The Beaver Mat & The Faggot Shack opened for one night at the Technoecologies symposium –
Dance yourself into a state of disorientation with the ecstatic sounds of house and disco. Drink from the queerest of plants: the Nasty Nettle, the super fruity Angle Grinder and some peach-infused Sex On The Beach. Shift your body in tune with the variability of the more-than-human world and allow yourself to deviate from well-worn paths – desire lines can only form through use. The Beaver Mat and the Faggot Shack plays host to an evening of bouncing, grinding and socializing as part of the Inter-format Symposium on the Flux of Sand and Aquatic Ecosystems.
Come shake the sand from your underpants!
THIS SATURDAY, MAY 24 at the NIDA ART COLONY, Studio 3 (Taikos str. 43, LT-93121 Neringa, Lithuania, +370 469 20 370).
22:30 – 3:33, all cocktails 5 LT.
TECHNO MUSIC QUEER ECOLOGIES – temporary gay bar and informal open studio for all!
Hannah & I have been beavering away making a beaver mat & a faggot shack to present at the Technoecologies Symposium.
We have set up a research blog here.
And here’s some process shots:
Hannah & I have finally made it to Lithuania. We’re at the Nida Art Colony from May 1 – June 25, working on The Beaver Mat & The Faggot Shack, among many other lingering projects…
a perfect wood pile.
the sun sets in the baltic sea.
Vanessa Kwan asked Hannah & I to produce an intervention for FUSE – the Vancouver Art Gallery’s occasional art party. The theme was “crowd studies,” which we took as an invitation to consider the behavior and etiquette in queues, given the characteristic long lines at this event. Outside the gallery we created The High Liability Line, thanks to Hei Lam Ng for images.
Customer flow research shows us that fairness in lineups is more important than line wait time. Most incidents of queue rage stem from perceived line iniquities – line cutting, queue skipping, butting or pushing. For one night only, the High Liability Line is available as an alternative to the balanced order of the first come first served line; a collective experience for jerks. The line offers slips and skips, if you are willing to gamble your position in the queue.*
*Participation at your own risk and only in consultation with your lawyer.
In December, Hannah & I spent a glorious month at the MacDowell Artist Colony in New Hampshire.
Everyday, these would appear on our studio doorstep:
We met up with our old friend, Katharine Ball there. And made many new friends,
Including Helen Mirra, who we went on a 7 hour walking expedition to the Harrisville Woolen Mills…
Hannah & I have a small piece in the first NOIT Journal, to be released November 23rd. Details below.
Flat Time House (FTHo) and Camberwell Press together are launching the new creative journal, NOIT. Comprised of new writing, artists’ contributions and original research, NOIT will explore the theoretical concerns and artwork of John Latham, and their continued relevance.
The first issue, NOIT – 1 JL: Time-based Portraits is guest edited by curator and researcher, Antony Hudek. For the introductory issue, Hudek invited 43 contributors who knew John Latham or are familiar with his work to remember an episode or incident involving the artist, his art or ideas. Contributors include Patrick Keiller, Lucy Lippard, Hans Ulrich Obrist, Barbara Steveni, Penelope Curtis, John Stezaker and many more.
As part of The Power of the Arts National Forum, hosted by Carleton University’s Faculty of Arts and Social Sciences, Carleton University Art Gallery invited Hannah & I to present ‘Multiple Elementary’. Produced in collaboration with public school students in Toronto from January to June 2012, the grade six social studies curriculum ‘Canada and its Trading Partners’ was used as a point of departure for an exploration of artists’ multiples and interventions into the economy, as well as an investigation of international trade and commerce.
We reflected on the process, research and post-production of this project as well as the ways that social-practice art in the classroom enlarges understandings of collaboration, de-centres artistic expertise, responds to specific contexts, and conceptualizes “the classroom as art.”