NEWS


2021-2016

2019-2021 / FUTURIUM NOOSPHERE

In 2018-2019, I volunteered with Philip Beesley Architect Installations / Living Architecture Systems Group as a production assistant for a handful of international exhibitions. Futurium Noosphere is one I contributed to. It remains on display at the Futurium, Berlin from 2019-2021.


3.2019 / INDEPENDENT PRODUCTION FUND - WEB SERIES PROGRAM

I participated in the pre-selection jury for the IPF's Web Series Program (aka Scripted Short Form Digital Series) in March. The program provides equity financing for content creators of original Canadian drama series for the web or mobile platforms.


10.2018 - 1.2019 / Philip Beesley Architects - Installation

I recently volunteered to work in their studio for several weeks, helping with fabrication for an upcoming Philip Beesley Architects installation, commissioned for a tour beginning in Vienna in the Fall 2018. Philip Beesley creates sculptural environments made of 3D laser printed forms embedded with AI. His approach to structures and space falls within the emerging field of responsive architecture.


09.2017 / Toronto ARTHOUSE FILM FESTIVAL

I had the privilege of serving as a juror for the 2nd Annual Toronto Arthouse Film Festival... such a great experience.


5.2016 / ONTARIO ARTS COUNCIL ADVISOR & JUROR

I was invited by the Ontario Arts Council - Media Arts (Organizations) Project Grants and the Media Arts (Organizations) Multi-Year Funding programs to serve as a juror and advisor on the panels.


2015-2011
3/10.08.2015 / PAN AM & PARAPAN AM GAMES

"CYOA Rhythms" was exhibited as part of the IGNITE exhibition series. Commissioned by the City of Mississauga (a Toronto Satellite city) for a group exhibit for the Pan Am & ParaPan Am Games, the work was installed at Mississauga's Celebration Square on Aug 3 & 10 from 8am - 8pm.

Hosted by the Art Gallery of Mississauga, an artist talk on 'ideas of cultural citizenship' related to the work, was held Jul 27 @ 1pm via Twitter chat using hashtag #sharethelovesauga.


16-30.09.2014 / TRINIDAD & TOBAGO FILM FESTIVAL 

"CYOA Rhythms" was exhibited at the Medulla Art Gallery, Port of Spain as part of the New Media Program within the 2014 Trinidad & Tobago Film Festival.


04.05.2014 / the Carnival Project

"CYOA Rhythms" video installation was exhibited as part of The Carnival Project event @ Littlefield (Gowanus) Brooklyn New York, hosted by Batala NYC on May 4.


28.02.2014 / INSERT2014

A site-specific proposal of my "Confessions of an Insomniac" installation was included in the symposium's research cell, New Models for Common Ground. INSERT2014 ran from Jan 31-Feb 28 at Mati Ghar, Indira Gandhi National Centre for the Arts, New Delhi.


01.04.2013 / SARAI 09: PROJECTIONS

My essay, "Taking Flight: Perspectives from the Depths of an Ideas Factory" was included in the Sarai 09: Projections reader. The reader series was developed by Sarai, the media arm of the Centre for the Study of Developing Societies (CSDS), New Delhi.

RECENT 
EXHIBITIONS

PAN AM 
& PARAPAN AM 
GAMES


share the love

2015
CELEBRATION SQUARE, MISSISSAUGA
3 & 10.8.2015
(COMMISSIONED BY THE CITY OF MISSISSAUGA)

ABOUT SHARE THE LOVE

SHARE THE LOVE was a city-wide interactive art exhibition, running for the 22-day duration of the Pan Am & ParaPan Am Games to celebrate the spirit of the games.

The CYOA Rhythms video installation was presented as part of the IGNITE exhibition series. Commissioned by the City of Mississauga (a Toronto satellite city), the installation was shown on the 28′ x 16′ screens @ Mississauga’s Celebration Square on Aug 3 & 10 @ 9am-9pm.

Hosted by the Art Gallery of Mississauga, an artist talk on ‘ideas of cultural citizenship’ was held on Jul 27 @12-1pm via Twitter chat, using hashtag #sharethelovesauga.

