STEFFANIE LING is a producer of criticism, pamphlets, stories, essays, exhibitions, reviews, bluntness, anecdotes, shout outs, wrestling storylines, proposals, applications, jokes, readings, minimal poems, poems, dinner, compliments, and diatribes. She works between Vancouver (unceded territories) and Toronto (Tkaronto) where she is the Artistic Director at Images Festival. Her books are NASCAR (Blank Cheque, 2016) and CUTS OF THIN MEAT (Spare Room, 2015).
BIG ROCK CANDY MOUNTAIN, STEFFANIE LING, STEVE HUBERT, CHARMAINE LEE, DASHES, BARBARA LAZARA, CHRISTINA BATTLE, RAVEN CHACON, SYDNEY HERMANT, SAMANTHA NOCK, LINDSAY MCKINNAN, MELISSA ANDREWS, DAVIDE BALULA, KAITLYN PURCELL
June 23–August 11, 2020
Vancouver Co-op Radio, CFRO 100.5FM
While staff have been working remotely, we wanted to find ways to remain connected to the neighbourhood and communities surrounding Artspeak. With the temporary closure of the gallery, we’ve decided to renew a feature of Artspeak’s programming of the past years: radio broadcasting. We’re excited to continue to work with Vancouver Co-Op Radio, for another edition of Artspeak Radio Digest. Located a couple of blocks from Artspeak, Vancouver Co-op Radio is a community radio station that has been based in the Downtown Eastside since 1973. In Fall 2018 Artspeak Radio Digest was collectively run by Brady Cranfield, Gabi Dao, Emma Metcalfe-Hurst, Autumn Schnell, with support from myself and Erik Hood.
As an audio journal, Artspeak Radio Digest is an expanded approach to our publishing program. In the true form of a digest, over the next several weeks of the PROXIMITIES EDITION, we will be hosting many exceptional artists, writers, arts workers and musicians. All of who maintain an interdisciplinary practice and work with sound, voice, publishing, and writing.
For the duration of PROXIMITIES – we’re very excited to be introducing – Hannah Jickling and Helen Reed of Big Rock Candy Mountain who will be our resident guests on the show presenting Bubble Broadcast. Each week they will be sharing their research as part of their Sleepy Soda project, which will develop a special edition of soda with grade 6 students in Edmonton, Alberta.
As the goal posts keep shifting, and it’s difficult to know when we can gather in ways that feel familiar, we hope to share with you via Artspeak Radio Digest a series that will allow us to share space together in auditory proximity.
BRADY CRANFIELD, GABI DAO, EMMA METCALFE-HURST, AUTUMN SCHNELL, BOPHA CHHAY, ERIK HOOD
September 18–November 27, 2018
Artspeak Radio Digest is a three month long program, run in partnership with Vancouver Co-op Radio a community radio station based in the Downtown Eastside since 1973. Taking the form of an audio journal, ARD is an expanded approach to the organization’s publishing program. Each show has been conceived as an issue of an audio journal. Interdisciplinary in its approach, the digest format will feature new commissions, sound works, poetry, radio plays and music amongst other forms utilizing radio as a medium. The program will be collectively produced and hosted by Brady Cranfield, Gabi Dao, Emma Metcalfe-Hurst and Autumn Schnell with support from Bopha Chhay and Erik Hood.
The form of radio can seem overtly nostalgic. Why radio? Why now? Artists have long harnessed airwaves as a medium. Radio has long provided a distinct alternative for the presentation of artistic practice outside of the gallery. Radio shifts focus from the visual to the aural, challenging visual primacy in artistic practice. Co-op’s programming has included shows by artists since it’s founding. These include the long-standing Soundscape, first founded by Hildegard Westerkamp, The HP Radio Show hosted by Hank Bull and Patrick Ready and Lux Radio Players.
Airwaves as a medium presents other challenges. Seemingly intangible, airwaves do not escape commodification, as corporations jockey for licensing rights. Actively working to counter commercial interests, Co-op’s community based programming remains distinct in its prioritization of perspectives, forms and voices not heard through conventional media avenues. Public broadcast regulations dictate what we can say and play during certain hours, as we’re obligated to abide by national broadcasting standards. There are things we can say, things we can’t say and things we won’t say. In Canada, after 9pm, restrictions and quotas ease up. Be sure to tune in weekly to CFRO 100.5-FM beginning Tuesday, September 18, 2018 from 9 to 10pm PST for the first issue of Artspeak Radio Digest.
