Other Sights is a non-profit arts organization that develops new and unexpected exhibition platforms outside of the gallery context. Other Sights collaborates and shares resources with organizations and individuals to present artworks that consider the aesthetic, economic and regulatory conditions of public places and public life. For more information visit othersights.ca
Established as an non-profit artist-run centre in 1991, Access Gallery is platform for emergent and experimental art practices. We enable critical conversations and risk taking through new configurations of audience, artists, and community. For more information visit accessgallery.ca
Sarah Wendt and Pascal Dufaux began collaborating in dance and visual art while sharing a studio in Charlottetown, Prince Edward Island in the winter of 2015/2016. Recent and upcoming collaborative projects include: Mixing Ghosts at Kinetic Studio, Halifax, March/2017, at Verticale -artist run centre, Laval, QC, April/2017, and as part of the Symposium de Baie St. Paul, August/2017; and Strange Moods and Dissonant Feelings, Newfoundland, TBC, 2017.
Sarah Wendt is a Montreal-based multidisciplinary artist originally from Prince Edward Island. Her work often involves choreography, performance, musical scores/conducting, installation/sculpture, and is developed as a kinaesthetic response to the contingencies of collaboration. She has collaborated with artists Chloe Lum & Yannick Desranleau (Séripop), Pascal Dufaux, Stéphane Gilot, Sophie Castonguay, Lin Snelling, Katie Ewald, Coral Short, and Julie Favreau. She was a DanceWEB Scholarship recipient for ImPulsTanz, Vienna and the 2014 APAF Artist in Residence in Nova Scotia. Recently, she was a faculty member at the Holland College School of Performing Arts, Charlottetown, where she taught contemporary dance and creative process. Her work has been shown in contexts such as: Galerie de l'UQAM; Galerie Hugues Charbonneau; l'OEil de Poisson, Quebec City; Art in the Open, Charlottetown; Encuentro Hemispheric Institute for Performance and Politics; Anode Festival, Melbourne; OK Quoi!? Contemporary Arts Festival, Sackville (N.B.), and offta festival d’arts vivants.
Pascal Dufaux, born in France, is a visual artist based in Montreal. He studied visual arts and stage design at Concordia University and has carried out residencies at the Christoph Merian Foundation in Switzerland, and the Finnish Artists’ Association. His sculpturale practice explore the relation between cameras and space. His Work has been presented at venues across Canada, in Mexico and Europe including exhibitions in Créteil, Maubeuge, Lille and Marseille, and festivals as such as Mapping in Geneva, BIAN in Montreal, Lab30 in Augsburg, Germany, and Mois de la Photo in Montreal. Most recently, his work has been shown at the Carl Solway Gallery in Cincinnati, the Confederation Centre Art Gallery in Charlottetown, in the Feature Art Fair in Toronto and at Festival Images in Vevey, Switzerland. Pascal Dufaux is represented by Christian Lambert Gallery in Montreal.
Teresa Carlesimo is an interdisciplinary artist currently pursuing a PhD in Cultural Studies at Queen's University where her research considers various systems of power, class and empire as integral to the analysis of environmental damage. Michael DiRisio is an artist, writer and the Artistic Director of Modern Fuel Artist-Run Centre. Working together since 2012, their collaborative practice considers forms of value, labour and political economy through site-specific installations and research-based projects. Their writing has been published in Art Papers and Public Journal with a recent essay “Becoming Geologic” in BlackFlash Magazine’s Summer 2017 issue.
Lisa Birke is an award winning Canadian experimental short filmmaker who situates between the traditions of painting, digital video and performance art. She has had solo exhibitions across Canada and her short films have been screened extensively at film/video festivals and media centres
internationally. Birke examines notions of ‘self’ through the lens of gender, bringing the cultural tropes of woman into focus and into question. Filmed unaccompanied in the Canadian landscape, absurd yet insightful performative acts become entangled in nuanced and complex narratives in single and multi channel video works that make reference to art history, mythology and popular culture. Revealing what lies beneath the surface of femininity, her work toys with a conclusion that is problematic, comi-tragic, and most essentially, human.
