Tuesday, March 7, 2017 - 10:00am to Tuesday, April 4, 2017 - 5:00pm
As part of the library’s ongoing site-specific art intervention project, selected students from Colette Laliberté's "Painting in the Expanded Field" (DRPT-4011) are exhibiting artworks in the Dorothy H. Hoover Library. Each work conceptually interacts with a theme, practice, or policy in the library as an institution.
image credit: Sylvester Teszeri. 2017. Plexiglass box (61 x 31 x 16 cm), copy of Franz Kafka's The Metamorphosis (trans. Susan Bernofsky; intro. David Cronenberg. New York : W.W. Norton & Company, 2014), beetle larvae.
Susan Campbell is an interdisciplinary designer working at the intersection of lens-based media, installation and intervention. Campbell investigates signs and patterns of urban intensification as played out on development sites, parking lots and public sidewalks. Her work frequently explores physical mapping practices as a means to interpret and reflect on the design dynamics found within the urban landscape, confronting issues caused by the intensification of development. Using codes such as floor plans and clearance zones, Campbell re-organizes space into performative zones.
Murmur Land Studios is an experimental school initiative offering event-based pedagogy in art, philosophy, movement, ecology and community for the post-anthropocene era. Our attempt is to curate spaces of creative inquiry which attract diverse makers, thinkers and doers together around thematic concerns relevant to the challenging times which lay before us. We are interested in exploring the varied human and more-than-human relations that weave and co-compose new possibilities for joy and survival.
Sean Smith is one of the three founding members of the Murmur Land Studios curatorial collective launching this program. Sean teaches both Wearable Art and Site and Intervention in the First-Year Program in the Faculty of Art. He brings his art teaching experience at OCADU and PhD in Media Philosophy to his role as faculty of the MLS field schools.
Applications are open now for our 2017 events: "The City in Reverse: Diagramming Intelligent Systems" (July - Sherbrooke, NS) and "Wander Lines: Mythodological Escapism" (August - Saysutshun/Newcastle Island, BC). Deadline is December 15.
Saturday, October 4, 2008 - 10:45pm to Sunday, October 5, 2008 - 11:00am
A Conceptual intervention during Scotiabank Nuit Blanche by OCAD student Farah Yusuf and Alex Stephan.
Text 'yes' to 647-989-7707 The public is invited to subscribe to mobile text alerts that are sent to their cell phones at regular intervals over the course of the night. The text messages are instructions that they are asked to perform -- some will require acts that are social or demonstrative in nature, while other instructions are vague and introspective. By allowing the collaborative unpredictability of the user experience, the interpretation of the work is entirely in their domain. It is at once both public spectacle and private contemplation. "r u part of the art” investigates the social dimension of participation in this highly networked culture. The use of the cell phone and text messaging as the delivery medium provides an immediacy of execution that transcends spatial boundaries. Participation is a key element to the piece. Whether that participation is physical or symbolic, the goal is to blur the line between performer and audience. No premium mobile fees apply to use this service. Regular carrier charges apply as per your individual service contract. Limited Enrolment.
Venue & Address:
40 King Street West 40 King Street West, Toronto, Ontario
Wednesday, March 5, 2008 - 5:00am to Friday, March 14, 2008 - 4:00am
An exhibition of wall work interventions from the students enrolled in the 4th Year course 'Painting in the Expanded Field' held in Transit Space and in Satellite Spaces on the second and third floor at 100 McCaul.
Called to the preposition of 'Painting in the Expanded Field,' a band of nascent explorers give sight to the vastness laid before them. Modulating place into conjunction, the collaborative tether of the shared experience unfurls the spatial referrant of the gallery; bridging sites of the greater institutional environment, satellite installations give presence to proposition that the expanse of the extra-disciplinary is one best travelled together. (Patrick Phillips)