Habits of Care Lisa Busby
Claire Fontaine
Deborah Ligorio
Paul Maheke
Raju Rage
Amie Siegel
Laura Yuile


Curated by Helena Reckitt

September 11–30, 2017

 

Presented as part of Circuit 1: Labour of Curation, Take Care

Claire Fontaine, Untitled (Corps éstranger), 2017. Latex balloons, plastic bags, hempseed, yellow and red millet, linen seeds, canary seeds, and whole oats. Eighty-one individual elements, dimensions variable. Courtesy the artist.
Exhibition Statement

In a contemporary context in which many individuals and groups feel under-valued and uncared for, Habits of Care addresses the links between the care of the self and collective care, asking where they overlap, and where they diverge and conflict. Recalling the etymological roots of the word ‘curating’ in the Latin word for ‘caring,’ the exhibition is prompted by concerns with how the rhetoric of care plays out in the fields of art, culture and beyond. It points to where care is typically invested, and where it falls short, raising questions about how we might develop new habits of care that encompass both human and non-human others.

 

A micropublication featuring a curatorial essay by Helena Reckitt, full colour images, and a descriptive list of public programs coming soon.

Public Programs

Opening Reception
With performances by Paul Maheke and Laura Yuile
Wednesday, September 13, 5–8pm
Blackwood Gallery

Wages for Housework: The Canadian Context
An EMILIA-AMALIA Feminist Working Group Workshop
With Helena Reckitt and Christina Rousseau
Tuesday, September 5, 6–9pm
Art Metropole

Curating and Caring
Three-part workshop led by Helena Reckitt
Saturday, September 9, Wednesday, September 20, and Saturday, September 23
University of Toronto St. George and University of Toronto Mississauga

Protocols, Policies, and Proposals Performed
Scores composed by Lisa Busby and performed by The Element Choir
Friday, September 22 and Saturday, September 23
Various locations at University of Toronto Mississauga

Care Crisis, Care Connective: An Open Forum on Cultural Work
With Helena Reckitt and Curating and Caring workshop collaborators, Raju Rage, Precarious Workers Brigade, Jacqueline Hoàng Nguyễn and Boo Watson
Hosted by Letters & Handshakes
Saturday, September 23, 10am–6pm
Blackwood Gallery

Reader-in-Residence Session with Art Metropole
Wednesday, September 27, 12–1pm
Blackwood Gallery

Biographies

Lisa Busby is a London-based composer, vocalist, and DJ. She performs and composes with bands The Nomadic Female DJ Troupe, Rutger Hauser, and Sleeps in Oysters, as well as working independently as a solo artist. She has released with record labels Seed and The Lumen Lake. She is particularly interested in using domestic or outdated playback media as instruments, but also works in long duration forms, performance video, text-based score, installation, and site-specific performance. Lisa has performed and exhibited in various solo and group situations internationally. She is also Senior Lecturer in Music at Goldsmiths, University of London.

Claire Fontaine is a collective artist based in Paris. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a ‘readymade artist’ and began to elaborate a version of neo-conceptual art that often looks like other people's work. Her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seems to define contemporary society. Her works have been shown internationally in major institutions across Europe, North America, and Asia, and she has published with Mute, One Star Press, Dilecta, e-flux journal, Derive Approdi, and Il Mulino.

Deborah Ligorio is an Italian artist based in Berlin. Her research brings together technological, ecological, and feminist thinking. She was awarded the 15th Quadriennale di Roma Young Art Prize (2008), and the Special Prize GAI - Italre Italian Studies for PS1 MoMA (2004). Her works have been shown and performed in events, group and solo exhibitions at institutions including: Savvy Contemporary and Neue Nationalgalerie (Berlin), ICA (London), Hangar Bicocca (Milan), Manifesta7; and Fondazione Sandretto Re Rebaudengo (Turin). In 2013, she published Survival Kits with Sternberg Press. She is the founder of the online platforms [The Eponym] and DadaAda.

Paul Maheke lives and works in London. He completed a MA in Art Practice at l’École Nationale Supérieure d’Arts de Paris-Cergy (2011) and a program of study at Open School East (2015), producing research and public conversations entitled Beyond Beyoncé: Use It Like a Bumper! Maheke was awarded the South London Gallery Graduate Residency 2015–16 where he presented the exhibition I Lost Track of the Swarm. Maheke’s research imagines the body as an archive, using its waters as pathways to information and knowledge. With particular attention to dance, his research rearticulates representations of queer Blackness that emerge from Western imaginations by addressing history through non-human subjectivity. Recent performance and exhibition venues include 57th Venice Biennale, Tate Modern (London), Sultana Gallery (Paris), and Darlene Foundry (Montreal).