Born in Calgary and raised on the Great Plains of North America, Terrance Houle is an internationally recognized interdisciplinary media artist and a proud member of the Kainai Nation (Blood Tribe). Involved with Aboriginal communities all his life, he has traveled to reservations throughout North America participating in Powwow dancing and native ceremonies. Houle graduated from the Alberta College of Art and Design in 2003 with a BFA Major in Fibre, and uses performance, photography, video & film, music and painting in his work. Houle's work has been exhibited across Canada, the United States, Australia, the UK and Europe. Houle lives and maintains his art practice in Calgary.
We are friends and collaborators. We are connected to Red Clay Farm and the White Rabbit Open Air Arts Residency and Festival. We are Andrew Maize, Ardath Whynacht, Brian Riley, Gary Markle, Josh Collins, Lindsay Dobbin, Wes Johnston, Willow Davidson and Zachary Gough. We bring the unique perspectives of artists, educators, professors, activists, architects, osteopaths, cultural workers, puppeteers, sound designers, builders. We are also soliciting help from students in Dalhousie University's Architecture Department.
Art City is a not-for-profit art studio dedicated to providing people of all ages and abilities (with a focus on underserved children & youth) with high-quality art experiences, free-of-charge. Art City’s primary goal is to provide the opportunity and a safe environment for anyone who wishes to express themselves creatively. Art experiences are made for the highest level of self-expression, while providing process-based skill building and literacy. Nearly two decades ago, Wanda Koop, an internationally renowned artist, saw a need for accessible arts programming in Winnipeg’s West Broadway neighbourhood. In 1998, she founded Art City, one of the first organizations of its kind in Canada. The idea: that quality art experiences should be accessible to all.
SPiLL (Propagation in French) works to ignite an explosion of Deaf cultural presence rooted in signed language, within the Canadian arts and cultural landscape. SPiLL advances Deaf-centric, multi-disciplinary and integrated art forms through its core activities:
· Empowering and building the capacity of Deaf artists in Ontario and Quebec
· Developing new and innovative Deaf-centric artistic practices, rooted in signed language
· Creating and presenting Deaf-led art, that explores the cultural-linguistic experiences and identities of Deaf people and members of the signed language community
· Advancing and integrating Deaf arts practices into the broader arts ecology
· Sharing diverse perspectives on signed language, identity, culture and art practice through interaction, dialogue and new modes of public engagement.
The Living Art Museum (Nýló) is one of Iceland's longest-running, non-profit, artist-run initiatives with a singular collection of art by Icelandic and international artists dating from the mid-sixties to present. Founded in 1978 by twenty-seven artists, the museum is committed to presenting, actively collecting and preserving contemporary art and has continued to maintain the original goal of providing a platform for progressive exhibitions, experimental art practices, critical exchange and support to artists. Parallel to exhibition programming and collection activity, the museum is also the main source for three archives in Iceland: the Archive of Artist-Run Initiatives, Performance Archive and The Living Art Museum Archive.
David Bobier is a hard of hearing media artist and the parent of two deaf children. He is currently partnering with Inclusive Media and Design Centre at Ryerson University and Tactile Audio Displays Inc. in researching and employing vibrotactile technology as a creative medium. This vibrotactile technology, originally developed for the deaf, is essential in Bobier’s artistic practice and preoccupation for creating more accessible ways of creating and experiencing art in its many forms. His research into employing vibrotactile technology as a creative medium led to his establishment of VibraFusionLab (VFL) in London, Ontario. He is also Founder and Chair of London Ontario Media Arts Association, Secretary of the Board of Media Arts Network Ontario (MANO_RAMO), Board member of Artist-Run Centres and Collectives of Ontario (ARCCO) and Founder and Co-chair of Tangled London, a recently evolved collective based on the social model of disability and is dedicated to developing opportunities for Deaf artists, artists with disabilities and artists experiencing isolation to engage in artistic practice and cultural enrichment. Bobier’s work has received funding from Canada Council for the Arts, Ontario Art Council, New Brunswick Arts Council, Social Sciences and Humanities Research Council, Ontario Centre of Excellence and Grand NCE.
