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THE NEXT 7 DAYS:     EVENTS (37)     +     OPENINGS (16)     +     DEADLINES (7)     +     CLOSINGS (17)
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Here and now and then
Derya Akay and Anne Low, Meghan Price and Matthew Walker
September 15 to October 21, 2017
Curated by Tarin Dehod

Watching Rocks: Hamilton/Extinction Event, Meghan Price and Matthew Walker, 2017.

For AKA’s 35th Anniversary the gallery becomes an expression of liveness, through a six week testimony of time, through a shared meal and its remnants.

Meghan Price presents Watching Rocks: Hamilton, a live-stream of Matthew Walker’s Extinction Event (2015), inserting the glacial erratic boulder into digital time and space. Walker’s boulder was liberated from an urban sprawl development site, layering its history of movement and transition through time by both glacial forces and human hands. Aside from transporting the boulder, Walker attempted to reset the rock itself by sandblasting the physical surfacing of time, in the process revealing an unknown or perhaps unwitnessed deep time. The boulder seemingly recalibrated within a human timeframe, witnessed now through Price’s live stream, a broadcast facilitating a wide network of watchers and multiple viewing sites, online, IRL and at AKA. Live streams can feel voyeuristic, but are diffused and mediated means of looking, creating a kind of illusion of presence; for the watcher a oneness with the frame of the camera. Watching Rocks generates atypical activity for a fixed and stoic boulder, acting as a kind of campfire or physical and virtual meeting place.

Joining the continued presence of Watching Rocks: Hamilton, Elaine takes the place of host with a shared meal for 35 guests, the remnants of interactions and performances left behind as records. Derya Akay and Anne Low’s informal banquet accompanies Price and Walker’s work as a foundation for gathering and exchange. Elaine’s immersive dining space is created through local collaboration and seasonal availability. Elaine’s guests are artists, AKA founders and members, neighbours, community organizers, past board and staff; a selection of those who have and will impact AKA’s history and future.

Here and now and then operates as a snapshot of an organization adapting to meet social and artistic conditions. AKA’s upcoming curatorial framework is inspired by the metaphor of a gateway, positioning the ARC as place-based, engaging with Riversdale and diverse and varied publics, while taking a self-reflexive look at AKA’s role within the local, provincial and national arts ecology. An emblematic sign of this three year vision will be a shifting emphasis on AKA’s name, prioritizing “also known as” as a flexible form directly speaking to this line of inquiry.

A Glassiness to the Eyes
Billboard by Lisa Hirmer
September to November, 2017

A Glassiness to the Eyes, Lisa Hirmer, 2017.

A Glassiness to the Eyes was created during a residency with the Klondike Institute of Art in Culture in Dawson City and is based on the many stories of animal encounters told to the artist while she was there. In many of these stories the gaze that passes between human and animal plays an important narrative role, the moment when some form of communication passes from one species to another and the story progresses. This visual moment of eyes meeting though seemingly simple, actually belays the deep evolutionary entanglements we have with other animals. The human mind is incredibly adept at noticing eyes looking at it and though we can never be sure of what another creature is thinking, a rapid approximation of what an animal might be thinking could make the difference between surviving an encounter or not. A Glassiness to the Eyes began as a simple experiment to see if Google's Artificial Neural Network (software being developed to recognize the content of images) could approach the human capacity to quickly notice eyes in a complex visual field. Surprisingly, the sophisticated software, confused by the patterns of leaves and light, saw eyes everywhere. The artist then combined this computer generated vision with the original photograph to create a wallpaper-like composite in which the machine's reading turns an otherwise banal forest image into an uncanny scene teeming with the gaze of many beings.


Also Known As ARC
424 20th Street West
Saskatoon, Treaty 6 Territory and the Homeland of the Métis
S7M 0X4 | 306 652-0044
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Tuesday - Friday 12 - 6pm
Saturday 12 - 4pm

Exhibitions are free and open to the public





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