Thank you to our partners at Vancouver Co-op Radio, Robert Moya and Kimit Sekhon.
ARD is part of year of programming at Artspeak that considers ways of learning and studying together as a collaborative process and practice. Upcoming programming will challenge the role of the artist-run center, notably asking how it can contribute to creating space allowing for new forms of engagement to reimagine current limits in cultural production and shape alternative practices. Before the rain really sets in, we’ll take a short hike to Mount Seymour where Co-op’s Transmitter has been located since 1982.
April 12–May 24, 2014
Do you think that I’m attempting to trace any ghosts?
I don’t know if you are tracing the ghost or if you are collecting, relocating, and generating them. The ghost always exists somewhere in between but is never the original, and I think you are not particularly interested in accuracy even if your work has elements of precision. It’s not about following the ghosts to a specific end point or in a predetermined manner but rather making the path less finite or elongated.
Art often feels much more like an encounter of some kind than a thing–an encounter that can unfold a series of divergent paths, an encounter with a thing that never has as good of a name as the encounter itself.
Do we really want art to be the encounter though?
The encounter is something that exists whether we want it to or not. Some days the painting in my bedroom is art. Other days it is decor and stuff on the wall. Some days the Pollock at the Met is art. Other days it is an oversized print that I’ve seen in too many clichés. The tradition of much of art from the 20th century is to make us avid and inquisitive in how we address the world around us. Much of it came from out of daily life, asking and sometimes imploring us to look again. Sometimes for beauty, sometimes for savagery, oftentimes a cocktail of the two and many other ingredients. In a way, art kept training us to see differently, to begin to diagnose the world on our own, without its help. After seeing so many Aaron Siskind photographs as a kid, I certainly didn’t look at the marks on the walls the same way. But after I noticed the marks on the walls, Aaron Siskind wasn’t really that compelling anymore. I realized early that art was not eternal, it was something that mattered sometimes and not in a linear way. I suppose this is what I mean by the encounter. Some encounters don’t go away, but some do—some come back. Either way, cultural periods allow for different encounters and what that means.
I initially interpreted your definition of encounter in a different way, but I think we actually agree, or that we have arrived at the same destination through different paths. It helps to hear your exposition. I also believe that these definitions are shifting, contingent on time, circumstance and context, and that this fluidity of time, memory, and perception is a bit of a trained exercise. I do not consider art to be eternal and actually have grown so incredibly weary of “legacy” in the past few years for similar reasons. Your perspective is perhaps less cynical than mine. To clarify my initial reaction: let’s say I see a billowing curtain in a window. At some point in my life maybe I think it’s beautiful and poetic in that American Beauty bag in the wind sort of way. And then tomorrow I think it’s just a curtain. And maybe I like that it’s just a curtain, and that there isn’t much more to it, and that’s okay. I have such a sensitivity to the colonialist nature of art that maybe I just want certain things in my life to not be defined by it, to somehow exist in parallel but not be in service of. Sometimes I so painfully want a curtain to just be a curtain because if it’s anything more, I may not have much left to give.
I have a bottle in my studio that has layers of painting medium encrusted within it like layered, golden skins. Every time I’d use it (when I used to paint) it would crust over and I’d have to bust its surface to get more out. So you can see all that history in this bottle. It’s a beautiful object, but I never want it to be art…
I named the title of this show “Tapetum Lucidum.” Why do you think that is?
I think the title references an abstract understanding of time but also a tension between senses and the ability to see the infinite. Perhaps somewhere in these reflections of light lies the myth of salvation.
On another track, I might bring your attention to this as well:
Maybe these are the clouds of salvation?
The darkest part of that video for me was how they made a very close mold of the man’s head and then proceeded to erase his face entirely in order to make the mask. Both this mask and Sabbath’s song are like a sad reverse Medusa. Are these replicas and surrogates some form of uchronic dream?