Bobier has served in advisory roles in developing Deaf and Disability Arts Equity programs for both Canada Council for the Arts and the Ontario Arts Council and was an invited participant in the recent Canada Council for the Arts – The Arts in a Digital World Summit. Bobier is also involved in ongoing research of the Deaf and Disability Arts movement in the United Kingdom and the United States.
Born in Poland, Anna Karpinski immigrated to Canada with her family at the age of eight. She obtained an Honours BA in Political Theory and Russian Literature from York University and then began to travel the world writing and taking documentary photographs. In 1995 she returned to live in Poland for a year. Since then Anna has lived in Toronto, New York City, Austin, Texas and presently resides in Charlottetown, Prince Edward Island with her husband and daughter. Her photographs have been exhibited in Canada and the U.S. and published in newspapers and international magazines. A book of documentary images on the fleeting months of a PEI Summer, titled A Good Summer was published by Acorn Press. Anna has taught courses on documentary photography at the Confederation Centre of the Arts and Holland College in Charlottetown.
Eastern Edge, established in 1984, is Newfoundland and Labrador’s first artist-run centre for visual arts.
Eastern Edge is committed to exhibiting contemporary Canadian and international art, as well as encouraging dedicated and rigorous activity locally. In providing an alternative venue where artists have greater control over how their work is represented, Eastern Edge facilitates critical dialogue concerning issues in contemporary art and society, actively encouraging emerging and established artists whose work speaks to feminist, multicultural, queer, and other diverse perspectives. Eastern Edge aims to provide a supportive space to develop skills, share information and resources, foster community and create a meaningful context for artistic activity.
Michel Boutin is a Canadien/Metis interdisciplinary artist, arts educator and cultural animateur based out of Prince Albert, SK. He received his B.F.A. in Drawing and Sculpture with minors in Film History and Sociology from the University of Regina in 1995. Michel has recently had his works showcased in London, England. Michel is the founder and current Artistic Director for IPAC.
Kevin Wesaquate is originally from Piapot First Nation, and currently resides in Saskatoon, SK. Kevin is currently employed as the Aboriginal Arts Leader at Saskatoon Community Youth Arts Programming (SCYAP), as well as the Artist/Writer-in-Residence at Saskatoon Polytechnic and the creator and Artistic Director of the Indigenous Poetry Society. Kevin is a poet/painter/welder and spoken word artist presently working on manuscript for publication in the near future. Kevin is the Spoken Word Facilitator for the Write Out Loud organization. Kevin enjoys working with youth and encourages youth to express themselves artistically. Kevin has been apart of IPAC programming in the past, and has helped to initiate a spoken word initiative in Prince Albert, SK.
Tristen Durocher is an accomplished Metis fiddle player and photographer who resides in La Ronge, SK and hails from Buffalo Narrows. As a young up and coming artist, Tristen has participated in many projects surrounding his passion for fiddles, Metis Traditional music and landscape photography, including numerous fiddling competitions, festivals, soundtracks and documentaries. Tristen will explore using his craft in new ways as he delves into the practice of performance arts with the Indigenous Peoples Artist Collective in the fall in Prince Albert, SK and Charlottetown, PE.
Modeste Mackenzie is a much sought after Dene-Metis jigger and cultural interpreter who resides in La Ronge, SK. This award-winning dancer was trained by acclaimed artists such as Maria Campbell, from a young age growing up in Cumberland House, SK. This community was one of the first settlement depots for the early voyagers while sailing along the Athabasca. Carrying his heritage with him Modeste has been involved in many competitions, acquiring first place with his group the Northern Prairie Dancers, (a group he began while working at the Prince Albert Women of the Earth Society) in the traditional category of Back to Batoche Days in 2011. Also in 2011, Modeste was appointed one of the youngest jury members in SaskCulture’s history. Modeste was also involved in New Dance Horizons, a prestigious dance company in Regina, SK. Modeste continues to push boundaries, and hopes to integrate the traditions and teachings of Metis heritage into the fabric of modern reality.
