PROGRAMME SCHEDULE

MANO Mornings:

Intentions, Ethics and Ideals of Disseminating Media Arts

Thursday, June 13, 2019
9:00-10:30 am

As the Distribution Manager at Video Pool Media Arts Centre, Jennifer Smith has spent years exploring the idea of the ethical responsibility of an artist-run centre and more specifically a distribution centre has when disseminating artwork that explores culture, ethnicity, disability, health, gender, sexuality, etc. The talk will explore the challenges of both working with an ethical code of standards, and not working with an ethical code of standards. The expectation is the discussion will explore questions more than answers, and will end in an open discussion.

Jennifer Smith is a Métis curator, writer and arts administrator in from Treaty One territory. She works at Video Pool Media Arts Centre as the Distribution Manager. Jennifer is the President of the board for the Coalition of Canadian Independent Media Art Distributors and sits on the board of the National Indigenous Media Arts Coalition and Platform Centre for Photographic + Digital Arts. Jennifer has curated exhibits and video programs for the Manitoba Craft Council, Video Pool Media Arts Centre, Open City Cinema, MAWA, the Manitoba Crafts Museum and Library, and in 2018 was the Indigenous Curator in Residence at aceartinc.

Policy, Advocacy, and Strategy in the Arts

Thursday, June 13, 2019
11:00-1:00 pm

Presented by MANO this discussion will provide an overview to the current political climate for arts and culture in Ontario and across Canada, with an emphasis on mobilizing effective advocacy towards changing policy. This session will also provide space for discussion of upcoming MANO advocacy initiatives and provide community direction for these campaigns.

Making and Thinking Alongside the North

Friday, June 14, 2019
9:00-10:30 am

In conversation with Tanya Lukin Linklater, this discussion explores what it means to work outside of the urban setting and how living, working and thinking in Northern communities informs artistic practice.

Tanya Lukin Linklater‘s performances in museums, videos and installations centre orality, conversation and embodied practices, including dance. She investigates insistence while reckoning with histories that affect Indigenous peoples’ lives, lands and ideas. In 2019 she will participate in …and other such stories, the Chicago Architecture Biennial, and Soft Power at San Francisco Museum of Modern Art. Tanya studied at University of Alberta (M.Ed.) and Stanford University (A.B. Honours) and is a doctoral student at Queen’s University. In 2018 she was the inaugural recipient of the Wanda Koop Research Fund administered by Canadian Art. She originates from the Native Villages of Afognak and Port Lions in Alaska and has been based in northern Ontario for a decade.

Pathfinding – A good way forward

Friday, June 14, 2019
11:00 am – 1:00 pm

This discussion will begin by sharing successes wherein inclusivity and cultural literacy have built bridges, connected ideas and created environments where working in good ways was not only possible but impactful. Panelists will disseminate these successes to uncover why they were productive and then contrast them with moments when ways of working have been problematic. When unworkable environments created undue burdens and vice versa while in settler dominated institutions operating in cultural and artistic sectors. The aims of this discussion is to prompt Artists and Administrators to reflect on their own ways of working in hopes of reshaping the culture to one where inclusivity does not create isolation and where Indigenous ways of being is recognized and respected. The discussion will conclude with how policy changes and additions could positively impact Indigenous peoples and institutions to ensure that working in a good ways becomes common practise.

Aylan Couchie is an Anishinaabekwe interdisciplinary artist and writer hailing from Nipissing First Nation. She is a NSCAD University alumna and received her MFA in Interdisciplinary Art, Media and Design at OCAD University where she focused her thesis on reconciliation and its relationship to monument and public art. Her written, gallery and public works explore the intersections of colonial/First Nations histories of place, culture and Indigenous erasure as well as issues of (mis)representation and cultural appropriation. She’s been the recipient of several awards including an “Outstanding Student Achievement in Contemporary Sculpture” award through the International Sculpture Centre and a Premier’s Award through Ontario Colleges. She serves as the Chair of Native Women in the Arts and currently lives and works from her home community of Nipissing First Nation in Northern Ontario.

Mitchell Ellam is Oji-Cree of the Brunswick House nation, Bear clan. He is an emerging Media Artist on Nipissing territory. In the role of Indigenous Arts Programming Intern at White Water Gallery, supporting indigenous contemporary artists and strengthening Indigenous voices in cultural and artistic spaces. Such concerns about policy, law and treaty rights are also coming to inform his artistic practice to create work addressing present issues concerning indigenous peoples face in Canada today. Mitchell is also a member of the Near North Mobile Media Lab Board, and Art Fix organizing collective; he was a member of WWG’s Board 2016-18.

