Fiona Annis in Quebec City

Screen Shot 2017-11-09 at 2.28.49 PM copy © Fiona Annis

Please join Cluster Member Fiona Annis for her exhibition Mormorii at Galerie Des Arts Visuels in Quebec City, from November 9th to December 16th, 2017.

√Ä l’invitation de la Galerie des arts visuels, Fiona Annis poursuit le projet Mormorii, amorc√© en 2016 √† l’occasion d’une r√©sidence au centre Rad’art, en Italie. La pr√©sentation de Mormorii s’inscrit dans le cadre d’une suite de projets pr√©sent√©s √† la galerie et portant sur l’oralit√©. L’artiste amorce en effet en 2016 une collection de berceuses dans le village de San Romano, avec la participation de la communaut√© qui l’accueille. Des berceuses comme autant d’incantations, de paroles r√©p√©t√©es, de rythmes hypnotiques, transmises de g√©n√©ration en g√©n√©ration, mais dont l’origine nous est souvent inconnue. Elles appartiennent √† une¬†tradition le plus souvent orale et f√©minine. On en fait l’exp√©rience dans un contexte tr√®s intime, mais elles constituent un patrimoine immat√©riel largement partag√©. Les berceuses repr√©sentent pour l’artiste le v√©hicule privil√©gi√© d’un passage du monde conscient √† l’√©tat de r√™ve, d’un changement d’un niveau de conscience, d’un acc√®s √† la magie.

La poursuite de cette captation t√©moigne d√©sormais d’une diversit√© de langages et de cultures. L’exploration des r√©sonances et des rythmes, qui √©mergent de cette multiplicit√©, semble infinie. On saisira que la voix constitue la mati√®re premi√®re de cette Ňďuvre. Dans l’espace de la galerie, elle voyage d‚Äôune source √† une autre, comme les berceuses sont transport√©es dans le temps et l’espace. S’engage alors une √©coute, une participation intime du visiteur, entour√© par un essaim de voix dans une exp√©rience spatiale, auditive et visuelle.

L’artiste et la galerie tiennent √† remercier Avatar pour sa pr√©cieuse collaboration au projet. Merci √©galement √† Rad’art et La Chambre blanche qui, gr√Ęce √† leur programme d’√©change, ont permis cette exploration.

Fiona Annis vit et travaille √† Montr√©al. N√©e √† Glasgow (√Čcosse), elle fait ses √©tudes de ma√ģtrise √† la Glasgow School of Art (2008) puis entreprend un doctorat en pratique des arts √† l‚ÄôUniversit√© Concordia (2014). Signalons plusieurs expositions collectives: Intimacy: Across Digital & Visceral Performance, √† la Goldsmith’s University (Londres, 2007), UVP Worldwide, √† la Lowsalt Gallery (Glasgow, 2008), Imagining Science, √† l’Art Gallery of Alberta (Edmonton, 2008), Still Life?, √† l’AC Institute (New York, 2012), ABC: MTL, au Centre Canadien d’Architecture (Montr√©al, 2012). Elle expose seule au AKA (Saskatoon, (2012), au centre VU Photo (Qu√©bec, 2014), √† la Gallery 44 (Toronto, 2015), √† Ace Art (Winnipeg, 2015), √† Plein sud (Longueuil, 2016). Ses projets ont √©t√© publi√©s dans divers magazines tels que Public: Art/Culture/Ideas, BlackFlash Magazine, Front: Contemporary Art & Ideas et dans le catalogue Imagining Science (University of Alberta Press). Ses Ňďuvres font partie de la collection du Mus√©e de la civilisation (Qu√©bec) et de la Penumbra Foundation (New York). Fiona est co-fondatrice du collectif La Soci√©t√© des Archives Affectives avec V√©ronique La Perri√®re M. Le collectif, qui s’est associ√© l’artiste Nadia Myre, a d’ailleurs √©t√© choisi par la Ville de Montr√©al pour la r√©alisation d’un projet d’art public √† grande √©chelle, L’√©treinte des temps, sur l’un des trois sommets du Mont-Royal √† Montr√©al.