Originally founded in 1915, The Society of Anonymous Drawers (henceforth know as S.A.D.) project was re-established in the fall of 2014 in Sackville, NB. The collective’s primary mission is to collect anonymous drawings, doodles, and sketches from around the local community and to display them in a social media based archive. Working towards this mission, S.A.D. is an open initiative which, to foster a welcoming, inclusive creative community, aims to dismiss any inhibitions about drawing. S.A.D. elects not to curate the work collected at happenings and simply post whatever is created, as a show of support of the democratization of art. Facilitated by Patrick Allaby, Laura Watson and Rachel Thornton.
Alexis Bulman graduated from NSCAD and employs her training by assuming the role of a facilitator/ builder of performative drawings, temporary sculptures and installations that examine maritime life and translate the patterns of her physical movement and bodily occupation of space into visual form. Based out of Charlottetown, PEI and Montreal, QC, Bulman has exhibited in group exhibitions and festivals including Art in the Open, The Robert McLaughlin Gallery, The Saint John Arts Centre and the Confederation Centre Art Gallery. Additionally, Bulman was a BMO 1st Art Award finalist, and has received support from the Canada Council of the Arts.
Norma Jean MacLean is a Charlottetown; PEI-based visual artist and NSCAD graduate whose practice employs temporary installation to explore the material and structural properties of underused and obscure spaces. Installations focus on the aesthetic that follows practicality and functionality over appearance in everyday construction, storage and use. Currently based out of Charlottetown, PEI. MacLean has exhibited in group shows across Canada and internationally as well as having participated in residencies at The Banff Centre, Charlottetown’s Art in the Open and, most recently, NSCAD’s community residency in Lunenburg, NS.
D'Arcy Wilson (MFA University of Calgary ’08, BFA Mount Allison University ’05) is an Atlantic Canadian, interdisciplinary artist whose work considers Western Culture’s fraught relationship with wilderness. D’Arcy has collaborated with wildlife rehabilitation centers, natural history museums, school choirs, and more. She has participated in numerous artist residencies and exhibitions across Canada, most recently exhibiting her work at The Rooms (St. John’s, NL), the Owens Art Gallery (Sackville, NB), Cape Breton University Art Gallery (Sydney, NS) and Galerie d’art Louise-et-Reuban-Cohen (University of Moncton, NB). In 2016 she began and curated Saltbox Contemporary Arts Festival; a festival of performance art inviting artists to the rural community of Western Newfoundland, while renegotiating the relationship between the gallery and performance practices (Grenfell Art Gallery, Corner Brook, NL). D’Arcy is based in Corner Brook, NL, where she is Assistant Professor in the Visual Arts Program at Memorial University of Newfoundland, Grenfell Campus.
hannah_g is a writer, contemporary storyteller, inter-disciplinary artist, mixtape DJ, community radio producer, and designer. Much of her work explores how narratives and creative events in public, private, and crossover spaces can influence collectivity, micro-mobility, and place-making. She has exhibited, performed, and given readings in Canada, the US, Vienna, Romania, England, & Belgium. hannah is also the Director of the Artist-Run Centre, aceartinc. and the editor of the gallery’s in-house annual publication, PaperWait. She co-founded Flux Gallery, the Cartae Open School, and the gallery’s first Indigenous Curatorial Residency.
Mireille Eagan is Curator of Contemporary Art at The Rooms in St. John’s, NL. Prior to this, she was Curator at the Confederation Centre Art Gallery in Charlottetown, PEI. Notable curatorial projects include: a national touring retrospective of works by Mary Pratt; “Mary Pratt: This Little Painting” at the National Gallery of Canada; an official Collateral Project at the Venice Biennale in 2013; and contemporary art exhibitions such as “Folklore and Other Panics,” “enter the fog,” and “In Some Far Place” at The Rooms. Her favourite karaoke song is “Bohemian Rhapsody.”