TRINIDAD & TOBAGO 
FILM FESTIVAL


new media program

2014
MEDULLA ART GALLERY, WOODBROOK
PORT OF SPAIN, TRINIDAD

IMAGE: TTFF 2014

The video installation, CYOA Rhythms, was included in the New Media Program of the 2014 Trinidad & Tobago Film Festival.


ABOUT TTFF

The Trinidad and Tobago Film Festival is currently the largest film Festival in the English Caribbean. It is 2 weeks in length, international in scope and showcases feature, narrative, documentary, short and experimental films from the English, French, Spanish, Dutch Caribbean and the region's diaspora.

The Trinidad & Tobago Film Festival helps facilitate the growth of the Caribbean film industry through workshops, panel discussions, conferences and networking events. In 2013, TTFF co-hosted a 3-day UNESCO conference to foster and promote the intangible benefits of the Caribbean Film industry - cultural diversity, dialogue, gender equality, economic development and its role in fostering peace across the region.

THE CARNIVAL PROJECT
- BATALA NEW YORK


2014
LITTLEFIELD ECO-CLUB, BROOKLYN (GOWANUS) NEW YORK
4.5.2014


IMAGE: NPR.ORG
ABOUT THE CARNIVAL PROJECT

Part of a larger global education project, Batala New York  is a community platform for music education, cultural integration community interaction. Comprised solely of women, the drumming ensemble plays music commonly heard in the streets of Salvador de Bahia in northeastern Brazil.

The Carnival Project was the organization's inaugural annual event, reinterpreting New World 'carnival' themes through a contemporary fusion of samba-reggae, 50 batala drummers, bagpipers, New Orleans brass and my video installation, CYOA Rhythms.

The event was held at Littlefield, an eco-bar/ performance space located in the still-emerging Gowanus neighbourhood of Brooklyn. Housed in an old warehouse from the 1920s, the space merges Gowanus' industrial past with an eco-friendly future, serving as a beacon of sustainability for further neighbourhood rejuvenation.

INSERT2014 ~
NEW MODELS 
FOR COMMON GROUND


2014
MATI GHAR, INDIRA GANDI NATIONAL CENTRE 
FOR THE ARTS, NEW DELHI
01.31 – 02.28.2014

(IN COLLABORATION WITH INLAKS 
SHIVDASANI FOUNDATION)
IMAGE: INSERT2014

A site-specific proposal of my Confessions of an Insomniac installation was included in the symposium’s research cell, the New Models of Common Ground programme. The site specific installation concept explores themes of inherited legacy and psychological change processes, juxtaposed against the emotional impact of media saturation.


ABOUT INSERT2014

Designed to be a constellation of conversations, the INSERT2014 exhibition and symposium was an attempt to renew focus on the artist as a generator of ideas— examining the social, cultural and geopolitical role of an artist in redefining cultural infrastructure in New Delhi.

The month-long event was billed in the media as an intellectual contrast to the overly commercial India Art Fair running concurrently. INSERT2014 garnered an audience of 10,000 people and cut across a swathe of artist, academic, government/ public sector and diplomatic circles in New Delhi.

SARAI :09
PROJECTIONS


2013
DEVI ART FOUNDATION, (GURGAON) NEW DELHI
8.2012 - 4.2013

A PUBLICATION + EXHIBITION

IMAGE: SARAI

Sarai 09: Projections took the form of a 9-month exhibition (Devi Art Foundation, New Delhi) and a collection of published writings (Sarai-09 Reader). The event proposed projections as an “an incandescent transference – some crossing of a void to effect luminous landings on a distant surface. Without projections we would have no cinema, no city plans, no forecasts, no wagers, no fantasies. Projections convect questions, magnify dreams and illuminate desires.”

I contributed an essay to the reader entitled, Taking Flight: Perspectives from the Depths of an Ideas Factory. The work explores the life of an idea across an ad agency, a social movement and a war zone.The exhibition and reader were developed by Sarai– the media arm of the Centre for the Study of Developing Societies (CSDS, New Delhi). The exhibition was located in proximity to a technology hub and garnered a diverse audience of academics, artists, commercial ‘tech geeks’ and researchers in New Delhi. The Sarai 09: Reader garnered a large international readership across a similar audience of cultural diverse academics, artists and researchers.


