically sit in a dark box for a year,” Longmire said with a laugh. “It can be a very solitary medium to work in. The exhibit showcases works of the animators and gives them a chance to come together.”
Longmire explained that 30 years running is not only a huge milestone for artist-run centres in Calgary, but is also an indication that animation may becoming a more popular medium to work in.
“There’s definitely a surging interest in it,” Longmire said. “The art of animation is more present than ever, and I think it’s mostly because a lot of culture now is very film, media and internet-based.”
Whatever the reason, Quickdraw’s long-standing presence in the Calgary community has sent the work of local animators worldwide to renowned events like the Melbourne International Film Festival and the Saint Petersburg International Film Festival.
“We’ve been pretty instrumental in fostering this community,” Longmire said. “It’s nice to see the effect the society has had on the scene over the last 30 years.”
Hosted at Untitled Art Society, the Quickdraw exhibit features compilations of animations and runs until May 30.
Calgary artists look to engage at Umbrella Visual Arts symposium
By: Metro Published on Thursday, Apr 30 2015
Concerns around a lack of opportunity for discourse in the arts community has spurred on the second year of the Umbrella Visual Arts Conference in Calgary.
Ginger Carlson, programming coordinator for Untitled Art Society (UAS), said providing a public space for local artists and cultural workers to share experiences and how those relate to art practices is something Calgary doesn’t have enough of.
“There are always art conversations instigated by art galleries and the college and university, but there really isn’t enough dialogue,” Carlson said. “We’re trying to engage people to talk about what’s going on in the art communities here.”
Artist in residence J.D. Mersault said his focus during the conference will discussing his essay, which examines suffering in art and whether or not suffering is, or should be used as, a resource to produce art.
Mersault’s familiarity with suffering in art comes from a three-year period living with an untreated abscess in his jaw. Inhaling painkillers and living in constant pain, Mersault said he produced the biggest chunk of artwork in his life at that time because it was all he was able to do.
“Suffering is pointless,” he said. “For me, I was in so much pain that I almost couldn’t do anything else, but that’s kind of lazy in a way. Because most people have access to suffering, they tend to use it as an artistic bartering chip — but that’s not a reason to make art.”
Mersault said while events like the Umbrella conference are positive forces for engaging with other artists and the public, an inherent struggle still exists for artists living in what’s typically considered corporate Calgary.
“This is a financially driven city, and because of that non-commercial endeavours like art-making are sidelined for commercial gain,” Mersault explained. “The people who make art are isolated. They feel like they’re worthless, and that leads to this problem where they’ve internalized their suffering and start making bad art.”
Teaming up with the Elephant Artist Relief Society (EARS), UAS is hosting the conference May 2 at the Freemasons Hall off 12 Avenue SW.
Arts Seen - Week of February 12, 2015
By Maureen McNamee
Art that crosses bordersBiennial M:ST Performative Art Festival offers panoply of art experiences
by Cadence Mandybura
September 25, 2014
“I think we intentionally cast a wide net in terms of our definition of performative art,” says Tomas Jonsson, director of Mountain Standard Time (M:ST) Performative Art Festival. “There are a lot of boundaries that exist, interdisciplinary boundaries, and we’re more interested in crossing that.”
Still, definitions can be useful, and M:ST describes “performative” as “practices that originate from a visual or media arts background and involve the live presence of the artist.” You may have seen it before, like at last week’s Nuit Blanche Calgary. And if you haven’t, now’s the time to try it, as M:ST only comes around every two years, this festival being its seventh incarnation.
The lineup is extensive, spreading across more than 15 venues in both Calgary and Lethbridge. Just a few examples of the work you’ll see are the visuals, songs and Mapuche ritual of a healing process performed by Chilean artist Alberto Kurapel; Cora-Allan Wickliffe’s continuous action of giving that crosses cultural boundaries; a street performance by Andrew McPhail in which he gathers and sews together bartered and donated tissues into a cloudscape installation piece; and an enormous acoustic cannon by Matthew Walker titled “A Device for the Emancipation of the Landscape.” There are also a number of durational works, including several at the Epcor Centre, that can be experienced for a few minutes or hours at a time .
