BEGIN:VCALENDAR VERSION:2.0 PRODID:-//132.216.177.157//NONSGML kigkonsult.se iCalcreator 2.20.4// BEGIN:VEVENT UID:20240518T132902EDT-9360Oh4tgC@132.216.177.157 DTSTAMP:20240518T172902Z DESCRIPTION:Organized by Christine Ross\, Professor of Contemporary Art His tory\, Department of Art History and Communication Studies\, McGill Univer sity.\n\nThe symposium is followed by a toast to celebrate Prof. Ross's sc holarship and contributions to the department.\n\nCoexistence in Contempor ary Art considers how coexistence—the state\, awareness and practice of ex isting interdependently—has become integral to artistic practices in the p ast two decades. Coexistence dismisses any notion of humans or nonhumans a s fully discrete entities. Whether the environmental coevolution between s pecies\, the planetary refugee crisis\, the cultural genocide of Indigenou s Peoples and Indigenous resistance to new colonialism\, co-living “in the wake of slavery” (Christina Sharpe\, 2016) or the intensification of medi a that “cognize” with or without humans (N. Katherine Hayles\, 2017)\, coe xistence has become a privileged aesthetic terrain by which to address som e of the major challenges of the 21st century—from global warming to the “ necropolitics” of migration to AI\, from systemic racism to the social and political movements that campaign against these dark coexistences. Contem porary art explores coexistence not so much as a living-together or a coha bitation than a predominantly dark and forever-messy yet changeable relati on. Art reinvents itself in that very process. It calls for more mutual fo rms of coexistence\, including: calls to historicize\, to become responsib le\, to empathize\, to story-tell\, to re-spatialize. We might think of Ca roline Monnet’s The Room (2023)—a ten-foot cube in which viewers are invit ed to circulate and meet\, made of lilac-coloured styrofoam incised with a pattern inspired by Anishinaabe sacred geometry. As viewers experience th e space\, modernist abstraction mixes with traditional visual knowledge\, settler with indigeneity\, shelter with open-space\, silence with noise\, Indigenous and non-Indigenous worlds.\n\nOf particular interest to this sy mposium is the question of emergent aesthetics: as art becomes the site at which coexistence is thought\, sensed and imagined\, it generates unprece dented material\, affective\, perceptual\, cognitive and mediatic possibil ities. The speakers invited to participate in this symposium—art historian Amanda Boetzkes\, artist Caroline Monnet and curator Dominique Fontaine—p ropose varied perspectives on how to delineate coexistence in contemporary art.\n\nProgram\n\n1:30 – 1:45: Christine Ross\, Introduction\n \n 1:45 – 2 :20 + QA: Amanda Boetzkes\, “Coexistence as a Realism Without Authority: I nuit Art\, Sulijuk and—Oh my Goodness—the Aesthetic Tactics of Reoriginati on”\n \n For this talk\, I will address the renewed importance of realism in navigating the interplay between contemporary art and decolonial praxis. While realism has seen a resurgence in the context of the “post-truth” era \, a time characterized by the rise of populism and the exhaustion of crit ique\, I propose that realism’s challenge can best be understood in scenes of reorigination in Inuit art. Through a discussion of works by Kinngait artist Shuvinai Ashoona and the Igloolik collective Isuma\, I consider the invocation of sulijuk as a counter-hegemonic force unmoored from colonial \, paternal and scientific authorities. Inuit realism upsets the perceptio n of reality and opens alternative possibilities for its renewal. Through the prism of this anarchical ground of reorigination\, coexistence can be theorized in aesthetic terms.\n\n2:40 – 3:15 + QA: Dominique Fontaine\, “T he Praxis of Coexistence”\n\nThis talk will examine curatorial practice as a strategy of expansion of contemporary art and art history. Can art simp ly be reduced to theoretical knowledge or can it refer to collective exper iences? Exploring various case studies\, I discuss my practice to reflect on the necessity of curating as a theoretical model\, as a disciplinary fi eld which contributes to the development\, transformation and formulation of new artistic paradigms.\n\n3:55 – 4:15: break\n\n4:15 – 4:50 + QA: Caro line Monnet\, “A World of Many Parts”\n\nA Whole Made of Many Parts draws from various personal\, political and social histories\, showing us how de lineations\, real or imagined\, shape our cultures and communities. By tra cing her roots to her own contemporaneity\, Monnet investigates her own ar tistic practice to define its dynamic and ever-evolving coexistence.