Niki Little | Wabiska Maengun is a mother, artist/observer/community-connector, arts administrator, and a founding member of The Ephemerals. She is of Anishininew (Oji-Cree) / English descent from Kistiganwacheeng (Garden Hill, FN), based in Win-nipi (Winnipeg, MB). Her interests lie in artistic and curatorial strategies that investigate cultural consumerism, Indigenous womxn, and Indigenous economies. Little was the Director for the National Indigenous Media Arts Coalition where she organised Listen, Witness, Transmit, a national Indigenous media arts gathering in Saskatoon, SK (June 12-15, 2018). As an independent community connector, Little co-curated níchiwamiskwém | nimidet, the La Biennale d’Art Contemporain Autochtone 2018 (BACA) in Tiohtiá:ke (May 03-June 19, 2018) and co-hosted Migration a three week on the land residency with Becca Taylor in Demmitt, AB grounded in exploration around Indigenous economies and research as ceremony (August 13-31, 2018).

Suzanne Morrissette is a Metis artist, curator, and writer from Winnipeg. She received a BFA from Emily Carr University of Art & Design in 2009 and an MFA in Criticism and Curatorial Practice from OCAD University in 2011. In 2017 Morrissette completed her PhD in Social and Political Thought at York University, which took an interdisciplinary approach to probe the historical lineage behind contemporary perceptions of Indigenous political knowledge in mainstream North American society, particularly those which characterize resistance to state powers as aggressive or anti-progress. Looking at artworks by contemporary Indigenous artists, this research examines ways in which creative practice provides a generative site through which to confront and challenge these perceptions. This research has received SSHRC CGS and Provost Dissertation Scholarship support from 2013-2017, and has been nominated for the dissertation prize as well as the Governor General’s Gold Medal for 2018.

Lisa Myers is an independent curator, artist and also works as an assistant Professor in the Faculty of Environmental Studies at York University. Within the faculty she coordinates the Cultural and Artistic Practices certificate for Social and Environmental Justice. Her research encompasses both a curatorial and an art practice. Recent curatorial projects include four touring exhibitions, wnoondwaamin | we hear them (2016), Recast (2014) and Reading the Talk (2014), and Carry Forward (2017). Her writing has been published in many exhibition publications,
in addition to journals and art periodicals such as Senses and Society, C Magazine and Inuit Art Quarterly. She has exhibited her artwork in venues including the Art Gallery of Ontario, Art Gallery of Peterborough, Queens Museum, and Setzkasten and Swischendecke in Vienna, Austria. Myers has an MFA in Criticism and Curatorial practice from OCAD University. She is Toronto and Port Severn based and is a member of Beausoleil First Nation.

Deanna Nebenionquit is Anishinaabe from Atikameksheng Anishnawbek, formerly known as Whitefish Lake First Nation. Deanna is a graduate of the Applied Museum Studies program at Algonquin College in Ottawa, Ontario (2012) and a graduate of the RBC Aboriginal Training Program in Museum Practices at the Canadian Museum of History in Gatineau, Quebec (2013). From 2014–2018, Deanna curated art exhibitions and managed the permanent art collection at the Art Gallery of Sudbury | Galerie d’art de Sudbury in Sudbury, Ontario. She has been working at Ontario Library Service – North as the Capacity Building Advisor since July 2018.

Preserving Indigenous Knowledge within the Digital Domain

Saturday, June 15, 2019
9:00-11:00 am

Speakers Randy Restoule, Monique Manatch and Richard Story discuss the question of preserving Indigenous Traditional Knowledge in a digital age. Indigenous cultural renewal is a tide that cannot be turned back. And with every passing year we move deeper into a digitized world. In this fluid and ‘leaky’ world of digitized content, questions of cultural appropriation and misuse of traditional knowledge are of acute concern to Indigenous People. How do we find solutions to the questions of cultural security in a digitized, post-colonial world?

