Marcel Duchamp’s Eclipse Totale at the Detroit Institute of the Arts
Links that captured my imagination lately:
R & D (Research & Degrowth)
The Soberscove Press ‘seeks to make available art-related materials that fill a gap in the literature or are difficult to access for a variety of reasons (i.e. out-of-print, not in translation, previously unpublished, forgotten, or limited in circulation.)’
“NIGHTLAB is a three-week session to explore issues of ecology and urbanism from the perspective of light, or lack thereof, and the experience of it. This lab is open to those eager to collectively speculate upon the relationship of ecology and urbanism with the design of light.”
Nice residencies: Write in the house of Hemingway’s birth, or do -whatever- on Ideas Island.
We spent a couple of days with Nelson Joseph’s work at the Alberni Valley Museum last month in preparation for the exhibit opening later this spring. This was the first time we had all of the work out together at the same time. More connections were made, understandings uncovered, a plan emerged…\
Rod & Nelson at the Alberni Valley Museum
The work of Nelson Joseph at the Alberni Valley Museum
// All systems have balances of success and failure, ebbs and flows, positive and negative feedback loops that create equilibrium within their respective ecologies. DETROIT represents a city in constant flux like no other on the American landscape. Assuming we are all navigating the curve of a success/fail cycle, then what might we observe to be true for Detroit? How can we represent these findings, and of what use are they to the ecology of the city itself? //
Wrapping up (beginning?) our Design Cities Detroit gathering, with several more project-based visits on the horizon. Ground truth proved surprising, and lots of creative connections were made, I am still processing what I witnessed into something real.
The best Golden Globes fashion commentary.
Internet surprise: Genuinely enjoyed Jerry Seinfeld + Jay Leno episode of Comedians in Cars Getting Coffee.
Prerequisites none. This continuing studies course at University of Toronto: what ConEd should be.
3007 Crisis, Concept, Object, and Shadow: Reading, Making, and Re-making Contemporary Poetry
Co-facilitated by Karen Solie and Ken Babstock, this course aims to enrich, complicate, and invigorate your writing by combining discussion and workshop with in-class and take-home reading and writing assignments. With an eye to disrupting assumptions about your own work and contemporary poetry in general, we hope to bring you to a point of critical engagement with your verse; a place of fertile uncertainty meant to lead outward into new possibilities. Four visiting poets of note will offer readings and short talks on process, craft, and poetics. Participating writers should be well into a work of substance and come prepared to respectfully engage with their peers and all printed work in a spirit of investigation and committed endeavour.
And then there’s this.
I’m in Maine, tucked in to Margo and Charles‘ nook (more on that later,) getting ready a workshop about moving beyond the design process, and then, a tiny house lecture on Tuesday. Poster by Beth Taylor. Super excited.
This lime: a representative of the kind of inspiration that doesn’t require you to do anything or make anything, beautiful things happening, of their own accord.
So long ago, when I was an intern at a museum, there was a volunteer who would only come to work on rainy days. It was beautiful; everyone knew he would be coming in if it rained that morning.
Thinking back, this was one of the first times I ever noticed the all-encompassing pleasure in employing a quirky but workable alternative to an existing system. Thanks to that guy.
With the work we’re doing and the dialogues we’re building, a weather-oriented practice seems appropriate. So here is my announcement: if it’s sunny, I’m not available. If it’s rainy, you know where to find me. (Since we’re in Port, we should be working quite a lot.)
Rod’s latest carving, a snake, was on exhibit at the Alberni Art Rave juried exhibition this summer, and is heading down soon to Steffich Fine Art.
He has a new drawing, too. This motif, represented on the doors of the Hupacasath House of Gathering that he carved years ago, had never been made into a drawing. Two limited originals were raffled off at Hupacasath’s Fall Fair booth last weekend.
The first time I witnessed the Port Alberni Toy Run, it was an accident. We were at one of the shops downtown when all of a sudden a bazillion motorcycles thundered by us, nonstop, for about 20 minutes, making it impossible to cross the street. Riders were wearing Santa hats and had presents attached to their motorcycles. I had no idea what was going on. It was fantastic.
The motorbikes rally at Little Qualicum Falls, travel through Cathedral Grove and through town, make the big rev up the Argyle hill, then end up finally at the fall fair grounds for a dance. There are over 1000 bikes- they carry Christmas gifts for children in need, and the money raised is for children’s programs on the west coast.
In my opinion, anytime you get a critical mass of tough looking riders (well, some looked less tough) with toys attached to their motorcycles, you get the hell down to there to wave your arm off.
This year we just walked down the street to stand in one of the parks near our house, and were joined by the rest of the neighbourhood. I believe the route through the town is lined with people. At least all the highway all the way down the hill was.
This was the first time in years I’ve gotten to watch the Toy Run. It has to be my favourite fundraiser of all time. Such a great model.
After awhile, I decided to switch from waving to giving the peace sign to the riders. I can’t begin to relay how moving it was to watch rider after rider turn their fingers from wave to peace sign in response. The way forward towards peace must not be that difficult.