Chris Lee has made a totally wacked out website for Big Rock Candy Mountain,
An interview that I did with Pablo Helguera in 2012 called A Bad Education has been translated into Spanish for this publication put out by MALBA. The english version can be found online, here. We talk about the parallels of participatory art practice and education and where these practices diverge… ie. when is good art a bad education?
Hannah and I were in Houston, Texas this August at the invitation of Zachary Gresham, who curated a show called with/in: blurring the line between art and education at Art League Houston. The show also featured the work of Andres L. Hernandez (Chicago), Christopher Lee Kennedy (New York), and Patricia Vázquez Gomez (Portland).
Above is a detail of one of three Tall Tale postcards that we made with a class of grade 4/5 students at Queen Alexandra Elementary. These are part of a larger project called Big Rock Candy Mountain that Hannah and I have been working on for the past year. Will post more info about this project soon, very soon…
In Conversation: Cindy Mochizuki with Hannah Jickling, Helen Reed, and Vanessa Kwan on Artistic Collaborations with Children
Thursday, February 18, 2016, 7:00 PM
What is the radical potential of artists working with children? How do we understand agency and authorship in projects involving young people? How might such projects point to broader questions around the ethics of engagement in contemporary art practice, and to new (and often destabilizing) forms of interaction within the gallery and beyond? How might curators or institutions shift their practices to support a wider range of complex, generous, and attentive play, in younger communities and in a wider sense? These are some of the questions that will propel a conversation between artists Cindy Mochizuki (Access Gallery), Hannah Jickling, Helen Reed, and Vanessa Kwan (Other Sights for Artists’ Projects) on the occasion of their concurrent artistic collaborations with children. We view this informal event as a generative jumping-off point for a robust, longer-term discussion. Children are welcome at this event, of course!
Hannah and I were invited to present on our latest Other Sites for Artists’ Projects commission at the For A New Accessibility (FANA) convergence at Gallery Gachet. We gave a brief talk on the themes and research of Big Rock Candy Mountain, our public artwork, flavor incubator and taste-making think-tank housed in an East Vancouver Elementary School. Along with the opportunities for multi-sensory experiences that food and candy provide, Big Rock Candy Mountain explores candy’s cultural narratives and the ways in which it connects to larger stories about utopia, power and desire. After the talk the workshop participants spun some cotton candy into desirable and undesirable flavors. By combining different flavors of hard candy we created a good taste – Werther’s Originals and green apple Jolly Rancher combo and a bad taste – Ricola and Cherry Vicks. Special thanks to Elizabeth Milton for lending us her cotton candy maker.
I wrote a piece of short fiction about performance artist Margaret Dragu for the summer issue of C Magazine. It’s called Aerobic Justice and speculates that one of Margaret’s performance personas, Lady Justice, takes control of a senior’s fitness class that she is leading. I’ll upload the piece shortly.
In the meantime, you can find our more about Margaret’s work here.
Above image credit goes to Shawna Dempsey.
A nice review of Bande å Part/Kids These Days curated by Zoë Chan is featured in the Spring Issue of C Magazine. You can read it here.
Hannah & I had some photographs in Tragedy Plus Time at the Dunlop Art Gallery, curated by Blair Fornwald, Jennifer Matotek, and Wendy Peart.
From the curators:
“Comedy is tragedy plus time.”
This statement, attributed variously to Mark Twain, Steve Allen, Carol Burnett, Lenny Bruce, and Woody Allen, articulates the effects of time and critical distance, and the transformative and political dimensions of comedy. The artists in Tragedy Plus Time use humour to address a spectrum of difficult content, from the trauma inflicted by general societal ills, to tragedies which are more personal and specific.