Monique Manatch is a member of the Algonquins of Barriere Lake. She is Executive Director and one of the founders of Indigenous Culture and Media Innovations (www.icmi.ca). Her work has centered on the production media arts and multimedia arts. She has facilitated the development of Indigenous artists throughout Ontario and Quebec. Over the past 20 years Monique has produced several video documentary about Indigenous issues. These include; “Kokomville: Clear Cutting Home”, a sixty minute documentary surrounding the issues of logging in Algonquin territory in Quebec.“Kokomville: Working at Home”, a four part series highlighting ancestral Algonquin practices of art and living off the land. Prior to this challenge, Monique was the manager of the Aboriginal Media Program at First Nations Technical Institute (FNTI), a post secondary diploma program in partnership with Humber College. The unique position at FNTI allowed Monique to gain valuable experience in grant writing and organizational development. At FNTI, Monique facilitated training in the production of several notable documentaries and educational videos on Aboriginal culture. During 2015, Monique facilitated the production of several videos with the youth from Kitigan Zibi Anishnabeg. These videos dealt with youth issues including bullying, missing and murdered Indigenous women, traditional Indigenous activities, and a fictional account of an Indigenous warrior fighting evil. Monique is currently taking a Masters Program in Canadian Studies at Carleton University. Her degree focuses on the use and creation of arts in the Indigenous community.

Randy Restoule My name is Randy Restoule. I am the Indigenous Lands & Consultation Specialist for Odonaterra. Previously, I was the Consultation Coordinator and Economic Development Officer for Dokis First Nation. I have graduated in 2009 with a certificate as a Network Engineering Technologist from Canadian Career College in North Bay. My career with Dokis has provided me with experience in policy development, GIS, environmental assessments, forest management and fisheries surveying. Having a connection to the land is critical in considering all impacts. We have been partnering with Nipissing University to conduct traditional knowledge interviews. We will be compiling our knowledge interviews and incorporating these into a virtual tour at the Dokis Museum.

Richard Story is a media artist & filmmaker of Coast Salish and Kanaka-Hawaiian descent with over twenty years experience in the media arts. For the last nine years Richard’s work has focused on Community Digital Archiving and Personal Digital Archiving. Richard is a professor in the digital filmmaking programme at Canadore College; he has also taught digital mediamaking at Ontario College of Art & Design and George Brown College.

Let’s Talk About Race, Space and Other Dirty Things

Saturday, June 15, 2019
11:30 am – 1:00 pm

Using real-life case studies, ranging from dealing with online call-out culture, to the generation gap in political understanding, to institutions taking public accountability for their missteps, this workshop will troubleshoot, problem solve and envision creative and sustainable ways to work through interpersonal conflicts stemming from systemic issues. In small breakout sessions, we will present recent examples of frictions within artist-run culture. Rather than just presenting critique, the goal of this workshop is to work towards possible, tangible solutions.

Indu Vashist has been the Executive Director of SAVAC (South Asian Visual Arts Centre) since 2013. She has been active in many social and economic justice movements since the mid-1990s and has published extensively on issues of art and social justice. Prior to working at SAVAC, she had been equally splitting her time between India and Canada. In Canada, she programmed and hosted a weekly South Asian arts and culture radio show. In India, she worked with artist, queer, and feminist circles in Bombay and Madras, including the Bombay-based Queer Nazariya International Film Festival and the Madras-based Marappacchi Theatre Group. Her aim is to integrate her learning from across disciplines to achieve a holistic way of understanding and practicing those things.

Scott Miller Berry is a filmmaker and cultural worker who lives in Toronto. By day he is Managing Director at Workman Arts, an arts + mental health organization. Previously he was Director for ten years at the Images Festival. Recipient of the 2015 Rita Davies Margo Bindhardt Award for cultural service in Toronto, he sits on the Boards of MANO (Media Arts Network of Ontario) and Toronto Media Arts Centre [TMAC]. Most of his films are shot on 16mm and/or Super 8 film and address themes of mortality, grief, memory and collective histories and sometimes are processed by hand. His film ars memorativa screened in competition at the Oberhausen Short Film Festival after debuting at Experimenta India in Bangalore. Other recent screenings include Seoul, Zagreb, Vienna, Regina, Calgary, Montreal and a fall 2015 solo screening in Toronto.

Workshops

Canada Council for the Arts One-on-One Meetings for Organizational Representatives

Thursday, June 13, 2019
1:30-3:30 pm & 4:00-6:00 pm

Register for a 30-minute in-person meeting with Esther Desrosiers Program Officer, Supporting Artistic Practice.

Inclusive Collaborations: How to work with Deaf Artists

Thursday, June 13, 2019
2:00-3:30 pm

Have you worked with a Deaf artist before? What to do when facing the prospect of working with a Deaf artist or Deaf artists? They can be actors, ASL Coaches, running an organization, theatre, film festivals, and media arts centre. What are the right things to consider? What are the wrong things to consider? Do you want to hire an ASL interpreter but don’t know where to start?