For details and location click here.




The Post Image Cluster¬†would like to¬†congratulate Concordia MFA Graduate, Aanchal Malhotra on her bestselling book ‘The Remnants of a Separation’.


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“Remnants of a Separation is a unique attempt to revisit the Partition through objects that refugees carried with them across the border. These belongings absorbed the memory of a time and place, remaining latent and undisturbed for generations. They now speak of their owner’s pasts as they emerge as testaments to the struggle, sacrifice, pain and belonging at an unparalleled moment in history. A string of pearls gifted by a maharaja, carried from Dalhousie to Lahore, reveals the grandeur of a life that once was. A notebook of poems, brought from Lahore to Kalyan, shows one woman’s determination to pursue the written word despite the turmoil around her. A refugee certificate created in Calcutta evokes in a daughter the feelings of displacement her father had experienced upon leaving Mymensingh zila, now in Bangladesh. Written as a crossover between history and anthropology, Remnants of a Separation is the product of years of passionate research. It is an alternative history of the Partition – the first and only one told through material memory that makes the event tangible even seven decades later.” Amazon

For Aanchal’s description¬†in CNN Arts,¬†click here.

For a Huffington posts review, click here. 

To purchase on Amazon, click here.



Claxton © Dana Claxton


The Post Image Cluster is pleased to present an artist talk by Dana Claxton. Join us 12pm to 1pm, Thursday, Oct 12th, 2017, in the Milieux Resource Room, 11.725, 1515 Saint-Catherine St W. For more details, click here.

Dana Claxton is a critically acclaimed exhibiting artist and film/videomaker. She is recognized as a leading Lakota First Nations contemporary artist and cultural liaison in Canada and the United States. She works in film, video, photography, single and multi channel video installation and performance art. Her practice investigates beauty, the body, the socio-political and the spiritual. Her work has been shown and collected internationally. She has received numerous awards including the VIVA Award and the Eiteljorg Fellowship. She is an Associate Professor in the Department of Visual Art, Art History and Theory at the University of British Columbia.

Claxton was born in Yorkton Saskatchewan and her family reserve is Wood Mountain, Lakota First Nations located in Southwest Saskatchewan.  Her paternal Euro-Canadian Grandmother taught her how to harvest and preserve food and her maternal Lakota grandmother taught her to seek justice.

¬†‚ÄúDana Claxton‚Äôs work is aesthetically innovative, brilliantly written and expertly paced. The thrust of her practice is political, spiritual and social, making it an essential contribution not only to the field of media art, but generally, to a more honest sense of history.‚ÄĚ Jason St. Laurent, 2002

Post Image Cluster Presents: Pippin Barr in the Elevator Gallery!

pippin©Pippin Barr


Join us to celebrate our  inaugural exhibition, featuring the work of Pippin Barr!

Vernissage: Thurs Oct 5th , 12pm to 1pm, ground floor of the Concordia EV Building, in front of Fine Arts passenger elevators

Pippin Barr is a video game maker, educator, and critic who lives and works in Montr√©al. He is a prolific maker of videogames, producing games addressing everything from airplane safety instructions to contemporary art and has collaborated with diverse figures such as performance artist Marina Abramovic and Twitter personality @seinfeld2000. Pippin is a well-known figure in the independent games world, serving as a judge or juror for many festivals, and his games have been covered in publications from the New York Times to Slate to Kotaku. He is an Assistant Professor in the Department of Design and Computation Arts at Concordia University, the Associate Director of the Technoculture, Art, and Games (TAG) lab and a visiting lecturer in the Institute of Digital Games at the University of Malta. He holds a Ph.D. in Computer Science from Victoria University of Wellington, New Zealand on the subject of “videogame values.” Pippin also writes a blog of game and game design criticism at and his book, How to Play a Video Game, introduces the uninitiated and culturally curious to the world of video games.

For more of Pippins work, click here.



POST IMAGE CLUSTER PRESENTS – The Launch of the Elevator Gallery!