ABOUT SARAI READERS

The Sarai Readers were published once a year. Projections is the 9th volume of a 9 volume series. Each issue was structured around a specific theme and invited writing by practitioners, academics, activists and artists from diverse fields.

projects

DEMONS
GENRE music video/ EXPERIMENTAL SHORT
RUNNING TIME 4:40 min
ASPECT RATIO 16:9
YEAR 2017



‘Demons’ is an experimental short film/ music video produced in collaboration with Miss O.





























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SYNOPSIS

A reinterpretation of a young, in love Miss Havisham (Great Expectations). Before she was jilted by her lover, the story tells of a struggle with mental illness.



ARTIST/ DIRECTOR'S STATEMENT

When we were developing the storyline for “Demons,”  mental illness surfaced as a central idea amongst the narrative approaches we were exploring. We chose to further emphasize the issue of mental health, because it made the story more interesting to us. We envisioned the protagonist as a young, in love Miss Havisham (Great Expectations), before she was jilted by her lover. We felt a struggle with mental illness fit a more contemporary interpretation of her relationship and wondered how her story might unfold differently. The lyrics of the song become a moment of lucidity, as she reflects on the love of her life and the lack of control she feels.“Demons” uses abstraction and symbols to underpin the story. As the story is told from her perspective, in her voice, we approached the concept using the aesthetic style of a music video. We wanted the audience to discover new details with repeated viewing, so we included layers of detail to deepen the narrative. We very much see “Demons” as an experimental short film.



KARMIC RESIDUE SERIES
SERIES OF 7 WORKS

CYOA RHYTHMS (2014)
SATURDAY MORNING (2013)
SARAI 09: PROJECTIONS (2012-13)
CONFESSIONS OF AN INSOMNIAC (2013)
CARNE VALE (2010)
MY JOSS PAPER (2009)
A DECADE'S INSOMNIA (2010)
CYOA RHYTHMS
GENRE video installation (2-Channel)
RUNNING TIME 8 min
ASPECT RATIO 16:9
YEAR 2014



The CYOA series is a 2-channel video work. It is based on 5 independent video works which have been used in different contexts, collaborations and site-specific installations. The intent is to explore shifting the meaning and impact of these video works within different artistic constructions, cultures and contexts.




ARTIST STATEMENT

The work follows ’alien nation’ themes — aliens, alienation, alien integration — which characterized and catalyzed the mindscape and soundscape of the Caribbean, and subsequently Caribbean carnival cultures. Similar themes have been mirrored in the US-UK inner-city immigrant communities of the 70s-80s where rap and hip-hop became the locus of inner-city social transformation. The installation work examines cyclical repetition in migration, globalization, community friction and artistic intervention.CYOA Rhythms was inspired by the ‘scratch video’ movement— video collage projections in 80s London/NYC nightclubs, often constructed from popular TV to create politically subversive meanings. CYOA Rhythms is an homage to these historical times and communities.



EXHIBITIONS

2015  /  Pan Am & ParaPan Am Games  /  Commissioned by the City Mississauga  /  Toronto
2014  /  Trinidad & Tobago Film Festival, New Media Program  / Medulla Art Gallery  /  Port of Spain
2014  /  The Carnival Project, hosted by BatalaNYC / Littlefield Eco-Club, Gowanus / New York

SATURDAY MORNING
GENRE  VIDEO ART
RUNNING TIME   2:15 min
ASPECT RATIO   4:3
YEAR   2013


This work was a response to personal attempts at reconciling lived experience with a return to Canada— 9/11, Bali bombing, undetonated landmines remain an ever-present reality in Lao, Cambodia and Vietnam, and race riots in Paris exacerbated by tensions arising from the then, Danish penchant for Islamic cartoons.

















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ARTIST STATEMENT

The work attempts to emulate the mind as it tries to reconcile expanded boundaries with alternate realities. When the realities of a world become too real, as a coping mechanism, the mind melds fears with contextual realities— layering, abstracting, texturizing, distorting. This video work, juxtaposes imagery from an everyday western context with cartoons from the 1940’s, bringing an emotive quality, reminiscent of childhood Saturday mornings. 

