K-Blog

Narrative Routes: A Bike Tour

Inspired by the Koffler Gallery’s summer exhibition, José Luis Torres: Question d’adaptation, the Koffler and CultureLink collaborated to create a public bike tour led by newcomers reflecting stories of their migration experience. Participants met at the Koffler Gallery for a tour of the exhibition before heading east-bound to Riverdale Park.

Grace McNee (Culturelink)
It was an utter delight to see this collaboration come to fruition. I was happy to be able to incorporate some of my favourite spots in the city, and the ride was great fun. What really made this Narrative Routes ride special, though, was everyone who came out, both to listen and to share. Over the course of the ride, we became a strong, loving, open, and supportive community, of which I was honoured to be a part of.

Andrea Vela Alarcón (artist facilitator)
This kind of activity contributes to the discussion in which immigrants are not just here for the socio-economic benefits, but rather to become part of the community working towards the prosperity of this land. Sharing migration experiences in safe and friendly environments helps to open the door to a more empathic and informed society.

Olga Obilchikova (bike host)
Narrative Routes gave me amazing experience. This was the first time I ever shared my immigration story. At first it was awkward but as I listened to the others, I realized that we all go through similar difficulties. I was surprised to get so much support from all the participants. This was also very reassuring.

I am very grateful for the opportunity to participate in Narrative Routes and share my story.

Sonie Muthoni (bike host)
It was a very well planned ride. The sharing period was a bit emotional for me because it reminded me of how blessed I am to be here – to have good, kind and loving people surround me. It felt like home.

All photos: Mary Anderson.

Memories of Honest Ed’s

Honest Ed’s has always been an iconic name and place for me. My parents, both born in Toronto in 1913 and 1915, grew up just a few streets from each other in the same area as Ed Mirvish. Apparently, my mother’s older brother was part of the same street crowd. Stories of their adventures were woven in the conversation and laughter that was routine at the weekly Shabbat gatherings at my Bubbie’s house on Markham Street. My mother’s seven siblings, spouses, and children were always there.

I found myself applying for a job at Honest Ed’s over the 1962 Christmas holiday during my first year at the University of Toronto. We all knew that Honest Ed’s was crowded during Christmas and I was about to discover that up close.

I thought that I’d be hired as a stock boy or sweeper, but no, I was put to work right away as a cashier. I can’t remember whether the registers were electric or manual, but for sure they were the very old style with row upon row of cents, dimes, and dollars. The register’s keys had to be accurately pushed or mistakes big and small would be made.

I’m pretty sure it looked like this. It took some practice to become reasonably proficient using this machine and dealing with the items, the customers and money. No credit cards or debit cards then –cash only. I developed a growing respect for cashiers and workers that dealt with the public.

I learned a big lesson on that job. I found myself, at first, identifying with the customer as they waited in line. I wanted to speed them along—imagining they were becoming impatient when having to wait. I worked faster, and faster trying to ease their agitation but the faster I worked, the longer the line became! Lesson learned, do your best work; don’t take responsibility for the customer’s decision to come and shop at Honest Ed’s at Christmas!

The bigger lesson I learned and experienced was a much more ‘human’ lesson—that empathy and generosity matter in the end. That building and store was a vortex, literally and symbolically. Honest Ed’s customers and staff were a microcosmic representation of Toronto’s multicultural community. Without the label, Honest Ed’s seemed to me to be an equal opportunity employer. Some men, more women, new Canadians—as new immigrants were called at the time—were the majority of the employees. All my supervisors and fellow workers were women. I marvelled at the great confluence of humanity—the old, the young student, the immigrant (as we all are), everyone looking for a bargain, everyone looking to make the best for themselves and their loved ones at that time of year.

The company treated their employees with dignity and respect, at least from my perspective. While Christmas was a very busy time for the staff, it seemed that people were happy, knew their hours in advance, and knew they were being respected. It felt like I was part of a team. I really felt it, even though I was only there for around 10 days. And I even got a Christmas bonus of $5.00. Not bad for 1962.

Being a regular volunteer for the Koffler Centre of the Arts brings me in contact with many artists, events and people that I would not ordinarily encounter. The staff at the Koffler has that same warm inclusive team-like feel that I felt at Honest Ed’s. Everyone working together for a common goal.