This workshop will show you how to establish an inclusive and collaborative environment and use innovative approaches when working with Deaf artists. Summary data of the Deaf Artists and Theatres Toolkit (DATT) will also be presented.

Catherine McKinnon was the Festival Director of the Toronto International Deaf Film & Arts Festival. She is an award-winning filmmaker. Catherine was the recipient of the ACTRA Woman of the Year Award 2016. Catherine was a Deaf Community Consultant, for Deaf Artists and Theatres Toolkit, Cahoots Theatre. Catherine’s role is an Actor/Filmmaker/Consultant.

As an Actor: selected Film/TV Credits: “Murdoch Mysteries” “Kenny Vs Spenny” “Silent Hill” Selected Theatre Credits: “Silence” (Grand Theatre & National Arts Centre), “After The Blackout” (Rare Theatre/Soulpepper)”ASLImprov (DeafWest Theatre) “cas9” (Robertson Theatre) ASL DI: “Ultrasound” (Cahoots Theatre) “The Enchanted Loom” (Cahoots Theatre).

She also served as an ASL coach & continuity for “Fargo” (Season one, 2014), an Emmy & Golden Globe winner for the “Best limited series, or motion picture made for television” and returned again as an ASL Coach for Season three (2017). Catherine was the only Canadian producer, “The Hammer” a feature film biopic of Matt Hamill. She recently was an ASL Coach for a major Hollywood production filmed in Toronto. Catherine graduated with a BFA in Film Studies from Ryerson University.

Ontario Arts Council Simulated Jury
Hosted by the Cold Water Symposium and Media Arts Festival

Thursday, June 13, 2019
2:00-3:30 pm

Join OAC to experience jury decision-making first-hand by reading and assessing grant applications. This event will be conducted in English.

Advanced Registration is required (some preparatory reading necessary). Late-comers are welcome to participate as observers.

Soundwalking

Thursday, June 13, 2019
4:30-6:00 pm

Soundwalking is a walk that focuses on listening to the environment. The term was first used by the World Soundscape Project in Vancouver in the 1970’s and is an embodied way to explore sound. For the Cold Waters soundwalk, we will walk in silence as a group along a composed route with a discussion afterwards. The event is approximately 1.5 hours. For those with mobility issues, the artist will plan for accommodations but please contact the organizers in advance

Zoe Gordon is a media artist focused on sound. She is a sound recordist and designer in Thunder Bay working on film and media projects for independent release and broadcasters. Her personal practice is focused on soundwalking and listening.

Nadia Bello is an experienced adult educator and facilitator, most often working with public and non-profit organizations and boards on workplace equity and diversity, workplace harassment prevention and investigations, governance, and organization development. She had a twenty-year career in the non-profit sector, and is also a former elected official on the Toronto District School Board. Nadia is a Certified Training and Development Professional (CTDP), a Certified Human Resources Professional (CHRP), and holds a Master of Science in Organization Development (MSOD). In addition to her small consulting practice, Nadia is the Manager, Experiential Learning Strategy for the Faculty of Community Services at Ryerson University.

Canada Council for the Arts Program Overview and Individual Meetings

Friday, June 14, 2019
2:00 to 7:00pm

Alea Cardarelli Program Officer for the Digital Strategy Fund
Esther Desrosiers Program Officer (Media, Digital, Visual Arts) for the Supporting Artistic Practice program<

2:00 to 3:00

A short overview of the Sector Innovation and Development, the Professional Development for Arts Professionals project grants. An overview of the three Fund components Digital Strategy Fund.

3:20 to 7:00 pm

Register for a 20-minute in-person meeting with Esther Desrosiers, Program Officer Supporting Artistic Practice and Alea Cardarelli, Program Officer Digital Strategy Fund.

To book a meeting, contact Adriana Rosselli at membership@mano-ramo.ca with the subject line “CCA Meeting Friday June 14” or see us at the Cold Waters registration desk on site.

Summary of the Program and component:

The Supporting Artistic Practice program is designed to support the arts in Canada by funding professional individuals in the arts, groups, and arts organizations. Those who are applying in this program are looking to fund services and/or activities that they provide to one or more disciplinary arts communities and for any projects that aim to make arts practices stronger, more connected, and to give better support and services to artists.

The Sector Innovation and Development grant is a project grant of the program Supporting Artistic Practice that is made to give opportunities to disciplinary arts communities in Canada in order to help them grow and move forward. This grant can help all kinds of organizations and other types of professional arts groups or collectives to explore new and relevant approaches to change the way arts communities manage themselves, develop, organize, structure themselves, strategize and work.