A particularly special part of this year’s festival involves two pieces by Kenneth Doren showing at the National Music Centre on Wednesday, October 8. Doren passed away in 2012 at age 45, and had submitted one of the works, “The Piano Project,” to a previous M:ST festival. Jonsson explains they weren’t able to mount it at the time, but are pleased to present it this year, alongside a compilation of Doren’s video work. “He crossed so many borders — that’s something that we love,” says Jonsson. Doren, he explains, was “deeply embedded” into Emmedia, the dance community and the classical music community. “His love for all those practices, it was a very contagious thing.”
You may find yourself outside your comfort zone at this festival, but that’s okay; maybe that’s even part of the point. Jonsson says he thinks the destabilization is what makes performative art special. “I think being open to that challenge can be enriching,” he says. “It can also be frightening and disturbing, but those are not things to shy away from.”
After all, the artists, though present in most performative works, won’t bite. “I think it’s actually a very generous space,” says Jonsson, and attending some of the artist talks on offer may help cushion the performative experience for newbies. “Conventions don’t necessarily apply, so any familiar structures that are not present might cause anxiety, but I don’t think that means that it’s necessarily more intimidating [than other art forms].”
Festivals like these are also in service to the artists themselves, with three workshops geared towards enhancing performative work (non-artists are welcome, too). M:ST is seeing the results of past programming, which “has led to resurgence in performance art in the community,” according to Jonsson, who points out that many of this year’s participating artists began their involvement through workshops.
Like any art form, performative art has a vocabulary all its own, and the more there is, the easier it is for Calgary audiences to acclimatize to it. Jonsson explains that the greater goals of M:ST focus on “forming a language and a level of discourse around performative art practice, and also creating a home for it here.”
Still seems foreign? As you might do in a foreign country, Jonsson recommends: “Just immerse yourself.” There’s no shortage of art to see.
Mountain Standard Time Performative Art Festival runs September 26 to October 11 at various venues in Calgary and Lethbridge.
by Cadence Mandybura
September 25, 2014
The State of the Visual Arts in Calgary
A bird’s-eye view of Calgary’s burgeoning visual arts scene
BY MEREDITH BAILEY
Calgary’s visual arts scene is vibrant, diverse and growing. Local visual artists, many of them Alberta College of Art + Design grads, are a collaborative, inclusive bunch. You can find their work in Calgary’s many artist-runcentres, commercial and public galleries, pop-up exhibition spaces or prominently displayed as part of the City’s public art program.
Thanks to a strong economy, Calgarians spread across age groups and demographics are collecting art. Even the Glenbow Museum has refocused its mandate to spotlight its art collection. And, with the creation of Contemporary Calgary, the city is closer than ever to having its first major public contemporary gallery. When its new space opens, tentatively scheduled for five years from now, Calgary’s visual arts scene will finally beconnected to the global art dialogue in a big way.
Buoyed by the energy of Calgary’s 2012 Cultural Capital designation and with the help of an arts-loving mayor, more and more Calgarians understand that art matters — it is an essential component to what makes a city great.
There’s a lot going on here — so much so, we can’t possibly mention it all. Instead, we take a bird’s-eye view and touch on some of what’s happening in Calgary’s visual arts scene. We look at what’s working, what’s not, what’s changing and what’s on the horizon. This is Calgary’s state of the visual arts.
Artist-run centres nurture local talent
From pop-up galleries to established artist-run centres, Calgary’s grassroots visual arts scene is thriving. It provides exhibition and professional-development opportunities for emerging artists, helps support and nourish established artists and continues to create new and exciting exhibitions and cultural events.
“There are a lot of very talented individuals in Calgary, but it’s pretty special in that competition isn’t as intense as it is in other cities,” says Ginger Carlson, programming coordinator for Untitled Art Society (UAS). “There’s a real sense of community here.”
UAS is an artist-run centre (ARC), a not-for-profit organization run by artists to provide greater opportunities for the public to engage with work that may not be seen elsewhere. Calgary has some of the longest-running ARCs in the country, including Truck Contemporary Art, Stride Art Gallery Association, The New Gallery and more.