It was fitting that the Koffler Centre of the Arts would plan to be a part of the last days of Honest Ed’s. Without any advance notice, for me to be stationed in the very spot that I worked for those 10 days fifty-five years ago, was highly emotional. It’s hard to see Toronto institutions close. Sometimes it feels like a part of one’s own history is being wiped clean. Being there, in the very spot provided a sort of bookend to the legacy of Honest Ed’s for me. I’m looking forward to Honest Ed’s and the Mirvish Family’s next iconic cultural iteration.

  • Posted by Carl Lyons | April 3, 2017.

Past Abstractions

For the Koffler Gallery’s Winter 2017 exhibition, No Work, Nor Device, Nor Knowledge, Nor Wisdom by Leopold Plotek, we developed three different workshops that allowed both elementary and secondary school students to interact with the various themes, narratives, and artistic methods Leopold Plotek utilizes in his own work.

MUSICAL ABSTRACTION
Students in Grades 1-3 were asked to translate sound into a visual language, and to consider what jazz “looks” like compared to pop music, say. Students listened to four different songs, each belonging to a particular genre: Johann Sebastian Bach’s Toccata and Fugue in D Minor, Benny Goodman’s Where or When, Pharell Williams’ Happy, and A Tribe Called Red’s Stadium Pow Wow. Students created line drawings in pencil that reflected their individual interpretations of sound.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Students then selected one line drawing to create a refined, larger scale work while incorporating colour and texture into their artwork.

 

 

 

This workshop created several links with Ontario Curriculum for students in Grades 1-3, including Language (1-2), Music (C2.1-C2.2), and Visual Arts (D1-D2).

THE ABSTRACTED NARRATIVE
Students in Grades 4-8 considered how a story could be reduced to key visual elements, and how these elements in an abstract composition can still convey personal meaning. Drawing inspiration from the various forms, lines, colours, and shapes in Leopold Plotek’s paintings, students created abstract artworks of their favourite day.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This workshop created several links with Ontario Curriculum for students Grades 1-3, including Language (1.1-1.6, 2.1-2.7) and Visual Arts (D2.1-D2.3)

THE PAST IS NOW
Students Grades 9-12 explored facets of “allusion,” an artistic technique which makes references to Classical, Biblical, Romantic, and Renaissance tropes and motifs. Students were asked to consider a moment in their recent or distant memory and create their own “allusive” artwork through collage and assemblage. Students brought with them family photographs, magazines, and other sources to produce their individual artworks.

  • Posted by Letticia Cosbert | March 21, 2017.

Slowing Down with Plotek

The paintings of Leopold Plotek are record keepers of time. On each surface lays the combined efforts of a lifetime of experience. With so much embedded in each painting, it is crucial to spend time in front of them in order to experience their full breadth of effect.

As an intern at the Koffler Centre of the Arts and a third year OCAD University Drawing and Painting student, I have plenty of reasons to spend my time studying Plotek’s exhibition. No Work, Nor Device, Nor Knowledge, Nor Wisdom spans five decades of Plotek’s career, from 1978 to the present.

Spending time with a painting is a worthwhile endeavour. There is only so much you can glean in an instant, and while exhibition guides are useful for providing context, the real history is on the surface.

Leopold Plotek, Bedlam’s Pilot, 1994, oil on canvas, 72 x 74”.

For the last few weeks I have been sitting in front of Bedlam’s Pilot, an almost-square canvas painted in 1994. The painting shows a dark monstrous hand, as it looms over a smoldering orange plaza. The church roof of Santa Maria dei Miracoli is hugged by the soothing glow of a blue canal, and seems to provide the only shelter from the chaos that is descending on the scene. I know from the exhibition guide that Plotek was contemplating the Black Plague as he made this work, but my relationship with the painting can go even further the longer I sit.

For me, the great hand, painted in heavily-oiled pitch-black looks to be warming itself over a burning city. The indifference of the gesture seems so cruel to me. The hand also looks like a dark ominous storm, suppressing the earth. Perhaps it is actually preparing to stamp the fires out with its great palm. There are many readings to discover.

This ambiguity of meaning is what gives the paintings in this exhibition a sense of universality. Plotek does not force his own interpretation on the viewer. His influence is present and he also allows for the visitor to brings their own history and narratives to the work. Leopold Plotek’s work is solid enough to relate to, but obscure enough to feel free with.

No work, Nor Device, Nor Knowledge, Nor Wisdom runs until March 19, 2017, giving you just enough time to sample these rich canvases.

  • Posted by Janine O’Reilly | March 14, 2017.