Leaders, groups and collectives in the Indigenous, culturally diverse, deaf and disabled and official language minority communities can apply for projects that will help to develop their artistic communities and their organizational capacities.

The Professional Development for Arts Professionals grant is a project grant of the program Supporting Artistic Practice for individual arts professionals (no groups, organizations, collectives) that have a supporting position and work in the arts. Arts administrators, directors, production staff, technicians, producers, and many other types of arts professionals that are working in supporting position for the artistic sector are some example of arts professionals.  This grant is only for developing the skills and knowledge for arts professionals (because there are other Council programs designed for professional development for artists and the development of their practice).

The Digital Strategy Fund is for Canadian artists, groups and arts organizations. It encourages an overall approach to understanding the digital world, engaging with it, and responding to the cultural and social changes it produces. The 3 components of the Fund are designed to help build strategic digital knowledge, skills and capacity, increase digital discoverability and public access to the works of Canadian artists, and help arts organizations transform the way they work in digital.

The Digital Literacy and Intelligence Under 50K open deadline supports activities designed to build strategic digital knowledge, gather and connect with people within or beyond the arts sector to discuss digital challenges, issues or opportunities, and research and experiment with digital technologies and innovative approaches to problem solving to build strategic digital knowledge and capacity.

Protocols and Pathways Document Presentation with Meg MacKay, Coordinator, Indigenous Screen Office

Friday, June 14, 2019
4:30-6:00 pm

Launched in 2019, the On-Screen Protocols and Pathways media guide was developed by imagineNATIVE as a follow-up to the 2017 Doc Summit conversation. The On-Screen Protocols & Pathways media guide is an industry standard for working with Indigenous peoples, cultures and concepts. Because of the unique cultural, social and historical context of the burgeoning Indigenous Screen industry, several different audiences were identified for the purpose of this document. It attempts to speak not only to Indigenous screen content creators, but also to larger industry stakeholders, non-Indigenous content creators, and Indigenous communities that may be involved in production. Meg MacKay, Coordinator of the Indigenous Screen Office will present an overview of the document.

Meg MacKay is an arts administrator, event coordinator, and artist of mixed L’nu/settler ancestry. She’s worked with the Ontario Arts Council’s Indigenous Culture Fund, Native Women in the Arts, Luminato Festival, TIFF and Inside Out LGBT Film Festival. She is the Coordinator for the Indigenous Screen Office, with the organizational mission of supporting and developing Indigenous screen storytellers and their work, and increasing representation of Indigenous peoples throughout the screen industries in Canada.

Non-hierarchical Governance with Sarah Nelson

Friday, June 14, 2019
4:30-6:00 pm

The Young Leaders Circle (YLC) is a group of Indigenous and non-Indigenous young people which started as a project of the Youth Social Infrastructure (YSI) Collaborative. The project’s goal was to create a space for young leaders to support one another on their leadership journeys. The YLC is now testing a governance model they developed and the vision is that it will be the model in place to govern the work of the YSI Collaborative. The YLC was responding to their own and their peers desires to work in a more equitable and less hierarchical way. The presentation will share the learnings of the development of our governance model inspired by Indigenous governance, shared leadership and holacracy. We will explore the complexity around working across difference as we are a group of Indigenous and racialized youth.

Sarah Nelson is a graduate of the Indigenous Learning Bachelor of Arts program at Lakehead University. She has worked on a variety of awareness initiatives, research projects, programs and participatory learning gatherings that have the shared thread of listening to and elevating the voices of Indigenous peoples and creating avenues for relationship building across difference with a strong focus on young people. This includes work through Feathers of Hope, Canadian Roots Exchange,Youth Social Infrastructure Collaborative, co-host for the Bridging Resistance: Relationships & Resurgence Radio project and First Nation youth recreation program development and coordination. She is currently the Northwest Lead for YSI Collaborative, Director for Shkoday and Youth Advisor for the Indigenous Futures Fund with the Laidlaw Foundation.

Ontario Arts Council One-on-One Meetings for Artists and Organizational Representatives

Friday, June 14, 2019
2:00-3:30 pm & 4:30-6:00 pm

Register for a 20-minute in-person meeting with one or more OAC officers to learn about grants and discuss your future applications.