Calgary’s ARCs provide exhibition space for artists. Many, such as UAS, focus specifically on emerging artists and offer support from the submission process through the installation of an exhibit to its eventual dismantling. UAS’s Arts Survival 101 lecture series covers topics like taxation for artists and finding a studio space.
“We act as a bridge for emerging artists entering into the professional world,” Carlson says. “Our interest is providing a space for experimentation where risky things can happen.” This kind of support encourages emerging artists to stay and create in Calgary instead of moving away.
UAS has 16 studio spaces abvailable to members at subsidized rates. UAS runs a main gallery space at 343 11th Ave. S.W. and also programs one of the seven window exhibits on the Plus-15 level of the Epcor Centre for the Performing Arts. The other window spaces are curated by Truck, Marion Nicoll Gallery, Stride, The New Gallery, Alberta Printmakers Society and Alberta Craft Council.
“It’s really wonderful to have that kind of collaboration and engagement in these small window gallery spaces,” Carlson says. “It changes every couple of months, so it’s something you can go and see repeatedly.”
Collaboration is the key to the ARCs’ continued success, which is evident in events like Nuit Blanche, a free, late-night contemporary art festival held in Olympic and Municipal Plaza on September 20, and Intersite, a three-day visual arts festival running Sept. 5 to 7, which UAS helped create.
“[Intersite is] absolutely free and open to the public, which is vital,” Carlson says. “It’s an open invitation to learn and talk about visual arts because it affects everyone in the city in some way.”
Culture is valuable
Calgarians across age groups and demographics are buying art for their personal collections.
“At the moment, Calgary’s art scene is very lively and buoyant,” says Yves Trépanier, owner of TrépanierBaer gallery. “People have the resources and the interest, they recognize the work being presented here is very good and they’re interested in collecting and investing.”
TrépanierBaer’s spring exhibition by local painter and sculptor Chris Millar sold out in a matter of hours. “There were more than 300 people and it was a completely mixed crowd with many young people,” Trépanier says. “There’s amazing stuff being made here, and Calgarians are starting to talk about it. I’m encouraged.”
A strong art scene appeals to investors as well as collectors. Art can be a smart investment for savvy buyers because, over time, it has the potential to appreciate in value.
Trépanier has witnessed the ups and downs of Calgary’s arts scene. He founded TrépanierBaer, a commercial gallery specializing in Canadian and international contemporary art, with partner Kevin Baer in 1992. During that time, the Klein government cut back on funding to cultural institutions and the art scene suffered.
“When as a province we decided to go debt free, the cost was the decline of our cultural institutions,” Trépanier says. “People are starting to understand that you can’t take so much away and expect these places to survive.”
Calgarians’ renewed interest in buying art reflects a strong economy — people have the resources to buy it. But it is also connected to a larger picture of the value of art in the city and this includes the “art” of shared spaces such as architecture and public art.
“When you have world-class architects designing places like the Bow building, it puts the city in a different category in terms of what you aspire to,” Trépanier says. “These public places speak to people, it creates a greater sense that culture is valuable and it expresses itself in all kinds of different ways.”
Trépanier has consulted on several major public art projects, including a mural by local artist Ron Moppet in the East Village and a wall-mounted sculpture by Christian Eckart in Centennial Place that was commissioned by Oxford Properties. From the Bow building to Device to Root Out Evil, Dennis Oppenheim’s upside-down church sculpture that exhibited until 2014 in Ramsay, Calgarians are talking about public art and architecture.
“When you have tangible, visible projects you can go to and participate in, it really changes people’s attitudes,” Trépanier says. “The conversation around what it means to be a world-class city is happening in a real way because we have stuff to talk about now.”
Glenbow discovers a new, art-focused direction
Founded in 1966 by Albertan philanthropist Eric Harvie, the Glenbow Museum is one of Calgary’s oldest cultural institutions, and it’s starting to show its age. With its 50th anniversary approaching, it needs a change to draw new visitors in and compel visitors of old to come back.
Throughout 2013, the Glenbow conducted an extensive audience-engagement survey. The good news is 98 per cent of Calgarians like the Glenbow. The bad news is many hadn’t visited it since grade school.