Hank Bull was born in 1949 in Calgary and was raised in Ontario, with strong family connections to Nova Scotia. He studied at the New School of Art, Toronto, under Robert Markle and Nobuo Kubota. In 1973, he moved to Vancouver and joined the Western Front, where he became involved in performance art, radio, shadow theatre, video, publishing and curating. He was a founding director of PAARC, the Pacific Association of Artist-run Centres. He has travelled widely across Canada and has produced numerous projects in collaboration with artists in Europe, Africa and Asia. In 1999 he was co-founder of Centre A, the Vancouver International Centre for Contemporary Asian Art. An exhibition survey, “Hank Bull: Connexion,” toured to five cities across Canada in 2015-17. His current practice takes place at the intersection of painting, sculpture, sound and video. He is represented by Franc Gallery, Vancouver.
Sputnik Returned 2 is an exact rendering of Sputnik, a 20 inch diameter steel sphere with four eight foot antennas, installed as if it has crashed back to earth, its impact crunching a parked sedan. The sleek futuristic design of the satellite, resting lifelessly in car sized crater, recalls a modern day Icarus whose faith in technology lead to hubris and his imminent demise as he fell back to earth. Sputnik Returned 2 has a simple design, both streamlined and reflective, alluding to the space race of the 1950s. Today this design appears as a wonderfully crude relic of the period, a potential unmanned doomsday weapon mirroring the excesses of the cold war while also recalling the proto-modernist sculptures of Brancusi.
Sputnik plummeted into the earth’s atmosphere exactly four months after its launch, where it was incinerated - any individual with a passing knowledge of the atmosphere is aware that it would be impossible for a satellite remain intact upon re-entry. However, the narrative content of Sputnik Returned 2 asks the viewer to suspend their disbelief and engage in the metaphor presented by the object.
Responding to the histories of migration and settlement along the Atlantic coast, Victoria-based artist Charles Campbell will perform Actor Boy: Travels in Birdsong. Actor Boy is a persona derived from the Jamaican emancipation celebration Jonkonnu. As both witness and instigator, he brings these aspirations into the present, manifesting alternative possible futures.
Actor Boy will investigate the The Bog, Charlottetown’s historic community of African-Islanders, a marshy bird habitat that has since been paved over. With members of the Island’s black communities, they will create an auditory bog of birdsong, reversing perceived extinctions and restoring sonic and visual presence to historical erasures.
Luis Jacob is a Toronto-based artist and curator whose work destabilizes conventions of viewing and invites a collision of meanings. He has achieved an international reputation, with exhibitions of his work at Montreal Biennial (2016); Tanya Bonakdar Gallery, New York, and La Villa du Parc centre d’art contemporain, Annemasse (2015); Cantor Fitzgerald Gallery, Haverford College, Pennsylvania, and Limerick City Gallery of Art (2014); Overbeck-Gesellschaft, Lübeck, and Centro Párraga, Murcia (2013); Witte de With, Rotterdam, and Taipei Biennial (2012); Museum of Canadian Contemporary Art, Toronto, and Generali Foundation, Vienna (2011); Kunsthalle Bern, and Solomon R. Guggenheim Museum, New York (2010); Städtisches Museum Abteiberg, Mönchengladbach, and Institute of Contemporary Art, Philadelphia (2009); Power Plant Contemporary Art Gallery, Toronto, and Hamburger Kunstverein (2008); Morris and Helen Belkin Art Gallery, Vancouver, and Documenta12, Kassel (2007). In 2016, he curated the exhibition “Form Follows Fiction: Art and Artists in Toronto” at the Art Museum at the University of Toronto. In 2015, he co-curated the conference “This is Paradise: Art and Artists in Toronto” with Barbara Fischer, in collaboration with Kitty Scott.