Koffler Salon: Pushing Back

On Monday. February 13, 2017, we hosted another edition of our Koffler Salon – an ongoing series of dynamic cross-disciplinary conversations. Pushing Back featured eight talented women who had participated in the Women’s March on Washington discussing how this galvanizing experience motivated personal engagement with continued activism and contributed to the broader discourse about the current wave of collective protest. 

The Women of ‘Pushing Back’. Photo by Mary Anderson.

The Special Interest Group performing songs of protest. Photo by Mary Anderson.

Each guest contributed her own unique perspective: PhD candidate Margeaux Feldman addressed issues of unity versus intersectionality, while artist Heather Nicol talked about the idea of ‘disruption’ as opportunity, and how leftover pink fabric from a previous installation piece became emblematic of her involvement in the Women’s March. Communications consultant Sarah Neville reflected on the importance of amplifying women’s voices. Actor Toni Ellwand shared stories of her familial debates with her Trump-supporting brother, and Aida Jordao briefly summarized her lecture to media students about encoding and decoding the ‘pussy hat’.

Aida Jordao pointing out her ‘pussy hat’. Photo by Mary Anderson.

After another strong performance of protest songs by the Special Interest Group, our host and moderator Allegra Fulton took the stage to discuss how her childhood experiences with activism have translated into her artistic process. Dale Hamilton divulged that the election results had re-energized her engagement with the arts as a tool for social change, and was writing a new play to address islamophobia, xenophobia, and homophobia in the Trump-era. And comedy-writer Sophie Kohn discussed how she plans to feature more diverse voices in her comedy writing team and programming.

One of the signs that the women carried during the March. Photo by Mary Anderson.

Clearly, not all voices were represented by the women on stage at Small World. But the overall sentiment of the evening was hopeful – a starting point for us to learn, to actively listen to divergent perspectives, to question, to incorporate our weakness and strengths, and to do better.

  • Posted by Emma Hoffman. Photos by Mary Anderson. 

Intergenerational Comics and Bookmarkers

On Sunday, November 27, 2016, grandparents and their grandkids flocked to Holy Blossom Synagogue at Bathurst and Eglinton, for an afternoon full of family fun. Former Forest Hill resident and artist Jonathan Rotsztain engaged six groups of grandparents and grandkids in an intergenerational comic book making workshop, during which they learned about the surrounding neighbourhood, created art, and enjoyed each other’s company.

First, Jonathan took the group on a neighbourhood walk and discussed the origins, history, and contemporary culture of the Cedarvale and Forest Hill neighbourhoods surrounding the synagogue. On our first stop, at the corner of Ava Road and Chiltern Hill Road, Jonathan informed the grandparents and grandkids about the geological origins of the area as a forested valley surrounded by rolling hills. At our next stop on the north-facing side of the synagogue, Jonathan and the group explored Cedarvale’s social history and engaged in discussion about the area’s original First-Nations inhabitants, and its subsequent transformation into a fruit orchard, farms, and finally, into a suburban community. Jonathan and the families also thought about animals they’ve seen in this area and commented on how the ravine-adjacent neighbourhood is still home to many animals, both wild and domesticated.

After discussing the façade of the Synagogue itself, and Jewish culture in Cedarvale, Jonathan led the grandparents and grandkids back into a classroom in the synagogue, where they practiced comic-drawing and cartooning techniques before conceptualizing an idea for a comic that they would be drawing collaboratively together. Jonathan prompted the grandparents and grandkids to draw a comic of their family tree, a comic about a fun time that they spent together, or to develop an imaginary storyline narrative. Grandparents and grandkids were encouraged to draw themselves into the comics and to present themselves as human, as personified animals, or as object versions of themselves.

The grandparents and grandkids collaborated on the same sheet of paper to create a shared comic, or each created panels for a comic that would be put together as a single story. Through comic-creating methodology, the groups of grandparents and grandchildren learned how to use lines and simplistic imagery to convey a specific narrative, and about working together as a family to produce a fun creative expression. Overall, everyone had a great time spending an afternoon making art together.

On the Sunday following the intergenerational comics workshop, we had our first Bookmarkers of 2016/2017: a book club for parents and young children, in partnership with Groundwood Books. Families gathered in Small World Music Centre, to watch author Sara O’Leary and illustrator Qin Leng read and discuss their children’s book: A Family Is A Family Is a Family, published by Groundwood Books, and to listen to Jonathan Rotsztain talk about his comic-making process.