TAKING FLIGHT:
PERSPECTIVES FROM
THE DEPTHS OF AN
IDEAS FACTORY
GENRE essay
YEAR 2013

Sarai 09: Projections took the form of a 9-month exhibition (Devi Art Foundation, New Delhi) and a collection of published writings (Sarai-09 Reader). The event proposed projections as an “an incandescent transference – some crossing of a void to effect luminous landings on a distant surface. Without projections we would have no cinema, no city plans, no forecasts, no wagers, no fantasies. Projections convect questions, magnify dreams and illuminate desires.”

I contributed an essay to the reader entitled, Taking Flight: Perspectives from the Depths of an Ideas Factory. The work explores the life of an idea across an ad agency, a social movement and a war zone. The exhibition and reader were developed by Sarai – the media arm of the Centre for the Study of Developing Societies (CSDS, New Delhi). The exhibition was located in proximity to a technology hub and garnered a diverse audience of academics, artists, commercial ‘tech geeks’ and researchers in New Delhi. The Sarai 09: Reader garnered a large international readership across a similar audience of culturally diverse academics, artists and researchers.



ABOUT SARAI READERS

The Sarai Readers were published once a year. Projections was the 9th volume of a 9 volume series. Each issue was structured around a specific theme and invited writing by practitioners, academics, activists and artists from diverse fields.



EXHIBITION

2012-13 / Sarai: 09 Projections / Devi Art Foundation Gurgaon, New Delhi / in collaboration with RAQS Media Collective


FURTHER READING

8.15.2012 / e-flux  

CONFESSIONS OF AN INSOMNIAC

genreS
 ASSEMBLAGE

(TOILETRIES BAG, SHOT GLASSES,TRAVEL TAGS, ALUMINUM WIRE, BUSINESS CARD HOLDER, BUSINESS CARD SIZE COLLAGEs, BROKEN MIRROR

TBD [CAMCORDERS (AS PROJECTORS)]

DIMENSIONS 18" x 36" x 12"
year 2013


This installation was originally developed as individual assemblage pieces alongside "my joss paper" (altered passport), and "caterpillar" (black dress, nails).

The work was re-envisaged as a multimedia installation in 2013/14 with a layer of audio and video projections as a site-specific work for the Dara Shikoh Library (Lothian Road, Mori Gate, New Delhi). It was exhibited as a conceptual framework for an installation as part of the New Models for Common Grounds exhibit— a creative research cell within INSERT2014. The multimedia layers were never realized for this installation, however, they remain in the artist statement (for future development, perhaps...)

Dara Shikoh Library (at the time) was an unused historical building where the difference in the architectural design of the interior (Mughal empire) and exterior (British empire) are evident in the details of the space. The history of the space speaks to a period between eras, connoting a time characterized by uncertainty, tensions, the abandoning of existing structures, change and innovation.


























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SYNOPSIS
‍‍

DIRECTIONLESS

a planner
backup plans
permutations
wondering aimless
avoiding responsibility
presenting itself
uncharacteristically

hesitation hunger
easy ways out
a billboard
"can't hack it"
rationally inaccurate
adventure plateaus
why what where
was there a
return?


ARTIST STATEMENT


Juxtaposing the cachets of global travel against the emotional drain, the installation explores the related psychological change processes and the impact of media saturation. With projections off broken mirror fragments, video images are abstracted, symbolizing the light at the end of the tunnel after a period of turmoil and unexpected uncertainty.

Amidst a myriad of objects (toiletries bag, shot glasses, broken mirror, card holder, etc), the original video is displayed on the camcorders' viewing screens, while the handy cams themselves add a conceptual layer (lived experience, memory, etc) to the installation. Voices become the underlying theme of the installation narrative. The work poses the question, to what degree do the voices we listen to influence or impede our choices? The mode of inquiry sits at the intersection of media consumption, societal/ structural change and psychological stress.