There is also a funny uncanny moment in which Letterman is smoking the e-cig and I realize that he’s allowed to do it because we have no rules about televising the smoking of nicotine water vapour (or when Katherine Heigl stumbled over whether or not she could say she inhaled). It’s okay because we all believe in the artifice? Is it depressing that we no longer see (or desire to see?) beyond the myth?
I didn’t know what uchronic meant so I searched for it on Google and was really fascinated by its definition: not a completely fictional time, but one that is maybe an alternative, a hypothetical, still related to our reality but still not ours. Its provenance is also rather interesting.
It is indeed. I think I initially encountered it with regards to reenactments, particularly historical reenactors and their desire to participate in these activities. It was sort of questioning whether they reenacted events because they were not personally involved but feel that they can somehow change history (or memories), or write themselves into it, to generate some sort of alternate (but equally real) history.
I curated a show in St. Louis at White Flag Projects about 4 years ago and they have a library upstairs and I thought of creating various plaques for the library: Historical Fiction, Science Fiction, Religious Fiction, Utility Fiction, Platonic Fiction, Bastard Fiction…the list could go on almost endlessly.
Platonic Fiction is really just the best, I love that.
AUTUMN SCHNELL, BILLY-RAY BELCOURT, EMILY RIDDLE, JESSICA JOHNS, SAMANTHA NOCK
October 18, 2018
Organized by Autumn Schnell with an opening by Salia Joseph.
The event was recorded for broadcast as a feature on Artspeak Radio Digest, which airs Tuesdays, 9-10pm on CFRO 100.5 FM Vancouver.
Autumn Schnell is a Gwich’in tr’iinjoo currently residing on unceded Musqueam, Squamish, and Tsleil-Waututh lands while studying at the University of British Columbia as a First Nations and Indigenous studies major. Autumn was raised in amiskwacîwâskahikan and recently moved to Vancouver, now working as a research assistant for HASTAC 2019 and somehow finding time to write in her spare time.
Billy-Ray Belcourt is from the Driftpile Cree Nation. He is a PhD student and 2018 Pierre Elliott Trudeau Foundation Scholar in the Department of English and Film Studies at the University of Alberta. This Wound is a Worldis his first book and it won the 2018 Canadian Griffin Poetry Prize, the 2018 Robert Kroetsch City of Edmonton Book Prize, and a 2018 Indigenous Voices Award. It was a finalist for the 2018 Governor General’s Literary Award for Poetry and was named by CBC Books as the best collection of Canadian poetry in 2017. His next book, NDN Coping Mechanisms: Notes from the Field, is due out with House of Anansi Press in the fall of 2019.
Emily Riddle is a policy analyst/writer/researcher. She is nehiyaw, a member of Alexander First Nation in Treaty 6. She has been published in Canadian Art, Discorder, the Globe and Mail, and Teen Vogue. She is dedicated to Treaty feminism, reality tv, and double denim.
Jessica Johns is Cree and a member of Sucker Creek First Nation in Treaty 8 territory in northern Alberta and is currently living, working, and learning on the traditional territory of the Musqueam, Squamish, and Tsleil-Waututh peoples. She is the poetry editor for PRISM international, and is a co-organizer of the Indigenous Brilliance reading series in Vancouver. Her debut chapbook, How Not to Spill, is forthcoming with Rahila’s Ghost Press and will be out at the end of October, 2018.
Samantha Nock is a Cree-Metis writer and poet from Treaty 8 territory in Northeast British Columbia, her family is originally from Ile-a-la-Crosse, Saskatchewan. She has been published in Canadian Art, SAD Mag, GUTS, and PRISM International, among others. Samantha is the host of Heavy Content, a podcast that explores the representations of fat people in the media.
Thank you to our partners at Vancouver Co-op Radio, Kimit Sekhon and Robert Moya.
We’re located on the unceded and occupied traditional territories of the xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) First Nations. We are thankful to live on these lands as uninvited guests.
Hannah Jickling and Helen Reed of Big Rock Candy Mountain introducing their Sleepy Soda project
Steffanie Ling reading her contribution Spam Couch from the recently released artist book Other Colours, published by 221a.