This beautifully illustrated picture book tells the story of a child who is nervous to talk about her family with her classmates because she thinks that her family is too different from everyone else’s. To her surprise, she learns that everyone’s family is different and that “a family is a family is a family.”

Sara started the afternoon with a reading of the book and then Qin took to an easel to engage families with her quick drawing skills and to share how she created all the characters in the book. Qin then asked parents and kids to participate in a drawing activity during which they were asked to draw themselves and their families.

Following this activity, Jonathan showed families his artistic process. He presented his daily drawing exercise: Dreary Diary; and did a reading from his short comic book: The Everything Bagel. He then showed families how to draw different types of lines and the families participated in another drawing activity about how to use simple types of lines to express different moods, feelings, and environments.

The afternoon was a hit with parents and kids alike, and everyone enjoyed the readings and activities, as well as snacks provided by Prairie Boy Bakery.

Stay tuned to the Koffler website for more information about our next Bookmarkers event in 2017!

  • Posted by Emma Hoffman. Photos by Mary Anderson. 

 

Yonder: Artist Talk & Tour

Yonder, the most ambitious exhibition in the Koffler Gallery’s history, features the work of sixteen artists – all newcomers to Canada or first generation Canadians – of various cultural heritages. Following the September 21, 2016 opening reception, the festivities continued with a comprehensive artist talk and tour led by thirteen of Yonder’s artists.

The talk had a wonderful turnout and sparked much conversation among the group of over fifty participants. Below, photographer Rafael Goldchain discusses his influences and the role photography played in his migration from Chile in the late 1960s, to Israel in the early 1970s, and finally to Toronto in the late 1970s.

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Left to right: Chile 1968-70, Israel 1970-75, Toronto 1976-78 by Rafael Goldchain, and Balikbayan Bakla Maya (2016) by Julius Poncelet Manapul. Photo: Mary Anderson.

Mona Filip, Director/Curator of the Koffler Gallery, introduces the theme of displacement explored in Jérôme Havre’s installation piece The Poetics of Geopolitics (2016).

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Photo: Mary Anderson.

Sarindar Dhaliwal tell’s a delightful anecdote involving Austen Clarke and Toronto’s infamous weather, relating to her piece Weather: An Immigrant Perspective (2016).

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Photo: Mary Anderson.

Julius Poncelet Manapul spoke to his experiences as a migrant from the Philippines, his encounters with Toronto’s LGBTQ community, and the ever-present feeling of not quite fitting in.

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Photo: Mary Anderson.

French born, Morrocan-Montrealer, multi-media artist, 2Fik lead a discussion of his playful yet introspective photographic series Commute M, Commute F, Commute Q; Café Q, Café F, Café M; Sidewalk Q, Sidewalk M, Sidewalk F.

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Photo: Mary Anderson.

In the early stages of the tour we heard firsthand from Divya Mehra, who explained her use of text based work and the interplay she creates between the titles of her artwork and the actual pieces.

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Left to right, Divya Mehra, Rebranding YOURSELF as SOMEONE (who could definitely do something else) (2014); You Made Me (2014); Striving toward enhanced linguistic tolerance (an Opening of opportunity) (2014); Brendan Fernandes, Andrew’s Feet (2014). Photo: Mary Anderson.

Artist talks are always wonderful to attend, but this one in particular, due to its scope and size, was especially entertaining. It was an afternoon filled with laughs and enlightening conversation. A big thank you to all who attended!

– Posted by Letticia Cosbert | December 2, 2016

Baking Bread with Like Mother, Like Daughter

Like Mother, Like Daughter is a participatory performance project produced by Koffler Centre of the Arts, Why Not Theatre, and Complicite Creative Learning. It has been performed in London and Montreal, and the Toronto edition of the production has brought together 12 pairs of mothers and daughters, with at least one member of each pair being born outside Canada. The performance is an unscripted conversation between the 12 pairs of mothers and daughters. This post is part of a series of three K-Blog posts documenting the process and performance of the show.


On Sunday, October 16, 2016, the mothers and daughter participants in Like Mother, Like Daughter met at 918 Bathurst to engage in a bread-baking session led by newcomer Syrian women. Our experts in bread-baking are participants in Newcomer Kitchen: an income-generating project created by Len Senater that provides a space for newcomer Syrian women to cook a weekly meal at his College Street restaurant The Depanneur, that are then sold through The Depanneur website.

Newcomer Kitchen was hired as the caterer for Like Mother Like Daughter, to create and serve traditional Syrian dishes to the cast and audience after each of the six performances.