EXHIBITION


2.2014 / New Models of Common Ground / INSERT2014 / Mati Ghar, Indira Gandhi National Centre for the Arts, New Delhi (presented by Inlaks Shivani Foundation + curated by Raqs Media Collective) / conceptual exhibition illustration



CARNE VALE
genre experimental video
running time 2:28 MIN
ASPECT RATIO 
4:3
year
 2010



A short experimental video of carnival and circus impressions, fusing elements of mixed media, painting and video. The imagery is layered and abstracted as if looking at a carnival though the wings of a dragonfly.































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ARTIST STATEMENT

While the origin of the term ‘carnival’ is believed to be Italian, its original meaning is disputed. Based on folk etymology, one interpretation of the late latin term ‘carne vale’ is ‘a farewell to the flesh’ – an expression suggesting a release of your everyday self in embracing the spirit of the occasion…

From the Caribbean carnivals of my parents’ origins, to the amusement park carnivals of my urban Canadian upbringing, many incarnations surrounded me while growing up. Each with a distinct character, yet similar in the emotions they evoked. Softly fractured memories of these experiences have melded to become layered and abstracted. Differing customs and aesthetics have become ambiguous. Their origins unclear….

Layered and abstract has somehow begun to characterize my own personal origins. With fragments of influences never rooted in reality, my childhood feels like a tapestry of interwoven occasions, embraced and never fully understood…



EXHIBITION

07-08.2011 / The Annual, Living Arts Centre Gallery, Mississauga (in collaboration with SAVAC - South Asian Visual Arts Centre)

A contributing element to the CYOA Rhythms multi-channel video installation.



mY JOSS PAPER
genreS  ASSEMBLAGE & PHOTO SERIES
(Altered passport, visas From SE ASIA & JAPAN, CURRENCY from THAILAND, CAMBODIA, MALAYSIA & VIETNAM)

DIMENSIONS  9" x 6" x 3"
year  2009


Derived from a mix of Taoism, Buddhism and various aspects of regional folklore, the ritual of burning paper money (joss paper) is believed to equate to making deposits into an afterlife bank account. The practice has evolved to burning elaborate constructs of houses, cars and other material possessions.

In many parts of East/ SE Asia, largely the boundaries of my travel in this passport, burning real money is considered quite unlucky. The inclusion of real currency (Thai baht, Cambodian riel, Vietnamese dong, Malaysian ringgit) in the burning of this passport speaks to karmic residue.



NOTE:
This work has only been exhibited as a photo series due to the level of animosity the piece evokes. The work seems to stoke assumptions of contemporary religious geo-politics and western pro-nationalist sentiment.

























































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ARTIST STATEMENT

STOKES ASSUMPTION

like the way paper
burns
different papers
burn differently
passport
paper is unique in
how it burns
slow
without curling
retaining
resilience

can appreciate how
a passport could
stoke
assumptions
the geopolitics
of humans

for a business
traveler
it's loaded
with meaning
already had several
loaded
with stamps

fundamental tensions
exist between
my mission
responsibility
how narrowly
this document defines
me
encapsulating rungs
a social hierarchy
badge of membership
or mark of
unacceptability

all this meaning
would be lost
in my galaxy
where physiology
ID 
has been
now necessary
for several centuries
(universal time)

there
it'd just make
a great museum
piece



EXHIBITION

2009 / CONTACT Photography Festival / Launch Projects Gallery, Toronto / photo series



PUBLICATION

07.2009   ‘Freedom’ issue / Platform58 (UK-based art e-zine)



A DECADE'S INSOMNIA
genre MIXED MEDIA 
(isopropyl alcohol, acrylic emulsion polymers, acrylic paint on Paper)

DIMENSIONS 22" x 22" (Series of 10)
year 2010




















































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SYNOPSIS

UNCOMFORTABLE WAKINGS

a decade in blur
standstill traffic
blvd. périphérique
uncomfortable wakings
transatlantic flight
full day meetings
a client dinner
emails briefs 
methodologies
presentations til’ 2am
then up again, on yet 
another flight 
before first light

ARTIST STATEMENT

Always existing in liminal spaces, the space between spaces, where conflicting currents cross-pollinate, from where we redirect streams of thought transnationally, locally wherever we go. The so-called whole is inevitably influenced by the edges. For me, actually borders are like smacking into that glass wall you didn’t realize was there. Unnatural dividing lines, simultaneously open and closed, flexible and fixed, unpredictable and elastic. Psychological spaces felt unequally. 