Katie Belcher is an artist and curator currently based in Halifax, Nova Scotia, Canada. In her studio presently, she's making monumental withdrawings in an effort to score a remembered gesture. Through her work as Director of Eyelevel Gallery, Katie challenges modes of presentation of contemporary artwork, and has a particular interest in cultivating gathering spaces for discussion. She is the President of the Association of Artist-Run Centres from the Atlantic and sits on the Board of the Artist-Run Centres Collectives Conference.
Annie France Noël is an artist and a photographer originally from Caraquet (NB). An active member of the cultural community of Moncton, Annie France is a member of the city's cultural council and sits on the board of directors of the FICFA and of CARFAC. She is currently co-director of Galerie Sans Nom.
Donnalee Downe is an artist and educator living and working in Charlottetown, PE. She completed her MFA at Cardiff School of Art and Design, Wales in 2012. She works primarily with domestic archives and is currently exploring hosting as a form.
Allison Collins is a writer and independent curator, as well as Curator of Media Art at Western Front, Vancouver.
Bio coming soon.
Jennifer Bélanger has a BFA from Université de Moncton and an MFA from the Nova Scotia College of Art and Design. She has worked as program coordinator at Galerie Sans Nom and has been director of Imago artist run print studio since 2000. Bélanger is also a sessional professor in printmaking at the Université de Moncton and has curated several projects in Acadie.
Bio coming soon.
Amanda Fauteux lives and works in Sackville, New Brunswick. She is a practicing artist and the Program Manager at Struts Gallery & Faucet Media Arts Centre.
Ryan Suter is a media-based artists living and working in Sackville, NB. Ryan is the Media Arts Manager at Struts Gallery & Faucet Media Arts Centre.
Since 2010, Nisk Imbeault is director-curator of the Galerie d’art Louise-et-Reuben-Cohen of the University of Moncton. She was the director of the Galerie Sans Nom from 2001 to 2011. She spends much of her time with various boards and committees helping to sustain artistic practices and is currently chair of l’Association des groupes en arts visuels francophones.
Bio coming soon.
Bio coming soon.
UQAM art history graduate, Elise Anne LaPlante is an independent curator and writer. Back in her native Acadie, her research focuses primarily on the representation of women artists in Acadian art history. She is also interested in archives and writing as well as alternative practices that explore the ambiguous spaces between disciplines and reprogram art history for artistic purposes.
Zachary Gough is an artist, activist and student/teacher that works collaboratively and responsively with other artists, community groups and organizations to promote alternative economic systems and toward deconstructing the capitalist viral value paradigm and it’s manifestations. He often uses participatory and immaterial media, such as radio and performance, to address materialist concerns, such as labour, power, debt, education, and liberation. Zach is a graduate of the art and social practice MFA program at Portland State University in Oregon. Zach is currently teaching at NSCAD University.
John Murchie is an arts administrator, writer and artist.
He lives and works in Sackville, New Brunswick.
Mary MacDonald is an artist, writer, and independent curator currently residing in St. John’s, NL. She is interested in alternative locations for contemporary art and contemporary artists working within rural communities and contexts.
Michael Eddy is an artist and writer living in Montreal. He works across various disciplines and media including performance, drawing, writing and installation. His interests lie in rhetoric, in negotiations of autonomy, and in questions relating to experience and value. He has frequently worked in collaboration with others, including Knowles Eddy Knowles and HomeShop.
Raven Davis is an Indigenous, mixed race, 2-Spirit multidisciplinary artist and activist from the Anishinaabek (Ojibwa) Nation, Treaty 4 in Manitoba. Born and raised in Toronto and currently splitting time working between Halifax and Ontario, Raven’s work spans from: painting, performance, Anishinaabek song & dance, design, poetry and short film. Raven blends narratives of colonization, race and gender justice, 2-Spirit identity and the Anishinaabemowin language and culture into traditional and contemporary art forms. Raven is also a proud parent to 3 sons.
