8/22/2020 PERFORMANCE: ARIANNA RICHARDSONTHE CONSUMPTION THERAPY™ DEMONSTRATION CHAMBER September 2019 Durational Performance DESCRIPTION The Consumption Therapy™ Demonstration Chamber was a performance that occurred during the 2019 Hold Fast Contemporary Arts Festival in St. John’s, Newfoundland. This performance was framed as a live demonstration of an absurdist therapy that claims to cure an individual of the drive to consume goods at the rate encouraged by our neoliberal, klepto-capitalist society. The Chamber was a large, inflatable plastic ball, half-filled with plastic recycling that was donated by the art community in St. John’s. Plastic of all varieties was included, creating a visual cacophony of colours, textures, and advertising. During the performance I was inside the ball, in character as “The Hobbyist”, tumbling, rolling, and immersing myself in the plastic detritus, forced to confront and exist within a tiny fraction of the throwaway plastic waste that is generated each day across the world. This performance was an absurd spectacle of a person yielding to plastic waste: a demonstration of the struggle to remove one’s self from the society that is engaging in the destruction of the planet. It reverses a person’s typical relationship with waste: instead of being rendered invisible with waste management infrastructure, it engulfs the consumer, forcing them to surrender to the evidence of their consumption. The Consumption Therapy™ Demonstration Chamber, 2019 Arianna Richardson is a sculptor, performance artist, and mother from Treaty Seven territory (Lethbridge, AB). Richardson most often works under the pseudonym, The Hobbyist, employing hobby-craft techniques to work through an investigation of ubiquitous consumption, gendered labour, waste, excess, and spectacle.
Richardson holds a BFA (2013) in Studio Arts from the University of Lethbridge and an MFA (2018) from NSCAD in Halifax, NS. She was awarded the Roloff Beny Photography Scholarship in 2012 and the Alberta Arts Graduate Scholarship in 2016. Her work has been exhibited across Canada and has been featured in the December 2018 issue of Performance Research, “On Generosity” and Volume 8 of Emergency Index: An Annual Document of Performance Practice. Website: www.ariannarichardson.ca 3/7/2020 VIDEO: CHOE RAYUNPlastic Wind 2019.12.11. 판교낙생대공원 / at the Pangyo Paradise Park, Seoul, Korea 두터운 잎 Project/ part of Thick Leaf Project As time goes as humans love the city forest, the forest loses herself and morphs with our habit. Her power and beauty are destroyed by our impatient and insignificant acts. We think the forest will remain the same, but she loses her language every time we walk through her path. The beautiful path for us is a plastic wind for her. - How do we express love? 사람이 도심의 숲을 사랑하는 시간이 흐를수록 작은 숲은 자신을 잃고 사람에 맞춰 변해간다. 숲은 그 자체로 힘이 있고 아름답지만, 사람이 만든 성급하고 작은 사건들에 무너져버린다. 숲은 계속 그대로일 거라고 생각하지만, 사람들이 한발자국 걸을 때마다 숲은 빠르게 숲의 언어를 잃어간다. 사람의 아름다운 산책길이 숲에게는 플라스틱 바람인 걸 모른다. -사랑의 표현은 어떻게 해야 하나 CHOE Rayun is a visual artist who works closely with elements from everyday and nature. She is an active member of Mullae Art Village in Seoul. Site-specificity of Mullae informs her work and directs her attention to nature, human and urban, and their relationship to each other. With her thought provoking works, she offers a moment to share and an opportunity to contemplate. She works in diverse mediums such as painting, drawing, sculpture, video and performance.
https://blog.naver.com/canero 1/10/2020 PHOTOGRAPHY: BARRY POTTLEPreface I am from Nunatsiavut (in Labrador). We Inuit have always been known as “Sikumiut; People of the Sea”, meaning that we lived and survived by the sea ice as a means for subsistence, travel, traditional cultural practices (as well as contemporary). In the four Inuit Regions Nunatsiavut (in Labrador), Nunavik (in Arctic Quebec), Nunavut and Inuvialuit Settlement Region in the Western Arctic, we see the most effects of ice loss due to climate change. Each year it takes longer for ice to form and as a result, hunter and trappers and community members are not able to go out on the ice or land, leading to less food for both hunter and community. Our Ice is melting and we are all at fault (humanity). We have no one else to blame but us and humans are contributing to loss of practices, changes in animal migration, traditions, community well-being, less time on the land and less interaction with the environment. As an Inuk living in Ottawa, I ask myself, do people really understand the potential and real risk of climate change? How is it affecting our regions, our lives and our environment. Do we understand the consequences and effects associated with melting snow and ice; natural disasters, time, awareness, funding and polices or lack of them. Who is talking about it, who is concerned about it, and what are we going to do as a result of it? The images selected from my Ice Works is an attempt to bring awareness to and of climate change and global warming from an urban Inuk artist’s perspective. Below are selected images from De-Iced photo series, on-going project ** Two of the photographs from the series, Policy Gone Awry and After the Melt, are part of the upcoming group exhibition Qautamaat | Every day / everyday at the Art Gallery of Guelph Barry Pottle is an Inuk artist from Nunatsiavut in Labrador (Rigolet), now living in Ottawa, Ontario. He has worked with the Indigenous arts community for many years particularly in the city of Ottawa. Barry has always been interested in photography as a medium of artistic expression and as a way of exploring the world around him. Living in Ottawa, which has the largest urban population of Inuit outside the North, Barry has been able to stay connected to the greater Inuit community. Through the camera’s len, Barry showcases the uniqueness of this community. Whether it is at a cultural gathering, family outings or the solitude of nature that photography allows, he captures the essence of Inuit life in Ottawa. From a regional perspective, living in the Nation’s Capital allows him to travel throughout the valley and beyond to explore and photograph people, places and events. He believes that the concept of Urban Inuit is relatively new and for the most part unexplored (compared to other Urban Indigenous groups in Canada) so as an artist, he seeks to articulate this. “The camera,” he shares, “allows me to explore connection and continuity with my heritage and culture especially with regards to the contemporary reality of being an Urban Inuk.” Barry’s photos have been published in a variety of magazines (Makivik Magazine, Inuktitut Magazine, Inuit Art Quarterly) and he has also contributed images to a number of community initiatives. https://barrypottle.com/ |
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