Looking for Banners from Québec’s ‘carré rouge’ Protest Movement for December Exhibit

During the six-month student strike, hundreds of banners were created to denounce tuition fee increases and protest the privatization of public institutions. These banners lead demonstrations through the streets of Québec’s cities. They affiliated neighbourhood resistance and demanded an end to police repression. Banners hung from l’Îlot voyageur and the Berri street overpass, and they fluttered above the demonstrators at CLASSE’s demonstrations the 22nd of every month.

Include Your Banner in a installation/exhibit representing the Québec Protest Movement!

contact: widge [@] burningbillboard.org

[en français]

Many banners hung over the facades of university and CEGEP buildings, while others blocked the entrance to Jean Charest’s Montréal office. If you have a banner tucked away somewhere and would like to include it in this giant quilt of dissent, I will humbly accept it and include it in the Counterpoint Quilt.

Devant les bureaux de Premier Ministre Jean Charest à Montréal, printemps 2012. Photographe inconnu.

One of my interventions as a striking student was to collect posters related to the strike for the Centre de recherche en imagerie populaire (CRIP). The creative abundance of the student movement that surpassed the poster, which inspired me to create a vaste digital archive on Facebook of visual artifacts from the strike: Imagerie d’un printemps érable. I have since changed my MA research-creation project to the production of a living archive of these artifacts that is (self)representative of Québec’s protest movement during the period of the strike.

I invite you to look through the 26 photo albums to see more than 2100 images of posters, banners, placards, digital images, stencils, graffiti, installations, performances and other visual representations of the Québec Maple Spring. If you have information about any of the visual artifacts – like the photographer, the person who made the poster, the date of the demonstration is was used in – please let me know so I can add these details to the archival information.

Banderoles au CÉGEP du Vieux-Montéal. Photographe inconnu.

As I mentioned earlier, I am creating a protest quilt (Counterpoint Quilt) for an exhibit at Darling Foundry in December (details coming soon). I want you are your group’s participation in the protests to be represented within this work of installation art that I plan to organize a traveling exhibit to various campuses throughout Québec and elsewhere. The creation and display of the quilt aims to generate an affective source of collective forward momentum that nourishes the movement in a cyclical loop of (self)representation and renewal. This work of collective dissent will reveal the strength and creativity of a vigorous political battle that we can claim victrory due to our resilience and our omnipresence on the streets.

Lors d’une manifestation au début de la grève étudiante 2012. Photographe inconnu.

The banners I am looking for were made by student associations, community groups, APAQs, teachers unions, artist collectives and others active in the 2012 student protests and larger social movement like the ones seen above. If you have one or more banners to donate to this work of protest art, I will include it in the Counterpoint Quilt. Any other information you may have about the banner: the group that made it, the date it was made and for which particular demonstration/action, etc, would be appreciated.

I want your role in the protest movement to be represented in Continue reading

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Did You Get My Postcard?: beyond the Media Research Lab

DID YOU GET MY POSTCARD? : immediacy intimacy & the time/space compendium of remediated semi-public correspondence is the remediation of a collection of postcards received by or sent to Dave, the project’s protagonist. They are divided into individual collections, which include: Europe Trip 1985-86, East Asia Trip 1990-91, From Around the Globe, Postcards from Montréal, Postcard Politics and Sunset Postcards.

The blog/archive began as a research-creation final project for Matt Soar’s Media Research Lab, within the Media Studies MA Graduate Program in Concordia University’s Department of Communication Studies. The project, along with the  eleven others produced in the class, was launched at a collective vernissage on Dec. 7, 2011.

The project has been adapted, is continually edited and revised in line with the project’s own evolution. It is not just an archive of postcards from the past. It is a living, seeing and speaking archive of postcards that continues to grow. I encourage you to visit regularly.

Below is a blog entry posted the night of the Lab’s collective vernissage:

A Modest Proposal

Earlier this afternoon, as we sat listening to the panel on research creation, it occurred to me that the conversation at hand was not only informed, compelling, and inspiring, but also important. These sorts of discussions are increasingly necessary and relevant, not only for us as we begin to shape our projects and theses, but also for students and academics more generally. Having recently listened to a handful of podcasts produced by MITs Comparative Media Studies program, I felt moved, in the moment, to reproduce their project as a means of recording, archiving, and distributing these sorts of conversations. I realized also that this could fulfill, at least to some extent, many of the desires felt by the group and expressed in Guillaume’s previous post. Regular collaborative participation on this project would allow us to develop technical skills while actually producing and distributing something. The program itself could also be a discursive space, allowing us to discuss influences and works in progress, and providing, in turn, a working record of our various critical and creative processes. I think this would be an excellent place to start from, particularly given the possibilities that could follow:

  • Do we attempt to record ongoing conversations regarding research creation within the department?
  • Do we try to expand on those conversations by inviting outside parties to participate?
  • Do we try to establish a practice that could be carried on by future students in the program? If so, does this begin to  address the difficulty of archiving the processes and products of research creation?

I by no means wish to insist on the necessity of taking the project this far, but merely offer these suggestions as possibilities. The next practical step would be to collect those interested in participating, and begin playing around with the idea. Polish, focus, and gravity can come later, if ever.

So: COMS PODCAST!!!! Any takers?

~R

eRuv: A Street History in Semacode

eRuv is a digital graffiti project installed along the route of the former Third Avenue elevated train line in lower Manhattan. The train line, dismantled in 1955, was more than just a means of transport; it was part of an important religious boundary – an eruv – for a Hasidic community on the old Lower East Side. Using semacodes, the former boundary is reconstructed and mapped back onto the space of the city, and pedestrians with camera phones can access location-specific historical content. 

– Elliot Malkin, http://dziga.com/eruv/

Vinyl Video

Fake Media Archeology by Gebhard Sengmüller

In its combination of analog and digital elements VinylVideo™ is a relic of fake media archeology. At the same time, VinylVideo™ is a vision of new live video mixing possibilities. By simply placing the tone arm at different points on the record, VinylVideo™ makes possible a random access manipulation of the time axis. With the extremely reduced picture and sound quality, a new mode of audio-visual perception evolves. In this way, VinylVideo™ reconstructs a home movie medium as a missing link in the history of recorded moving images while simultaneously encompassing contemporary forms of DJ-ing and VJ-ing.

Gebhard Sengmüller is an artist working in the field of media technology, currently based in Vienna, Austria. Since 1992, he has been developing projects and installations focussing on the history of electronic media; creating alternative ordering systems for media content; and constructing autogenerative networks.

http://www.vinylvideo.com/

Pseudoarchaeology at the Art Gallery of Ontario

“He named her Amber” spans the space between fiction and nonfiction. Where there is an initial construct of reality, it must be followed by revealing the fictitious aspects of the project. The passage between these two realms, between the historic narrative and the context of a contemporary artwork is an important part of the work.

– Iris Häussler, Toronto, 2010

http://www.haeussler.ca/amber/amber.html

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