Elevator Gallery, Concordia University’s newest, most mobile and smallest exhibition space is pleased to announce its first open call for proposals.

Located in both passenger elevators of the EV building (Faculty of Fine Arts side) the Elevator Gallery’s exhibition space is comprised solely of two small frames located near the doors inside each elevator cabin.

Proposals may be either image or text, or a combination of both. Faculty, staff, and students and alumni at Concordia University are encouraged to submit proposals that will be installed in the elevators for two week cycles throughout the fall term. A second call for proposals will be held for the winter term exhibitions.

Elevator Gallery is an initiative of Post Image, a research cluster at Concordia University’s Milieux Institute for Arts, Culture and Technology.


October 5 from 12 to 1, outside the elevators on the ground floor of the EV, Fine Arts side.

Submission Guidelines

Proposals may be either image or text, or a combination of both.

Applicants may propose to use each of the elevators differently, or to submit a single image or text for both elevator cabins.

Visual proposals could take the form of graphic design, reproductions of photographs, drawings, prints or paintings etc.

Purely text based submissions of poetry, manifestos, or very short essays and stories are welcomed.

Please note that the Elevator Gallery cannot ensure that works installed in the gallery will remain undamaged, so original artworks are not be accepted .

Only individuals whose proposals have been selected for exhibition will be notified.

Elevator Gallery will print and install selected projects. No fees or reimbursements are provided.

What and how to submit

Email your submission to no later than Friday September 29th at 5:00pm.

All artwork must be two dimensional and require no electricity.

Artwork is to be submitted as an attachment to your submission email at the following dimensions: 12cm x 12cm JPEG @72dpi.

Files should be labeled using the following naming convention: Lastname_Firstname_1.jpg , Lastname_Firstname_2.jpg

Text submissions are limited to 75 words or less per elevator.  Text submissions should be placed in the body of your email submission. Do not submit Word doc. attachments.

Expanding Cinema Study Day at the MAC- with Monika Gagnon

This program of events is presented by CINEMAexpo67, the Mus√©e d‚Äôart contemporain de Montr√©al and the National Film Board of Canada around¬†Expanding Cinema: Original Films from Expo 67¬†(September¬†12 ‚ąí October¬†1), a series of screenings in connection with the MAC exhibition¬†In Search of Expo 67¬†(June¬†21 ‚ąí October¬†1). The immersive projection¬†Expo 67 Live¬†will be presented by the NFB on the Place des Arts Esplanade from September 18 to 30.

Join Cluster member Monika Gagnon for the Expading Cinema Round table, Sept 28th from 2 to 5.

For a full schedule of events click here.



Next Week – Jessica Auer in ‘Imagining Iceland’, and ‘The Longer Moment’, featuring Velibor BoŇĺovińá, Jinyoung Kim, Thomas Kneubuhler and David K. Ross.

On Sept 20th, ¬†join Cluster Member Jessica Auer at¬†this interdisciplinary roundtable. ¬†Alongside Auer,¬†Matthew Anderson (Theological Studies), ¬†G. Scott MacLeon (MA, Art Education) and Kathleen Vaughan (Art Education), ” will present their own work and then together take up questions of the complexities and joys of working in Iceland.” A¬†group discussion and reception to follow. For more information click here.

vaughn © Kathleen Vaughn




Coinciding with the exhibition “The Long Moment”, Patrick Mikhail Gallery presents the video works of¬†Velibor BoŇĺovińá, Jinyoung Kim, Thomas Kneubuhler and David K. Ross. Join them Sept 21st for ” Le plus long moment “.¬†For more information click here.

Screen Shot 2017-09-14 at 2.31.35 PM © Jinyoung Kim 2017

Thomas Kneub√ľhler at Panńćevo Film Festival / Serbia

Cluster member Thomas Kneub√ľhler presents four videos at the Panńćevo Film Festival (Serbia), in the programme “Shimmering Beasts / Nouvelles exp√©riences”. ¬†Curated by Neil Young, the screenings take place Sept 7th and Sept 9th. For more information¬†click here.

Thomas¬†¬© Thomas Kneub√ľhler