“I think for a lot of people the idea [that] Glenbow is a little old-fashioned and stuffy is still pretty fresh,” says Glenbow president and CEO Donna Livingstone. “The fourth floor hasn’t changed in 24 years, so, really, why would they come back?”
The survey also revealed Calgarians want an art museum to call their own. The Glenbow has the largest collection of historical, modern and contemporary art in Western Canada, three times that of the Vancouver Art Gallery. But its impressive art collection has never been the focus of its exhibitions.
“Although people don’t see us as an art gallery, that’s what we’ve been doing for 45 years and we need to be more overt about that,” Livingstone says.
So the Glenbow is now rediscovering itself as a “new kind of art museum.” Its recent art-focused exhibits include a retrospective on the photography of musician Bryan Adams (now closed) and the Made in Calgary series, an exploration of local artists through the decades.
The Glenbow has no plans to stop displaying historical artifacts from its million-item-strong collection, but you’ll see them alongside more historical, contemporary and modern art. “We have that sense of the past and history; our obligation is to take it forward,” Livingstone says.
For example, contemporary work from local glass-blowing art collective The Bee Kingdom was displayed this summer alongside pieces from the museum’s 1,800-piece pressed glass collection, which served as a historical echo.
“When we looked at our collections, we started to see the potential for this creative thread of art,” Livingstone says. “If it’s just a history exhibit, then you can look away, but, with art as the thread, you can continue to ask questions along the way.”
That creative thread extends to other media, including theatre. Calgary’s Verb theatre presented a new play,Of Fighting Age, in the midst of the Glenbow’s exhibition of the historic war art of A.Y. Jackson and Otto Dix as part of this year’s High Performance Rodeo.
“Seeing a play in the middle of art is not like reading label copy; you don’t come in and have a quiet moment with it,” Livingstone says. “We want Glenbow to be a place [where] you can not only look at art but alsoexperience it in different ways.”
The Glenbow has already introduced bold and graphic signage, with future plans to install new flooring and lighting, reconfigure the entryway toward Stephen Avenue and eventually add a café. The Glenbow is also becoming more playful in its old age. For the Made in Calgary: The ’80s launch party, audiences came dressedin 1980s attire.
“We had shoulder pads and the big hair; it wasn’t just to come look at art, it was participatory,” Livingstone says. “People want to mess around in the Glenbow. They want to dance here.”
Livingstone says it’s the Glenbow’s responsibility to take cues from the diversity and energy of Calgary’s local artists. “The arts scene is youthful and cheeky and bold,” she says. “It’s not a staid, old-fashioned city anymore, and my sense is that people have been waiting for the Glenbow to make up its mind about what it is and lead.”
Contemporary Calgary will connect the city's art scene with the world
Calgary’s first major public contemporary art gallery is closer than ever to becoming a reality. Contemporary Calgary is the result of a merger between the Museum of Contemporary Art, the Institute for Modern and Contemporary Art and the Art Gallery of Calgary.
Without a major public contemporary art gallery to call its own, Calgary has remained out of step with the global art scene. It’s routinely overlooked for international contemporary touring exhibits because it doesn’t have the necessary space. For a city of more than a million people, it’s also a significant hole in Calgary’s tourist offerings.
“There hasn’t been a central institution that’s given the visual arts scene the weight it might have in other cities,” says Terry Rock, Contemporary Calgary’s interim CEO. “Calgary needs a space to host the most pertinent, interesting, challenging contemporary art that’s happening around the world. It’s a complement to the economic global dialogue we’re in, and it rounds us out as a city.”
Without access to a bigger, global conversation about art, Calgary’s visual arts community has been talking mainly to itself. Rock says a lack of funding as well as divisions between arts organizations are some of the reasons why the city has never had a major public gallery. But now that’s changing.
“We’ve actually got people who’ve been working separately, maybe even at cross-purposes, over the years who are now together,” Rock says.
The three partner organizations come to the table with experience, not all of it positive. In 2013, the AGC’s former CEO Valerie Cooper was sentenced to jail for defrauding the organization of $100,000. Rock says these legal issues haven’t negatively affected the future of Contemporary Calgary; instead, the incident was a catalyst for the entire visual arts community.
