The Crow and the Salmon Live Everywhere
A multi-layered and immersive experience by Ayumi Goto, Peter Morin, Parmela Attariwala, Immony Men, Patricio Davila, Justine Woods, José Andrés Mora, Emily Fitzpatrick, Janell Morin, and Kyoko Goto.
November 23 – December 11, 2021
Tuesday – Saturday 12-5PM (To view the exhibition, please contact firstname.lastname@example.org)
Proof of vaccine required
Opening Reception and Performance:
Friday, November 26 6-8PM (Registration to attend here)
Presented as part of Traversal Residency Series co-presented in partnership with the Public Visualization Lab and Trinity Square Video; funded by the Social Sciences and Humanities Research Council
The Crow and Salmon Live Everywhere is a creative convergence of performance, virtual reality, motion capture, and sound, combined to make a space for your body to become a salmon or a crow. This collective work is an homage to the Crow and Salmon who teach us to imagine beyond human measures. This built immersive environment generates a new radically shared language of fabricated and assembled worlds and meanings. The artwork raises questions about the nature of movement, bodies, performance, and how these states recombine and activate new desire lines and ways of knowing.
This collaboration began with an invitation from Public Visualization Labs (Immony Mén and Patricio Davilo) to performance artists Ayumi Goto and Peter Morin before the start of the pandemic. The work is first brought forth in a park, Allan Gardens, where gestural movements of performance artists are translated into a virtual language through motion capture. The work continues safely-socially-distant, and masked-up, throughout the pandemic. Bi-weekly zoom meetings and follow-up motion capture sessions are then transformed into a full motion capture performance for Allan Gardens in summer 2020. These lines are followed into territories now called The Crow and Salmon Live Everywhere, a territory where Scents become Ghosts and Touch gestures memory.
Come to the centre of the room. Step inside. Put on the oculus. You are immersed in one of many desire lines mapping our world. You experience becoming a ghost, not yet knowing that a ghost actually touches the inside of everything. The Salmon are swarming. The Crows are swarming. There is a history of deep practice embedded in all of the decisions that open up, to invite you to join into this space. A song meets another song. Mother languages meet and become entangled. You are surrounded by a creative convergence of performance, virtual reality, motion capture, curator, and sound, combined to make a space for your body to become salmon, crow, self. The artwork is the portal for you to lose your human-ness, and return the more-than-human beings back to the centre.
Peter Morin and Ayumi Goto are best friends and performance artists. They sing together. They laugh together. They cry together. They debate ideas and plan for the destruction of the european colonization of canada. Morin and Goto have exhibited throughout canada and internationally. Morin is an Associate Professor at the Ontario College of Art and Design University, where Goto is also somewhat employed as Adjunct Professor while developing as a diasporic scholar. Morin sits on many boards for arts organizations. Goto tries to spend as much time as possible in forested areas. Morin and Goto recently launched PMAG: The Children’s Show at On the Fringe Film Festival in North Bay. Also, Morin and Goto like to jump and clap loudly.
Immony Mèn is an artist, educator, and community-based researcher. He is an Assistant Professor in the Faculty of Design at OCAD University. As an artist, he has exhibited nationally and internationally and has been awarded municipal, provincial, and federal arts council grants to support his work. His research focuses on developing a theoretical framework for understanding (specifically Khmer/Cambodian) diasporic experience through media praxis, critical race theory, and various forms of community engagement. Men’s practice takes the form of research-creation projects such as interactive installations, interdisciplinary performances, social artworks, and participatory community projects. Works include Receipts, Post-Colonial Hot Ones, Traversal Residency, Passing through the Heart, Shadows!, Cite, Chthulucene, Powers of Kin, Everything in Place, and Taking Care of Business.
Patricio Dávila is a designer, artist, researcher and educator. He is Associate Professor in the Department of Cinema and Media Arts in the School of the Arts, Media, Performance and Design, at York University. He is also core member of the Vision: Science to Applications (VISTA) project at York University. Patricio is also co-director of Public Visualization Lab (PVL). Patricio’s research and practice focuses on the politics and aesthetics of participation in the visualization of spatial issues with a specific focus on urban experiences, mobile technologies and large-scale interactive public installations. His research focuses on developing a theoretical framework for examining data visualization as assemblages of subjectivation and power. In his creative practice he has created mobile applications, locative media projects, essay videos, new media installations, and participatory community projects.
Parmela Attariwala has been mesmerized by sound for as long as she can remember; most especially by how un-worded sounds and music carry meaning. She pursued this passion through an undergraduate degree in violin performance, and postgraduate degrees in ethnomusicology. Over a twenty-five year sojourn in Toronto that was meant to last only one year, Parmela cultivated an eclectic and interdisciplinary practice alongside the more fiscally stable performance of traditional Western classical music. Parmela moved to Vancouver in 2019. Since then, an increasing number of people have been asking her to create music not intended for live performance, forcing her (like so many other pandemic-muted, technology-hesitant musicians) to contend with sound-making in the digital realm. She is grateful to Peter and Ayumi for the opportunity to push her skills in this direction
Justine Woods is a garment artist, designer, creative scholar and educator based in Tkaronto (Toronto, ON). She holds a Master of Design from OCAD University and a Bachelor of Design in Fashion Design from X University (formally Ryerson). Currently, Justine is a Doctoral Candidate in the Media and Design Innovation PhD program at X University*. Justine’s research and design practice centres fashion and garment-making as a practice-based method of inquiry towards re-stitching alternative worlds that prioritize, celebrate and mobilize Indigenous resurgence. Her work prioritizes all of the relationships that make up her identity as an Aabitaawikwe; an identity she has inherited from her family and her Aabitaawizininiwag Ancestors. Justine is a descendant of the St. Onge and Berger-Beaudoin families. Her Ancestors come from Drummond Island (in what is now known as Michigan) and were relocated in 1828 to Penetanguishene, Ontario where they built diasporic roots with their kin and community that continue to hold strong to this present day. Justine was born and raised in Tiny, Ontario and is a member of the Georgian Bay Métis Community.