EXHIBITION

10.2010 / "Insomnia" Group Show / Red Head Gallery, Toronto / Year 1 (small version)




OLDER WORKS
5 WORKS

WARZONE.EDU (2010)
THERE YOU ARE (2010)
FIRST PAIR (2010)
SQUIGGLES SERIES (2010)
UNMENTIONABLE (2019)
WARZONE.edu
GENRE MIXED MEDIA

(acrylic paint, newspaper cartoons,
broken glass, nails, velcro, jean matERIAl, card, DIBOND)

DIMENSIONS 12" x 12" (SERIES OF 4)

"ASSASSIN BUG"
"BALLOON FISH"
"GLASS FROG"
"ARMED CRAB"

YEAR 2010



























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ARTIST STATEMENT

Melding a child's imagination with debris and weaponry children would otherwise not be exposed to, the warzone.edu series reimagines learning potentials through the eyes of a young child living through war or natural disaster.

This series of works is no longer available for exhibition nor sale, however, one suggestion (should anyone feel so moved), is to make a donation to one of the fifteen Clowns Sans Frontières / Clowns Without Borders chapters around the world).


EXHIBITIONS

2010 / Square Foot Show, AWOL Gallery, Toronto
2009 / Square Foot Show, AWOL Gallery, Toronto

"FIRST PAIR"
"THERE YOU ARE"
GENRE DRAWING (SERIES  of 2)
(Graphite + Ink on Paper)

DIMENSIONS
6.125" x 9.75"
(FRAMED) 15.75" x 19.25"
YEAR 2010


















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DESCRIPTION

This series of two drawings were studies in everyday objects using graphite powder, graphite and ink. As physical, drawn objects, they seem to have aged well so far (!)



SQUIGGLES
genre DRAWING SERIES
(graphite Powder on THICK TEXTURED Paper)

DIMENSIONS 5 3/4" x 6"
year 2010
































DESCRIPTION‍

The Squiggles series of drawings, (individually titled "self-portrait," "my signature," "forgery" and "deceit"), were rendered in graphite powder + stick on thickly textured paper (horizontal lines). The series explores the issue of cultural appropriation. This is my favourite drawing series thus far.




UNMENTIONABLE
GENRE EXPERIMENTAL SHORT
RUNNING TIME
2 min
ASPECT RATIO 4:3
YEAR 2009
















































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ARTIST STATEMENT

A set of candle-powered chimes was a fixture at our dinner table during the holidays while growing up. I had a fascination with them and the patterns they created on the walls. While this film began as an exploration of my childhood symbolism, what permeated my thoughts in the process of filming has became the derivative meaning.

An article I read about Aqsa Parvez, a year prior to making this film, haunted me somehow. A suburban teenage girl, a victim of an honour killing by her father, a south asian immigrant… conclusions in the media ranged widely from a consequence of not wearing a hijab to a simple case of domestic violence. The western media remains undecided.

I think the article stayed with me because the friction she had with her family was all too recognizable. Several friends, while growing up, had similar levels of friction with their parents… although the fallout was always quite different. Some conformed. Others weren’t as able. One induced fainting spells when things got too tense… until her parents noticed a pattern. Another attempted suicide, then left the country without telling anyone. A teenager in our neighbourhood shot his entire family, then fled to his university dorm in a distant town. My awareness of this friction usually came from being part of their inner circle. No one else had any idea of the issues… perhaps partially due to heightened discretion, partially due to conformity needs. Cultural difference was acceptable as long as you kept it to yourself… back then, no one was really interested.

‘Unmentionable’ poses questions about the prevailing negativity of the immigrant experience amidst a global nomadic era. As I sat at my mom’s kitchen table, shooting this film, I contemplated how much has changed and how much remains the same


EXHIBITIONS

2009 / COMMFFEST Film Festival, Toronto / video art screening

A contributing element to the CYOA Rhythms multi-channel video installation.




©2021 JANINE RAMLOCHAN. ALL RIGHTS RESERVED.