“It’s looked on as possibly the event that got everyone to focus,” Rock says. “With ACAD and the artists that we have here, the commercial dealers and the collectors, it doesn’t make sense that this isn’t working. People realized this isn’t good enough for our city.”
In March 2014, the City accepted Contemporary Calgary’s bid to take over the old Telus World of Science site in downtown’s west end. The organization is currently in a due diligence process regarding the 47-year-old building, exploring several possibilities for how to repurpose the existing space. Unlike the Glenbow’s sprawling historical collection, Contemporary Calgary will initially act as a non-collecting gallery exhibiting contemporary art.
Rock says there are no specific dates for Contemporary Calgary’s future plans, but the one-time Calgary Science Centre space offers a clear destination to focus on.
“When you see us host an event or put on an exhibition, it’s all in the service of that. I think it’s safe to say the timeline will be as soon as possible,” he says.
In the meantime, Contemporary Calgary is providing a taste of the future with exhibitions at C (the new name for the Art Gallery of Calgary) and C2 (formerly the Museum of Contemporary Art). The gift shop in C has been converted into a “vision space for Contemporary Calgary,” Rock says.
“If you’re interested or want to be involved, we have a place where you can come share ideas, offer help and be part of making this happen,” he adds.
Rock envisions the future gallery as a place where all Calgarians from different backgrounds and cultures will feel welcome, whether it’s for a quick visit after work or a place to spend a leisurely Sunday afternoon.
“Contemporary Calgary can make the connection between what’s happening in Calgary and the global contemporary-art dialogue,” Rock says. “It’s a conversation that we haven’t yet had an opportunity to be a part of.”
Calgary Arts Development widens the circle of support
In a city that champions entrepreneurs, Calgary’s visual artists are some of our finest examples. But that distinction is often overlooked, says Patti Pon, president and CEO of Calgary Arts Development (CADA).
“The misconception that visual artists have to be poor and starving for work drives me crazy,” Pon says. “In a city where we take pride in entrepreneurship, how do we begin to include artists in that conversation?”
Pon says for many years the city’s visual arts scene was divided between two ends of a spectrum: either grassroots, such as the city’s artist-run centres, or part of large institutions, including the Glenbow. Unlike the theatre community’s diverse ecosystem that includes emerging, small, medium and large theatre companies, Calgary’s visual arts scene has bubbled under the radar.
“In the visual arts community, that ecosystem hasn’t been as apparent,” Pon says. “There is a tremendous presence of visual artists who’ve chosen to stay and work in our community, but there hasn’t been as much of a through line between grassroots and institutions.”
Pon says there are positive signs that connections are happening, including the collaborative nature of Contemporary Calgary and the continued efforts of ACAD to find opportunities for its students in the city.
A diverse and healthy visual arts scene increases the ways Calgarians can connect with the arts, and CADA’s long-term arts-development strategy, Living a Creative Life, uses the metaphor of an eco-system to do just that.
“Living a Creative Life is about expanding the circle of arts champions,” Pon says. “We’re asking who’s in that bigger circle, what are the connections and how do the arts connect that circle?”
For visual artists, the strategy focuses on helping them create a sustainable life, which is essential to a healthy visual-arts scene. That includes connecting artists with affordable housing options, creating health and wellness programs targeted specifically to artists’ needs and introducing them to financial literacy programs, such as those offered by Momentum.
“These things don’t seem nearly as daunting as coming up with a giant individual artists grant program,” Pon says. “These are opportunities that contribute to them actually being able to make a life here.”
Living a Creative Life is about sharing ideas across sectors and disciplines. An artist can learn from an engineer and vice versa. It’s based on the belief that the arts play a fundamental role in innovation and that a healthy arts scene is a reflection of a vibrant city. To implement the strategy, CADA will act as a facilitator, connecting artists with opportunities and ultimately widening the circle of arts champions.
“The possibility I see is Calgarians acknowledging that the circle of support is bigger and that they may very well be in it,” Pon says. “Our hope is the notion of Calgary being a young, entrepreneurial city, with economic opportunities — all those things that people identify as reasons why they move here — will also resonate for artists and the arts.”