Part three of Hannah Jickling and Helen Reed of Big Rock Candy Mountain Sleepy Soda project
An interview with Ryan Smith of Brick Press
Musical tracks by Steel Pulse, Ennio Morricone, Laurie Anderson and Ruth Anderson
Part four of Hannah Jickling and Helen Reed of Big Rock Candy Mountain Sleepy Soda project, an interview with and track with Charmaine Lee.
Improvised collaboration with Barbara Lazara and dashes that took place on Sep. 10, 2018 at xʷəyeyət (Iona Island) unceded Musqueam territory.
Part one and part two of Christina Battle’s sound collage I’ve always had a strange relationship with birds (Or, why I never wanted to be a scientist)
An interview and reading with Jacquelyn Zong-Li Ross, publisher of titles under the name Blank Cheque Press.
Music by Eddie Gale.
Sydney Hermant shares some of her collaborative works and some musical track
Bubble Drawing, Big Rock Candy Mountain collaborate with Edmonton based Melissa Andrews to interpret the above drawing of bubbles, made by Thea, a Grade 6 student in Edmonton at John A. McDougall School.
Samatha Nock and Lindsay McKinnan talk kindship
Big Rock Candy Mountain introduces Davide Balula’s Interrupting Words with Burp Sounds, garlic fed brass players, recorded 2014
Kaitlyn Purcell reading their poem Metamorphic black rabbits unravel, 2020
*A brief history of Artspeak and it’s publishing program
*An interview with Allyson Clay by Erik Hood
*Brady Cranfield’s Keywords for Vancouver: Artwashing with Vincent Tao of Pollyanna Librarian, 221a
*ARD modus operandi by Bopha Chhay
*Erik Hood in conversation with Vanessa Brown
*Jen Weih introduces The Foreshore Listens with Bopha Chhay
*Second part of Brady Cranfield’s interview with Vincent Tao
*Gabi Dao with Casey Wei speaking about Wrong Wave
*Brady Cranfield’s Keywords for Vancouver with COPE city council candidate Jean Swanson
*Emma Metcalfe Hurst in conversation with Carmen Papalia
*Judy Radul reads her 1994 poem Kisses So Wet about her history of the Kootenay School of Writing
*Brady Cranfield’s Keywords for Vancouver with Terra Poirier and Deneige Nadeau about Poirier’s new book Non-Regular: Precarious academic labour at Emily Carr University of Art + Design.
*Second part of Emma Metcalfe Hurst’s conversation with Carmen Papalia
*Erik Hood in conversation with Deborah Edmeades
*Brady Cranfield’s Keywords for Vancouver with member of Vomit Fraud, and founding member of Artspeak, Kay Higgins.
*Emma Metcalfe Hurst with Shizen Jambor and Christian Vistan
*Brady Cranfield’s Keywords for Vancouver, interview with Laiwan.
*Gabi Dao, Erik Hood and Steffanie Ling reading Ling’s play for broadcast Uber Everywhere, originally commissioned for the 2nd Kamias Trienale in 2016.
*Sheryda Warrener reads her new poem “The Slow Hourglass Slippage of Baseball Time”
*Second part of Brady Cranfield’s interview with Laiwan
*Emily Riddle reads her essay In a modest proposal: the black widow of Treaty 6 from Prairie Aunties on the Coast, an event organized by Autumn Schnell.
*Gabi Dao speaks with Amy Lam from Life of a Craphead
*More from Prairie Aunties on the Coast, Samantha Nock and Billy-Ray Belcourt
*Casey Wei and Elisa Ferrari’s cassette mixtape Pisces Midheaven
*Laura Cuthbert and Morgan Wheeler speaking about Populous Map
*Ananya Ohri, Artistic Director of Home Made Visible
*Selections of Sara Diamond’s Women Labour History Project
*Jessica Johns from Prairie Aunties on the Coast
*Bopha Chhay with Cease Wyss and Anne Riley talking about Soundtrack for the Radical Love of Butterflies
*Brady Cranfield talks with Dana Claxton about her recent solo exhibition at the Vancouver Art Gallery
*Final reading from Prairie Aunties on the Coast, Autumn Schnell
*Co-op Radio archive clip from Michael Wilmore’s Rock Talk
*Second part of Brady Cranfield’s interview with Dana Claxton