Pan Wendt has been Curator of the Confederation Centre Art Gallery since 2010. He received his M.A. at Williams College and M.Phil. at Yale University, specializing in post-World War II art history. Previously a freelance curator and critic, he has written for journals such as C Magazine, Fillip, and Arts Atlantic, as well as numerous catalogue and critical essays. Exhibitions include James Lee Byars: Letters from the World’s Most Famous Unknown Artist (2004, Mass MoCA); Colleen Wolstenholme: A Divided Room (2007, Confederation Centre Art Gallery); Funkaesthetics (2008, Justina M. Barnicke Gallery); Free Parking, Quotation, and Hank Bull: Connexion (2011, 2013, and 2015, Confederation Centre Art Gallery).
Wendt is also co-curator of Art in the Open, Charlottetown’s outdoor visual art festival and chair of its steering committee. He has served on numerous national juries, including the Canada Council for the Arts, Project Grants in the Visual Arts (2015 and 2011), the RBC Painting Competition (2013), and the Sobey Art Award (2014) as well as many provincial and municipal juries. He carries extensive grant writing experience, predominantly through Canada Council grant application process, as well as programming experience, especially noting the annual Art in the Open Festival, held in Charlottetown annually since 2011.
Brandon Hood, BBA, was born and raised in Charlottetown, Prince Edward Island. Although the Island is small in size, it has not impacted his ability to dream big. His home province offers inspiration in its rich culture and tranquil nature; and has shaped his aspiration to make PEI an even better place to live.
As a musician, Brandon understands the role of the arts in inspiring innovation and creating a sense of community. His approach to business is intertwined with his natural creativity, critical thinking, and ability to form meaningful relationships. With a strength in using knowledge as a way to view multiple perspectives simultaneously, he is able to solve problems and make decisions, while maintaining sight of the bigger picture.
Working with Becka Viau Inc. offers Brandon a unique opportunity in learning about social enterprise, how it fits in growing the Island economy, and its positive implications on the community. The private sector influencing social change is a growing trend that is not going unnoticed by Brandon. He aspires to start his own business which fosters social improvement, while contributing to economic growth. He believes that in order grow the economy and innovate, it takes not only creativity, but an understanding of commerce as an effective tool for manifesting ideas.
A proud “Islander by choice”, Beth has carved out a successful career for herself by combining her love of art and community with her passion for planning, organizing, and executing events. As the owner of Wildfire Project Management, Beth has worked on a number of diverse projects including, Altitudes East, Atlantic Canada’s largest airline industry conference, Right Some Good, Nova Scotia’s roving food festival, Art in the Open, Charlottetown’s contemporary art festival and the Victorian Christmas Market, an outdoor European-style pop-up market.
As an active member in her community, Beth has taken on several volunteer positions, all aimed to help make Charlottetown a better place to work, live and play. As a founding board member for Fusion Charlottetown, Beth previously chaired the Arts and Culture sub-committee and co-founded the Youth UnDERemployment Committee. She continues to work on select projects that contribute to the development of Prince Edward Island’s cultural sector.
Amanda Shore is a writer and curator based in Halifax, Nova Scotia.
Shore is a regular contributor to Canadian Art, covering recent exhibitions in a bi-monthly column called the Halifax Report. In this column, she aims to target events, exhibitions and performances with a short run-time, which get limited coverage from regional and national news outlets.
Shore has also written for C Magazine and Visual Arts News, and she holds a BA in Art History from NSCAD University, as well as a Certificate in Curatorial Studies from the School for Curatorial Studies Venice. Recent independent curatorial projects include Sound Etiquette (Centre for Art Tapes, Halifax), Outside The Box 4.0 (Toronto Offsite Design Festival & Wanted Design Brooklyn), Phonic Study I (Art Bar + Projects, Halifax), and Symphony of Hunger: Digesting Fluxus in Four Movements (A Plus A Gallery, Venice, Italy).