Raju Rage is an interdisciplinary artist who uses art, education, and activism to forge creative survival. Based in London and working beyond, they primarily use their non-conforming body to bridge the gap between dis/connected bodies, theory and practice, text and the body, and aesthetics and the political substance. They work in performance, sculpture, soundscapes, and moving image, utilising everyday objects and life experiences to build new narratives of gender, race, and culture. They are an organizer with Collective Creativity arts collective. Recent performance and exhibition venues include ICA and Showroom (London), Nottingham Contemporary, nGbK, and xart splitta (Berlin).

Helena Reckitt is a curator and critic with a longstanding engagement with histories, and contemporary legacies, of feminist and queer artistic, critical, and political practices. She is editor of the books Art and Feminism, Sanja Ivekovic: Unknown Heroine, and, with Josh Oppenheimer, Acting on AIDS. In 2016, she edited two issues of the Journal of Curatorial Studies with Jennifer Fisher and, in 2015, she worked with six feminist curators and artists to develop Now You Can Go, which explored the transmission and resonance of Italian feminist practices across four London arts venues. Currently Senior Lecturer in Curating at Goldsmiths, University of London, she has previously held positions at The Power Plant Contemporary Art Gallery (Toronto); Atlanta Contemporary Art Center; and the ICA (London).

Amie Siegel is an American artist known for making layered, meticulously constructed works that consider the undercurrents of value systems, cultural ownership, and image-making. Her work has been shown in numerous group exhibitions and collected by museums throughout the United States and Europe, and she has had recent solo exhibitions at the South London Gallery, London; Metropolitan Museum of Art, New York; and the MAK, Vienna. She has been a fellow of the DAAD Berliner-Künstlerprogramm and the Guggenheim Foundation, the Fulton Fellow at the Film Study Center at Harvard University, and a recipient of the ICA Boston's Foster Prize, as well as Sundance Institute and Creative Capital Awards.

Laura Yuile is an artist based in London. Her work has been shown in recent exhibitions at Arebyte LASER (London), T-Space (Milan), Republic (London), Generator (Dundee), The Wiener Art Foundation at Parallel Vienna, and the Savoy Centre for Glasgow International. In 2015 she was an Associate Artist at Open School East and graduated in 2017 from the MFA program at Goldsmiths, London. Between 2012–13 she led a series of symposia on Comfort Zones in various IKEA showrooms. Forthcoming projects include a residency in Beijing as a recipient of the Red Mansion Award, and a group exhibition at Mauve, Vienna.

Acknowledgments

The Blackwood Gallery gratefully acknowledges the operating support of the Canada Council for the Arts, the Ontario Arts Council, and the University of Toronto Mississauga.

 

 

The Blackwood Gallery is grateful for additional support for Circuit 1: Labour of Curation from the Department of Visual Studies (UTM); Outreach, Conference and Colloquia Fund (Office of the VP Research, UTM); SSHRC-funded research project Cultural Workers Organize; University of Toronto Affinity Partners Manulife, TD Insurance, and MBNA.

Funding for additional staff support was made possible through the Young Canada Works in Heritage Organizations program, Department of Canadian Heritage. The Canadian Museums Association administers the program on behalf of the Department of Canadian Heritage.

 

 

Curator Acknowledgments
I am grateful for the invaluable discussions that I have had with artists in the exhibition and thank them for entrusting their work to this project. The feminist artistic methodology of Alex Martinis Roe has been a key resource for the Curating and Caring workshop. The workshop also draws on Mierle Laderman Ukeles’ 1969 Manifesto for Maintenance Art and Annette Krauss and the Casco Team’s 2014 Site for Unlearning: Art Organization. Jennifer Fisher provided important editorial input for my 2016 essay, “Support Acts: Curating, Caring and Social Reproduction,” which fed into research for the exhibition. Others whose friendship and work have been important sources of inspiration and sustenance include Fulvia Carnevale of Claire Fontaine, Danielle Child, Angela Dimitrakaki, Emma Dowling, Gabby Moser, Susan Kelly, Katy Orkisz, Lara Perry, Jenny Richards, Adrian Searle, and participants in the Feminist Duration Reading Group in London. The support and guidance of Christine Shaw and The Blackwood Gallery team have been exemplary demonstrations of curatorial care.