#IOTADATA is working on an e-pub, ‘In the Thread’, with web-art writers David Clark, Isabelle Avers, Johanna Drucker, and Adrienne Crossman, to be released mid 2018.
Writer, artist, educator and curator Adrienne Crossman will write about Jennifer Chan’s Important Men: http://importantmen.com/
IOTA: BETA focuses on producing and publishing critical, experimental, or academic writing, either in print or in e-formats on topics related to its mission. Here, Beta means to test an idea or a process: to be experimental in practice or in thought. IOTA: BETA is a place for independent research by writers, artists and curators through offering residencies, writing commissions in the cross-disciplinary fields of art\technology, art\science, and art\performance.
A Gently Worn Impression
June 8 - August, 2018
Opens Friday, June 8th at LEFT Contemporary 7-10pm, Windsor ON
Over time, a well used staircase will form indentations on its steps from consistent use. The persistent presence of a small activity eventually alters the structure of the staircase, changes how we interact with it, and ultimately how we view it. As the persistent presence of queer people has continued throughout history, we see the work of the community wear into the structure of society and make a permanent impression. As young queer people who have grown up seeing huge shifts in politics, dialogues, and acceptance, as well as huge shifts of technology, medicine, and culture, how have our lives and experiences been influenced by these things? How different are we than generations before? How are we similar? What does it mean to be queer in 2018? A Gently Worn Impression seeks to explore the complexity of queer identity and culture, presenting work by queer millennials which creates lines between the past, present, and future.
The exhibition will feature work from Daniel Cardinal McCartney, Ryan Danny Owen, Lucas LaRochelle, Nour Fakih, Nicola Wilting, Brandon Geissmann, Nikki Alex Basset, May G N, Adrienne Crossman, Dana Buzzee, and the Windsor Youth Centre’s Gender-Sexuality Alliance.
A Gently Worn Impression is presented with support from Windsor Essex Pride Fest.
… MOVE OR BE MOVED BY SOME THING RATHER THAN ONESELF.
June 23 - August 5, 2018
Opens Saturday, June 23rd at Critical Distance Centre for Curators, Toronto ON
Featuring: Guillaume Adjutor Provost, Adam Basanta, Adrienne Crossman, and Nadège Grebmeier Forget Curated by: Florence-Agathe Dubé-Moreau and Maude Johnson.
Critical Distance is pleased to present … move or be moved by some thing rather than oneself., an exhibition that considers curating and choreography as materials and subjects. Bringing together the work of Guillaume Adjutor Provost, Adam Basanta, Adrienne Crossman, and Nadège Grebmeier Forget, the exhibition is curated by Florence-Agathe Dubé-Moreau and Maude Johnson. The title, taken from a quote by choreographer Yvonne Rainer, echoes the curators’ desire to question the potentialities of artworks as well as presentation contexts from the position of transdisciplinary instability.
… move or be moved by some thing rather than oneself. examines the intersections between methods of creation and reflection particular to curatorial and choreographic spheres. As part of the ongoing discussion on dance in the museum, this exhibition responds specifically by disengaging from the danced gesture. It gathers artists who, on the one hand, borrow from curatorial and choreographic methodologies; and on the other hand, transform the multiple spaces (physical, virtual, social, political, historical, etc.) and temporalities of the gallery.
This exhibition probes at the politics generated or renewed by these two approaches when (re)located together in the gallery space. What performative potentials will emerge from this juxtaposition of the curatorial and the choreographic? Choreography and curating are understood as two transmission systems able to reveal the agency of works as well as of the exhibition structure. Can the analytical tools provided by curating and choreography mutually enhance each other and be used as theoretical frameworks to address the relationships between artworks, exhibition, and publics in a new light?