Michael D. McCormack completed his Intermedia MFA at NSCAD University in his hometown of Halifax, NS in May of 2015. He was the founder of the McCleave Gallery of Fine Art from 2002 until its merge with the Suitcase Art Gallery Space Research Institute (SAGSRI) in 2007.
From 2009 to 2013 he worked as Director of Eyelevel Gallery and representative for the Association of Artist-run Centres from the Atlantic where he directed and curated projects such as 3X3X3 (Akimbo’s critics pick of best exhibition of 2011), The World Portable Gallery Convention (2012), The Point Pleasant Park Performance Series (2011), The Kitchen Party (2013), amongst many others. He currently is a sessional instructor at NSCAD University in Halifax, NS where he also works as an independent artist and curator. Michael’s approach as a curator is highly collaborative, stemming primarily from an artists perspective, while fostering an experiential dialogue between artists, project partners, and the communities they interact with.
Becka Viau, BFA, MFA, is an artistic leader in Prince Edward Island and is celebrated for her capacity to manage multi venue and interdisciplinary events, engage various levels of government through fundraising and partnerships. She pushes the boundaries of artist as manager and thrives in the role of a multi disciplinary festival artistic director. She has extensive experience managing and coordinating multi-venue events including, but not limited to, Art in the Open, Reading Town PEI, the Island Literary Awards and the ECMA Community Linkages Program. She has been involved in management roles for events ranging in size from community outdoor film series to 15,000 person capacity concert series. Her collaborative approach is key to her successes and her ability to build focused teams and reach varied audiences allows her to communicate across a broad funding base.
Her passion for collaborative leadership and creative team building drives her professional approach. With extensive project management experience, specializing in multi-disciplinary program and event development, she has created and lead teams as a curator, educator, project manager/coordinator and artistic director of arts collectives, artist run non-profit organizations and contemporary art festivals and events.
Becka Viau believes in the social impact of connecting people to and fostering the creation and dissemination of a high standard of contemporary art and critical discourse.
The Artist-Run Centres and Collectives Conference (ARCCC aka ARCA) is a Canadian organization that represents – by way of the regional associations that form its membership – approximately 180 artist-run centres and collectives in cities and towns across the country. ARCA supports the organisation of activities that advocate for the recognition and ongoing development of artist-run centres. For this purpose, ARCA supports the organisation of national and international conferences. The members include the following associations: Alberta Association of Artist-Run Centres (AAARC), Association of Artist-Run Centres from the Atlantic (AARCA), The Aboriginal Region (ABO), Artist-Run Centres and Collectives of Ontario (ARCCO), l’Association des groupes en arts visuels francophones (AGAVF), Manitoba Artist-Run Centres (MARC), Pacific Association of Artist-Run Centres (PAARC), Plains Association of Artist-Run Centres (PARCA) and Le Regroupement des centres d’artistes autogérés du Québec (RCAAQ).
Visit Website: http://www.arccc-cccaa.org/en/
AARCA: The Association of Artist-Run Centres from the Atlantic was incorporated in 2005 to support and promote the activities of artist-run centres in Prince Edward Island, Newfoundland and Labrador, New Brunswick and Nova Scotia.
These objectives are achieved by:
• helping to strengthen and sustain member centres
• promoting short-and-long-term centre planning
• identifying appropriate resources and expediting access to them
• organizing collective programs, projects and research
• collecting, organizing, analyzing, and distributing relevant information
• assisting with communication and the timely exchange of information
• encouraging critical dialogue and discussion on matters of common concern
• speaking for member centres on matters of common concern
• providing a forum for the identification and resolution of key issues
• liaising with government, funding agencies, and other organizations as well as educating government, business, and the public about artist-run centres
A representative from AARCA is elected to sit on the National ARC organization’s Board of Directors, ARCCC-CCCAA: the Artist-Run Centres and Collectives Conference/La Conférence des collectifs et des centres d’artistes autogérés. In this way links are established with National arts advocacy groups to improve conditions for artist-run centres.