2017 • 7a*md8
7a*md8 consists of a series of multi-platform performance-for-the-camera screenings and digital residencies distributed across a range of Toronto cultural spaces as well as online platforms. The Toronto Performance Art Collective (TPAC) has a record of supporting a diversity of practices in the field of performance art. Expanding from our established festival format, we would like to create points of access for Toronto artists working at the intersection of performance and new media forms, as well as those who may find it difficult to travel to Toronto due to remoteness, disability, personal obligations, or political circumstance. 7a*md8 explores new ways for TPAC to address these concerns. Harnessing the potential of the proliferation of Internet platforms for disseminating performance videos, 7a*md8 offers a fresh approach to performance and new media curation, featuring three distinct events that examine contemporary developments in the relationship between body art, lens-based practices and the politics of access.
Responses to the project by commissioned writers Jenn Snider (Meditation on Mediation as Medium) and Delilah Rosier (Residencies of Resistance; Or, Performatively Flexing for the ’Gram) are posted on our blog.
For more information click here.
7a*Md8 (Mediate) Programming
7a*md8 Live Stream is the third and final stage of our multi-platform exploration of performative practices in the digital age. Artists in 7a*md8 Live Stream examine contemporary developments in the relationship between body, lens-based practices and the politics of access. This includes an interest in exploring notions of being simultaneously near and far...
7a*md8 On-Line features a series of social media residencies highlighting contemporary artists' use of interactive online platforms to develop performance works that find new ways of connecting with audiences. For artists working in performance, video-capture platforms like Snapchat, Periscope, Vine and Instagram provide an instant and accessible medium for documentation and dissemination. This...
7a*md8 - On Screen is a collection of performances designed specifically for the camera by local, national and international artists. In the past few years we have seen how the camera has played a major role in bringing attention to narratives, events and bodies marginalized from the general public. Lens-based media and online...
7a*md8 Comissioned Writing
Responses to 7a*md8 by two commissioned writers can be found on our blog:
Meditation on Mediation as Medium by Jenn Snider considers some of the implications of the move to lens-based performance practices.
Jenn Snider is an arts administrator, curator, writer, facilitator/organizer, and multi-disciplinary artist. She holds an MA in New Media Art Histories from OCAD University where her research explored administration in artist-run culture as a practice of institutional critique. She is the Executive Director of the Toronto Animated Image Society (TAIS), and sits on the Board of FADO Performance Art Centre, MANO/RAMO, and IMAA. Info on Jenn’s arts-based practice is available at sympatheticnervous.com.
Residencies of Resistance; Or, Performatively Flexing for the ’Gram by Delilah Rosier takes a closer look at the On Line social media residency projects.
Delilah Rosier is an artist working and living in Tkaronto. Her practice consists of collages, drawings, photo manipulations and generating criticism and theory pertaining to queer theory, race politics and intersectional feminism within the landscape of popular culture. She is a graduate of OCAD University’s criticism and curatorial practice program, is one half of Masking Collective, has been profiled in C Magazine, Formally Known As Magazine and was the 2016 Recipient of the Won Lee Fine Art Award for her written thesis project entitled “Sissy Those Subversions: Disidentifications and Institutionalized Performativity.” She is currently pursuing her MA at York University in theatre and performance studies.
Blackflash Magazine Review
In a special “Brut Neuve” issue of Blackflash (Vol. 35.2, May – September 2018), Victoria-based cultural geographer and guest editor Rhiannon Herbert assembles a number of articles that “look forward (and below, and sideways) to where [time and lens-based] creative content […] is going” (6). Among the features is a “Between Two Curators” dialogue between Golboo Amani and Francisco-Fernando Granados entitled “On-Line On-Screen Live Stream: Curating Performance in Cyberspace,” where the two reflect on their experiences as the curators of 7a*md8. The article offers a “text-based conversation about different contextual aspects of the [7a*md8] curatorial platform ranging from the intuitions that initiated the project and themes that emerged in the works throughout the different programs, to the broader political and ethical implications of online curation” (35). Here’s a few excerpts to whet your interest:
Though many of the artists were already professional social media producers, they expressed anxieties around developing social media content as commissioned art works. These reservations reflect the barriers often experienced by marginalized voices when attempting to establish cultural legitimacy. Virtual space becomes the site of visibility for the many practices left out of the institutional framework. —GA (38).
In terms of identity, I think it’s also important to think about how the broader politics of these platforms place marginalized identities into a double bind. What kind of agency do artists have as image-makers in relationship to the broader currents of power that shape the flow of information within the platform? […] Are there limits or caveats to the practices of self-fashioning that have been enabled? Is there room for moments of abstraction or refusal within bodily action?—FF (39).