\n\n5: 15 – 7:30: toast to celebrate Prof. Ross’s scholarship and contributions t o the department\n\nSpeakers\n\nAmanda Boetzkes is Professor of Contempora ry Art History and Theory at the University of Guelph. Her research specia lizes in ecology and theories of consciousness and perception. Over the co urse of her career\, she has analyzed complex human relationships with the environment through the lens of aesthetics\, patterns of human waste\, an d the global energy economy. She is the author of Plastic Capitalism: Cont emporary Art and the Drive to Waste (MIT Press\, 2019)\, The Ethics of Ear th Art (University of Minnesota Press\, 2010) and a forthcoming book title d Ecologicity\, Vision and the Planetarity of Art. She is co-editor of Art ’s Realism in the Post-Truth Era (Edinburgh University Press\, 2024)\, Art works for Jellyfish and Other Others (Noxious Sector Press\, 2022) and Hei degger and the Work of Art History (Ashgate\, 2014). In her most recent re search\, Boetzkes focuses on environmental knowledge and aesthetics in the circumpolar North\, with an emphasis on the politics of Inuit sovereignty and the Greenland Ice Sheet as a site of scientific\, social\, and percep tual importance. In 2019\, she held an interdisciplinary\, site-specific w orkshop in Ilulissat\, Greenland\, and curated a performance by the Greenl andic artist Jessie Kleemann on the Ice Sheet which has since been shown a t numerous exhibitions and galleries including Inua at the inaugural exhib ition of the Inuit Art Center in Winnipeg (2021)\; Exposure: Native Art an d Political Ecology at the Museum of Contemporary Native Art in Santa Fe ( 2021)\; Worst Case Scenario: Four Artists from Greenland - Pia Arke\, Juli e Edel Hardenberg\, Elisabeth Heilmann Blind\, Jessie Kleemann at the Lund s Konsthalle in Sweden (2021)\; Jessie Kleemann at the Portland Museum of Art (2022)\; and Jessie Kleemann: Time flies\, time flies at the Danish Na tional Gallery (2023).\n\nDominique Fontaine is a cultural leader\, curato r\, advisor\, strategist on innovation in arts and culture\, and Curator o f Exhibitions\, Toronto Biennial of Art. Her expertise spans exhibitions c uration\, arts administration\, grants and contributions management in non -profit and government organizations. As a connector\, she brings together artists\, curators and the public\, both within and beyond borders\, towa rds transformative actions for diversity\, equity\, and inclusion in conte mporary art. Fontaine will co-curate the 2024 edition of the Toronto Bienn ial of Art (TBA). Her recent projects include Imaginaires souverains\; Le présent\, modes d’emploi\; Foire en art actuel de Québec\; Here We Are Her e: Black Canadian Contemporary Art\; Dineo Seshee Bopape: and- in. the lig ht of this._______\, Darling Foundry\; Repérages ou À la découverte de not re monde ou Sans titre\, articule\; Between the earth and the sky\, the po ssibility of everything\, Scotiabank Nuit Blanche Toronto 2014. She is co- initiator of the Black Curators Forum. She is also a founding member of In tervals Collective. Fontaine was a 2021 laureate of Black History Month of the City of Montreal.\n\nCaroline Monnet (Anishinaabe/French) is a multid isciplinary artist from Outaouais\, Quebec. Deploying visual and media art s to demonstrate complex ideas\, Monnet renders Indigenous identity and bi cultural living through an examination of shifting cultural histories. She is noted for working with industrial materials processes\, blending vocab ularies of popular and traditional visual knowledges with tropes of modern ist abstraction to create a unique formal language. Consistently occupying the stage of experimentation and invention\, her work grapples with the i mpact of colonialism by updating outdated systems with Indigenous methodol ogies. Monnet’s work has been featured at the Whitney Biennial (NYC)\, Tor onto Biennial of Art (TBA)\, KØS museum (Copenhagen)\, Museum of Contempor ary Art (Montréal)\, the National Gallery of Canada (Ottawa). Solo exhibit ions include Arsenal Contemporary NYC\, Montreal Museum of Fine Arts\, Sch irn Kunsthalle Frankfurt\, Arsenal Contemporary (NYC) and Centre d’art int ernational de Vassivière (France). Her films have been programmed at film festivals such as TIFF\, Sundance\, Aesthetica (UK)\, Palm Springs and Ima gineNative. She is recipient of the 2023 Ordre des arts et des lettres du Québec\, the 2020 Pierre-Ayot award\, the 2020 Sobey Art Award\, the Sunda nce Institute Mereta Mita Fellowship\, and the Cinefondation residency (Pa ris). She is based in Montreal and is represented by Blouin-Division Galle ry.\n\nThis symposium will be held in recognition of Professor Christine R oss’s scholarship and contributions to AHCS.\n\nImage: Caroline Monnet\, T he Room\, 2023. Installation made of Styrofoam\, OSB\, Wood. 10\,6 x 11\,6 x 10\,6 feet\n DTSTART:20231103T173000Z DTEND:20231103T233000Z LOCATION:Ballroom\, 3rd floor\, Thomson House\, CA\, QC\, Montreal\, H3A 1Y 2\, 3650 rue McTavish SUMMARY:Symposium: “Coexistence in Contemporary Art” URL:https://www.mcgill.ca/channels/channels/event/symposium-coexistence-con temporary-art-351427 END:VEVENT END:VCALENDAR