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The women from Newcomer Kitchen baking bread. Photo by Mary Anderson.

Syria has long been recognized internationally as a destination for food, due to its historical location as a stop along the famous Silk Road trade route, and the women of Newcomer Kitchen were generous to share with us their traditional methods of making flatbread: a staple of Syrian cuisine.

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Everyone enjoying the bread-baking session in the kitchen at 918 Bathurst.

The enthusiastic group of mothers and daughters collaborated with the newcomer women to make Syrian flatbread, while excitedly discussing their experiences with, and memories of food.

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A few beautiful balls of dough. Photo by Mary Anderson.

The excitement in the room was so spirited and lively, that we triggered the fire alarm in 918 Bathurst! Although we were in no real danger, our friendly neighbourhood fire fighters flocked to the building to make sure we were all okay, while we stood outside, chatting more about our disbelief that we set off the alarm, and posing for some photos to commemorate the occasion.

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The cast, crew, and caterers involved with the show, waiting outside 918 Bathurst.

By the time the flatbread was finally cooked, we were all ready to sit down together and enjoy the fruits (or in this case, carbohydrates) of our labour. We enjoyed a hearty spread of flatbread, hummus, and baba ganoush, and were left with the additional satisfaction that we had learned some new culinary skills, while making new friends along the way!

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Mothers and daughters eyeing the spread.

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A close-up of the final product.

– Posted by Emma Hoffman | November 2, 2016

Vine Awards for Canadian Jewish Literature

On Thursday September 29, 2016, the Vine Awards for Canadian Jewish Literature culminated with an awards ceremony and luncheon at the Four Seasons Hotel Toronto. During this intimate, warm gathering of writers, publishers and literature lovers, five talented authors were awarded a cash prize of $10,000 each in honour of their exceptional contributions to the literary categories of fiction, creative non-fiction, literature for children and young adults, history, and poetry.

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L-R: Norman and Lillian Glowinsky, Emil Sher, Mark Celinscak, Beverley Chalmers, David Bezmozgis, Daniel Goodwin, Tiana Koffler Boyman, Marc Boyman (Jorjas Photography)

Flashback to Spring 2016: the Koffler Centre of the Arts was abuzz with excitement about the prospective crop of applicants to the inaugural Vine Awards. Boxes and boxes of books began arriving to our office in Artscape Youngplace to form an immense pile in the southwest corner of the office; taking over desks, floorspace, and even our boardroom! By the June 3rd deadline for applications, we had received a whopping total of ninety-one texts – all waiting to be read by our jury who would face the difficult task of determining the prize winners.

The jury was comprised of three individuals: Pierre Anctil: a professor and scholar specializing in Canadian History at the University of Ottawa; Devyani Saltzman: a writer, curator, and journalist, and the Director of Literary Arts at the Banff Centre; and Laurence Siegel: a filmmaker, photographer, and former dramatic arts teacher with the Toronto District School Board. In the four months leading up to the awards ceremony, they were charged with the massive undertaking of absorbing all ninety-one books, and selecting the publications with the most literary merit. That’s about six books per week from the beginning of June to the end of September! After hundreds of pages of and hundreds of hours of reading, the top books from each category were selected to compose a shortlist.

Amongst a shortlist including Joseph Kertes’ The Afterlife of Stars, Sean Michaels’ Us Conductors, and Mireille Silcoff’s Chez L’Arabe, the winner of the Fiction category was David Bezmozgis’ novel The Betrayers, which the jury applauded as an exemplar of “crisp, spare, engaging storytelling, confronting us with the desperate interior of lives lived on the edge.”

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L-R: Fiction winner David Bezmozgis, Executive Director Cathy Jonasson, Public/Digital Programs Coordinator Mary Anderson (Jorjas Photography)

The prize for Non-Fiction was presented to Mark Celinscak for his historical analysis of the eyewitness accounts from Allied soldiers and other personnel of the liberation of the Bergen-Belsen concentration camp. In his acceptance speech, Celinscak noted that, “Jewish literature is alive and well in Canada,” and was effusive in thanking the Centre for Jewish Studies at York University, where the concept for this book had first emerged from his doctoral research.

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Non-Fiction winner, Mark Celinscak (Jorjas Photography)

Beverley Chalmers’ text Birth, Sex and Abuse: Women’s Voices under Nazi Rule, which took 12 years to develop, write, and publish, won the prize for History. Upon receiving the Vine Award, Chalmers revealed her purpose for wanting to publish horrifying accounts of sexual abuse and strife by Holocaust survivors: to “[tell] women’s stories so that we can honour and respect their courage and bravery in the face of the atrocities imposed on them by the Nazis.”