OAC Representatives in Residence:

Sophie Edwards, Northeastern Ontario Representative (French and English appointments)
Mark Haslam, Media Arts Officer (English appointments)

Grant Writing with Penny McCann
Friday, June 13, 2019
2:00-6:00 pm

Penny McCann will offer one-on-one 20 minute sessions with individual artists participating in the Remote Studio. Each session will provide the participant with the opportunity to obtain feedback on a current grant proposal and/or advice on a future grants they are considering. Pre-registration will enable the participant to send project descriptions and budgets in advance for Penny’s review.

Penny McCann’s contribution to the media arts spans over 25 years. A media artist based in Ottawa, Penny’s films and videos have been exhibited widely at festivals and galleries nationally and internationally. A veteran arts administrator and grant writer, Penny served as Director of SAW Video from 2004 to 2018. In that role, she wrote countless grants, successfully increasing SAW Video’s operational funding, as well as earning for the centre two back-to-back Ontario Trillium Foundation grants in 2017. As an artist, she has received numerous grants and was recently awarded a Canada Council Research and Creation grant as well as a City of Ottawa A grant in Film and Video.

Cold Waters Festival: Public Programs

Nearly Far Away // Far From Near – Performances by Rihkee Strapp with Tejhler Leadbeater, and Jeremy Saya in collaboration with Amanda Lindenbach

Thursday, June 13, 2019
8:00-10:00 pm

Nearly Far Away // Far From Near is a program of site specific multiarts projects: Pawatamihk by Rihkee Strapp featuring Tejhler Leadbeater, and S’entrelacer by Jeremy Saya in collaboration with Amanda Lidenbach, – all of whom are from Northern Ontario. These works consider collaboration and community building and the self-determination of navigating changing and indefinite spaces be they digital, geographic, cultural, sonic, corporeal, or complicated intersections thereof.

Rihkee Strapp is a two-spirit (Ayakweh) Metis born in Red Lake, Ontario. Stories their grandmother told about the all Indigenous run silk screen company called the Triple-K Cooperative were their first introduction to thinking about how communities create the conditions to enable artists like Norval Morrisseau to succeed. For three years Rihkee lived within the Arcadia Project, a “social sculpture” operated by Matt Ceolin in Sault Ste. Marie, ON.  Like the story of the Triple-K Cooperative, Arcadia reinforced the power of collectives and social practice. Rihkee’s arts practice centers around nuances of identity, and cultural appropriation. They are most interested in experiences that are both playful and transformative in terms of challenging assumptions and stereotypes. Using the Woodland tradition of using mnemonic devices and vivid colours, they juxtapose the experience of urban living for the rural-born Metis raised on the internet.  

Tejhler Leadbeater is a 21 year old, 2-spirit performance artist from Sioux Lookout,Ontario. Often mediated by interactive digital media, their practice considers the disconnect between IRL and URL and the interplay between fashion, assimilation, communicating emotions, and mental health. Recent work includes ongoing collaborations with Sault Ste Marie based artist Rihkee Strapp’s project, Pawatamihk, where Leadbeater plays the role of a ‘blissfully naive colonized native person’ asking viewers pointed and uncomfortable questions regarding their knowledge of colonial assimilation in Canadian Indigenous communities. 

Amanda Lindenbach. A is a queer, fat, Mad, (dis)abled, spoonie, francophone, interdisciplinary artist; committed to pleasure activism, neuro-inclusivity, sex-positivity and the expansion of video with electronics. Currently working towards the completion of a BFA in Integrated Media at OCADu her work is based in video, installation, physical computing and performance. She is team member at the Images Festival, Onsite Gallery, the Toronto Queer Film Festival and Sex School Berlin. Her practice is broad but can be categorized into two categories: physical computing for the expansion of video experience & post-porn feminist pornography.

Jeremy Saya is a Toronto-based queer francophone interdisciplinary artist studying Integrated Media at OCAD University who works in performance, installation, sound, video, electronics, wearables, sociology and philosophy. Jeremy holds a BA in Sociology from Laurentian University, worked as Programming Assistant at Vtape and currently holds the positions of Festival Assistant and Box Office Manager at the Images Festival. Jeremy has curated film programs for both the Toronto Queer Film Festival and the Images Festival. His work deals with queer identity, the body, shame, vulnerability, authenticity, ephemerality, perception and interactivity.

Ways of Listening: Northern Ontario Sound Works

Friday, June 14, 2019
8:00-10:00 pm

Featuring:

Darren Copeland is a Canadian sound artist who has been active since 1985. After studies at Simon Fraser University and the University of Birmingham, he is now based in South River. His work encompasses multichannel spatialization for live performance, fixed media composition, soundscape composition, radio art and sound installations.