Arts Seen - week of Sept 4, 2014
by Maureen McNamee
An “unsuspecting public” will encounter art in various forms during the Intersite Visual Arts Festival. The initiative of several local arts organizations will include a gallery crawl on September 5 from 8:30 to 11:30 p.m., with a dedicated bus providing transportation between exhibitions at Contemporary Calgary, Truck Contemporary Art, Stride Gallery (pictured), The New Gallery, Epcor Centre and Untitled Art Society. Outside the gallery walls on September 5 and 6, local and national artists will experiment with the typical lecture format: Calgarian Teresa Tam presents How To Be Bodies: A Lecture Through Snapchat, inviting people to send and produce “snaps” to @ttamsoffeels to start a conversation about bodies and how digital technologies are shaping all aspects of our lives; Adriana Disman of Montreal presents Dream Lectures on the City, in which people book a meeting with her via email (email@example.com), take her on a walk somewhere significant to them, and share their dream for that place; and Vancouver’s Mariane Bourcheix-Laporte will be downtown for I Would Like to Revolutionize But I Am Stuck With Reform II, a performance that examines the lecture format through the lens of activist actions and public intervention strategies. The festival wraps up at the No. 1 Legion with a keynote address from Jen Delos Reyes of Portland titled The Lovers, The Dreamers, and Me, delivered using a set list of songs performed with local musicians that reference dreams, utopian leanings, relationship breakdowns, and leading a meaningful life. The presentation will be followed by a live debate about “bad art” and a DJ dance party. For details go to intersite.tumblr.com.
The Calgary Mini Maker Faire runs September 6 and 7 at Telus Spark (makerfaireyyc.ca). More than 150 makers will be in attendance, including the “mad scientists” of EepyBird, whose bizarre experiments have landed them appearances on The Late Show with David Letterman and Mythbusters among other shows. The event is a great warm-up for Beakerhead, a week of events combining art, science and engineering that kicks off on Wednesday, September 10 (beakerhead.org). This year’s events are as varied as you might expect — you can read all about it in next week’s issue.
Anne Marie MacDonald, Michael Crummey, Emma Donoghue, Naomi Klein, Bruce McCulloch, Sheila Heti and Veronica Roth are among the more than 80 writers coming to Calgary and Banff for Wordfest, from October 14 to 19 (wordfest.com). This year’s festival includes more of the lively literary programming that proved popular last year, as well as readings, workshops and special events. Read more online at ffwdweekly.com.
Frontenac House officially launches Quartet 2014 in Calgary on Sunday, September 7 at John Dutton Theatre, Central Library (frontenachouse.com). The four volumes of poetry include: Seva by Sharanpal Ruprai (Calgary), Folding the Wilderness Within by Joan Shillington (Calgary), Designation Youth by David Bateman (Toronto), and Kissing Keeps us Afloat by Laurie MacFayden (Edmonton). The guest editor for Quartet 2014 was Micheline Maylor of Calgary.
by Maureen McNamee
September 4, 2014
Of meat and monsters
Exhibition inspired by horror flicks with queer content
Published August 28, 2014 by Bryn Evans in Visual Arts
Artist Zac Slams is a huge horror fan, and his latest show, Crime and Punishedment, is a blindingly colourful and often horrifying look at sexuality and monsters, real or imagined.
He says the show grew out of both being tired of the usual arguments about identity politics in the queer community, and watching horror flicks with his boyfriend that proved to be a source of queer content. “In older movies, queer characters, like Leatherface from Texas Chainsaw or Angela from Sleepaway Camp, are always villains, or punished,” he says. “But they’re also the only non-victimized characters as well. I felt a certain pride in seeing characters that weren’t victims.”
The show is a collection of variously sized collages, splattering the walls of the Untitled Art Society with flesh and fantasy. Some pieces are presented as bewilderingly pungent tabloids, like National Enquirercut-ups; others are overwhelmingly pornographic and violent magazine collages, like a teenage fanboy’s bedroom loaded with characters from famous horror movies that conjure images of AIDS and grisly death — particularly those with a fear of blood, including vampire flicks like 30 Days of Night, or the cult classic Carrie. Gaping maws of sharp, pointy teeth are pushed up against young men, shiny and hairless, their faces plastered with semen. Monsters with the transposed heads of killers, craggy faces with red, alcoholic noses and unkempt beards, sit atop slick, naked bodies with giant, elongated penises. Elsewhere, psychopathic mass murderers eat bodies made of red raw meat.