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History winner, Beverley Chalmers (Jorjas Photography)

The Vine Award for Poetry, which is only awarded every three years, was given to Daniel Goodwin for his text Catallus’s Soldiers. When accepting the award for his collection of poetry, Goodwin discussed his role within the Jewish literary tradition, and was eloquent in his description of poetry as, “one way of making sense of the short, mysterious, wonderful time we each spend on this planet.”

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Poetry winner, Daniel Goodwin (Jorjas Photography)

Last, but not least, the award for Children’s/Young Adult literature went to Emil Sher for Young Man with Camera, a novel that chronicles a young boy’s moral dilemma in confronting bullies.

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Children/Young Adult winner, Emil Sher (Jorjas Photography)

As Sher articulated in his speech, “[w]e live in a fragile, fractured world that is in constant need of healing, and literature has always been a singular balm that can help restore our broken selves, redress wrongs that leave deep ruptures, and reimagine what we may yet become.” In this vein, the Vine Awards’ four-month-long journey concluded as a reminder of the hope that literature can bring to communities, and the value of recognizing great literary works.

– Posted by Emma Hoffman | November 2, 2016

Scans & Transmissions

Scans + Transmissions: A Collaborative Student Art Project was created by two classes of grade 5 and 6 students from Rose Avenue Public School and Paul Penna Downtown Jewish Day School in Toronto, from April 4 and May 2, 2016. The intention of the project was for students from the two schools to share and exchange cultural explorations and interpretations in dialogue through the arts. This is the second consecutive year that the two schools have participated together in a program at the Koffler.

Inspired by the Koffler Gallery’s Spring 2016 exhibition Raymond Boisjoly: Over a distance between one and many – which addressed discourses surrounding Indigenous art practices – students participated in workshops over a four week period. Throughout the process, they explored concepts of cultural transformation, ritual and tradition through a contemporary lens, the importance of diverse voices, self-expression, and cultural and narrative appropriation. The program was also created for students to explore the artistic relationship between images, text, objects and stories.

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Students participating in an activity at SKETCH Studios

During the first of a series of three workshops that Koffler Staff conducted in both classrooms, students were invited to engage with Over a distance Between One and Many and to consider the significance of re-appropriating histories through creative art practices, a theme that is prevalent in Boisjoly’s work.

Students were also asked to bring an object to the first workshop that was significant to them and share it in a discussion with the rest of the class. Just as Boisjoly used a flatbed scanner to capture and distort the images featured in his exhibition, students’ objects were scanned in colour; the scanned images were then used to inform their discussion during the workshops.

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A scanned image from a student at Paul Penna

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A scanned image from a student at Rose Ave.

During the second in the series of in-class workshops, students received the scanned images from the other class. Students were then asked to unpack their assumptions about the particular image and to write a haiku poem about what they thought the image might represent. They were also asked to respond via haiku to their own scanned images.

In the third and final workshop, students engaged in a process inspired by Boisjoly’s method of selection for the text that is adhered overtop each image in the installation. Students were asked to re-write their haiku into a grid of squares with no spaces and then were encouraged to select two or three words that they interpreted as best representing their object.

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A student’s haiku

On Monday May 2, 2016, students and teachers from Rose Avenue and Paul Penna finally met in person to celebrate and discuss their participation in the Scans + Transmissions project and to complete their works that would be installed outside Artscape Youngplace.

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Students in the gallery learning about Raymond Boisjoly’s Over a Distance Between One and Many

After playing in Trinity Bellwoods Park, students were invited to SKETCH Studios to present their final image to the rest of the group. To distort the original scanned images even more, Koffler Staff inverted the images to black and white, creating negatives from positives. The images were then mounted onto separate wooden panels in a grid formation for final installation.

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Students sharing the significance of their images with the group

Students shared the personal significance of their images, while those who wrote about the same object shared their initial assumptions, observations and insights. After presentations, students participated in creatively annotating their own image with one or two of the words selected from the haikus they had written.

 

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Students annotating their images

The panels were then displayed outside of Artscape Youngplace as a public installation. Koffler Staff will also be creating a book as an archive of the project, and for students to keep.

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Students and teachers from Paul Penna Downtown Jewish Day School and Rose Avenue Public School