Darren Copeland founded New Adventures in Sound Art in Toronto in 2001. The organization established the NAISA North Media Arts Centre in South River in January 2017 where year-round it presents installations, broadcasts, performances, artist talks and workshops. Through his work with NAISA, Copeland has developed two multichannel spatialization systems for performance.

Anyse Ducharme is a francophone media artist from northeastern ontario. Her aesthetic production is engaged with the circulation of digital imagery and the malleability of data. She has exhibited nationally and internationally; notable shows include Proof 23 at Gallery 44 (Toronto), Arti/fiction Realities at la Galerie du Nouvel Ontario (Sudbury), Digital Alterities at InterAccess Electronic Media Arts Centre (Toronto) and as part of the Flash Forward festival for emergent photography (Boston, Portland, Toronto). She has a Masters of Fine Arts in Studio Arts from The University of British Columbia, a Baccalauréat en Arts Visuels from The University of Ottawa (BFA) and a college diploma in 3D Animation from La Cité collégiale (C.A.A.T.)

Zoe Gordon is a media artist focused on sound. She is a sound recordist and designer in Thunder Bay working on film and media projects for independent release and broadcasters. Her personal practice is focused on soundwalking and listening.

ElizaBeth Hill is a Mohawk from Six Nations of the Grand, Ontario, Canada.  She is a singer-songwriter who not only built her craft through years in Nashville’s toughest songwriting circles, but with the help of elders and fluent speakers taught herself to compose in her native Mohawk language.

ElizaBeth is fearlessly creative. Multiple nominations in the Canadian Juno Awards and Canadian Aboriginal Music Awards throughout the years her music carries the listener on a ride through simple arrangements, heart rendering vocals and superior songwriting. She has co-produced her music with Bob Doidge (Gordon Lightfoot, U2, Bruce Cockburn) and including a recorded duet with American songwriter John Hiatt she has written and worked with many great songwriters and artists throughout her career.

Remote Studio Visits – Northern Ontario Media Art at Cold Waters

Saturday, June 15, 2019
2:00-6:00pm
Monastery Hall, Nipissing University, 165 Monastery Rd, North Bay

As part of Cold Waters the Near North Mobile Media Lab and MANO are welcoming nearly 30 media artists from across Northern Ontario to participate in three days of professional development and community building activities. This artists’ lab will culminate on Saturday June 15 with an afternoon of artist-talks, studio visits, and presentations in the Monastery Hall at Nipissing University. This is a unique opportunity for the public to meet artists from across the region and learn about their engagements with media and technology.

A full list of Remote Studio fellows will be published mid-May 2019.

ᑯᐦᐹᑌᔨᑖᑯᓯᐃᐧᐣ | kohpâteyitâkosiwin | the act of being thought of as contemptible

Saturday, June 15, 2019
8:00-10:00 pm
White Water Gallery, 122 Main Street East, North Bay

Artist Joe Wood invites you to join her in conversation about and in transitions: from a transgendered kid, through cis-gendering institutions, to a two spirit woman; from a “problem child,” through being handled by well-meaning but “two-faced” workers, to an artist freely expressing herself; and from violence, through healing and gathering up strength, to sharing her story. Joe learned how to stand up for what she believes in at an early age, as will be reflected in this “mind opening” and “delightful” event.

Beginning with your own experiences of her multimedia installation – which amplifies the artist’s resistance in, through, and to child welfare documents – Joe welcomes any and all questions or reflections you might offer.  Keen to hear a full range of opinions, Joe holds that: “All types of questions will fill me up with joy.”

Joe Wood was born in Nelson House MB, is a member of South Indian Lake First Nation, and identifies as Cree and Scottish.  Joe is a self-taught visual and media artist who was raised as disabled.  Her artistic practice has been a way to release anger, probe the unknown, and to express herself as a two spirit person. Whether painting, drawing with charcoal, or working with digital tools, Joe fearlessly pushes boundaries through her thoughtfully composed, minimalist aesthetic.  For three years, Joe has been a core member of Art Fix of Nipissing – a collective of artists with lived experience of mental health and substance use – contributing to project development, the design of our annual zine, and juried exhibition.

Northern New Works Ontario Film and Video Screening

Saturday, June 15, 2019
8:00-10:00 pm
Capitol Centre, 150 Main Street East, North Bay

GOD’S PARK (6:20) – Martin King (Thunder Bay)

God’s Park is a short film about an invisible homeless man living at a public park. This short film is a surrealist take on society’s blind eye on the homeless.