If it sounds like an exhumation of Jeffrey Dahmer’s unconscious, you’d be partly correct. Dahmer, who figures in some of the collages, was one of the more ghoulish serial killers to emerge post-1980, and lured young male prostitutes to his home, then raped, murdered and (in some cases) ate parts of them. “I went from horror movies to real serial killers,” Slams says. Other infamous serial killers, like Aileen Wuornos (immortalized in the too-painful-to-watch-twice film Monster), also appear in the pieces, some with their heads transposed onto muscle-bound male bodies. He says that the more research he did into the lives of the killers, the more he wondered why they were driven to kill. “After a while, I couldn’t tell what was a real murder or something from a movie. Did Dalmer do this, or [Hostel director] Eli Roth?”
The best collages are those saturated with ’90s excess, violent and nihilistic horror movies, and cheap, mass-produced porn. One tableau is packed with advertisements for gay chat lines, random numbers plastered across nude men, encouraging others with the usual titillating signifiers — fantasy, dreams, horny, instant. Titles encourage viewers, saying “Eat Your Skin” and “Drink Your Blood,” which would be a little too on-the-nose if it wasn’t for the works’ collectively grim and super-saturated appeal, an overdose of graphic horror and fetishistic fantasy.
It’s not necessarily the type of confrontation many people will be comfortable with. “I like gay stereotypes,” Slams says. “Nowadays, gay men are often desperate to pull away from them — things like musicals. I find that insulting.” He says that gay men had to fight for recognition, and doesn’t see why they’d want to ignore that history.
“I think some people would see Leatherface [who wears dresses and makeup in the Texas Chainsaw movies] as insulting,” he adds. “I can see why they’d feel that way. But there are no transgender action heroes.” He mentions Michael Caine’s character as a seductively evil serial killer in Brian De Palma’s ’80s thriller Dressed To Kill as another example. “Is that insulting, or does it say that trans people can be just as dangerous and brave as cisgender people?”
Shared terrain found at the Summit
Fast Forward Weekly
Published week of May 22 - May 28, 2014 by: Andrea Williamson
ArtBeat May 11-17
Wild Rose Weird
Inspired by the rich tradition of sasquatches everywhere, visual artist Emily Hope created The Wild Man Appreciation Society about. ArtBeat hears about the civil society and personal museum preserving and promoting of tales of the feral creature. It’s on until May 31 in the Untitled Art Society’s +15 Window space at Calgary’s EPCOR Centre.
To submit your drawings to the Wild Man Appreciation Society, please visit: wildmansociety.tumblr.com
Archivist Braden Cannon brushes off the history of experimental film in the province for ArtBeat. He’s hosting the Provincial Archives evening of film and discussion, Exploring Experimental Cinema in Alberta on May 14 at 7pm.
Seas shells, wings from a bug and seeds inspire textiles. A new exhibit Colour Catch at the University of Alberta Human Ecology Gallery looks at how. ArtBeat talks to student Ann Salmonson who was in the Human Ecology class that created the display. The clothing and textile exhibit is on until July 20.
Author, radio host and musician Grant Lawrence just picked up a British Columbia Book Prize. He received the Bill Duthie Booksellers’ Choice Award for his book The Lonely End of the Rink: Confessions of a Reluctant Goalie. ArtBeat gets Grant Lawrence to read from his prize-winning, hockey-themed memoir.
Performer Natalie Gauthier is masking her emotions to reveal even more in her production of I, Claudia. ArtBeat hears about the one-woman show which is on at the Rosebud Theatre in Rosebud, Alberta until June 21.
Just in time for Mother’s Day, ArtBeat hears from Calgarian artist Bev Tosh about her exhibitWar Brides: One Way Passage. The work is inspired by the stories of hundreds of women who travelled oceans and borders to follow their new husbands after World War II, including Bev’s own mother Dorothy. War Brides: One Way Passage is at the Red Deer Museum and Gallery until August 4.
UAS in the News
Updates about articles written on exhibitions and the society.