Martin King is an Artist and Movie Director from Thunder Bay, Ontario. Martin had art in exhibits in the Definitely Superior Art Gallery and the Thunder Bay Art Gallery. Martin King has been selling art as a Commission Artist since 2011. He is also a Broadcasting and Film graduate of Confederation College. As for Martin King Movie Director career, he made his first film “Wake Up” in 2017. The movie took two years to make. Martin King’s most popular short film he made so far is God’s Park in 2018. Wapikoni produced the film for him and Martin King directed it. Mr. King also did some acting for community theater such as Death of a Salesman in 2016 and Mamma Mia in 2019.

BEACH SIDE (2:44) – Jordan Fiddler (Sioux Lookout via Sandy Lake)

Beach Side is an experimental video project focused on using a projector to create visuals that look crazy and unconventional. The song is made by Arbes, an indie band from Australia (who actually saw the video!).

I’m Jordan Fiddler from Sandy Lake Ontario, and I’ve been living in Sioux Lookout for the past 2 years. Ever since I moved here, I’ve been regularly going to the library and I found different things that I find interesting. Photography and filmmaking are things that I love working on and acting is something I would like to pursue in a career. I’m planning to go to college for acting, and go into stage and film.

Through wearable art and performance, this work is an embodied representation of social learning theory. This is human interaction: our movement through life in reaction to the movement of others. Fertilizing a relationship of 10 years, Amanda and Jeremy have been collaborating since 2016. Both artists hold Sociology BAs and are currently studying Integrated Media at OCAD University. Their shared work as emerging artists includes performance, wearables, sound, video and installation.

Jeremy Saya is a Toronto-based queer francophone interdisciplinary artist studying Integrated Media at OCAD University who works in performance, installation, sound, video, electronics, wearables, sociology and philosophy. Jeremy holds a BA in Sociology from Laurentian University, worked as Programming Assistant at Vtape and currently holds the positions of Festival Assistant and Box Office Manager at the Images Festival. Jeremy has curated film programs for both the Toronto Queer Film Festival and the Images Festival. His work deals with queer identity, the body, shame, vulnerability, authenticity, ephemerality, perception and interactivity.

Amanda Lindenbach is a queer, fat, Mad, (dis)abled, spoonie, francophone, interdisciplinary artist; committed to pleasure activism, neuro-inclusivity, sex-positivity and the expansion of video with electronics. Currently working towards the completion of a BFA in Integrated Media at OCADu her work is based in video, installation, physical computing and performance. She is team member at the Images Festival, Onsite Gallery, the Toronto Queer Film Festival and Sex School Berlin. Her practice is broad but can be categorized into two categories: physical computing for the expansion of video experience & post-porn feminist pornography.

THE LOST BOYS (4:55) – Katie Huckson (Sault Ste. Marie)

Lost Boys is a silent, experimental film following a group of Northern Ontario youth, playfully exploring Algoma on a summer day. The work, which aims to reflect the dreamlike, innocent character of this period of our lives, was made in memory of our brother, Luke.

THE LAST SKATE (4:50) – Sandy McLennan (Huntsville)

The end of a decades-rare season for skating the entirety of smooth frozen lakes near home: Regular 8mm Bolex cameras double-exposing, sometimes a pinhole for a lens, hand-processed with various recipes and physicalities. The cameras failed miserably/ wonderfully in the cold. Sound is not looped; you could skate forever. The living lake rumbles just under foot, solid and liquid. A naturally scary  and oh so temporary place on earth. Sprig begins to birth itself from the deep, winter had its turn.

THE CRUDE MAGIC OF PILLS (2:17) – Shayne Ehman (Thunder Bay)’

‘The Crude Magic of Pills’ is a journey into the looser realms of consciousness. It is the voice of my mind’s eye, The film is playful yet it represents and inner voice which I trust absolutely. This form of play is from a source which is a mystery within myself. It is an example of a way for me to meet the unknown. I feel that the realm of the imagination is hared by everyone.

OUI, JE SUS UNE PUTE (2:03) – Amanda Lindenbach (Sudbury)

Oui, je suis une pute (Yes I am a slut) is a short video journal about Almond’s experience ads a pornography artists and a sex worker.

MY POPSICLE QUEEN (3:18) – Cole Stevens-Goulais (North Bay)

My popsicle queen is an experimental dance film exploring personal experiences of anxiety, youth innocence, unexplained emotions. In this films, I am asking questions of how do we make positive change for ourselves when we feel like we are losing our youth? Our innocence? Metaphorically and literally.