WEBr

STAY-AT-HOME WEB RESIDENCY PROGRAM

April 29, 2020 – May 29, 2020

Over the course of five weeks, Calla Durose-Moya, Jay Havens, Erin Gee + Jen Kutler met weekly over the internet alongside the Knot’s Artistic Programmer Anyse Ducharme in order to discuss their artistic practices. Reading and media discussions were had throughout, alongside studio visits with local and national scholars, curators and artists.

The artworks that resulted from this web residency program were exhibited in a virtual vernissage on May 28, 2020. 

ABOUT THE ARTISTS

Calla Durose-Moya

Calla Durose-Moya is interested in examining themes of improvisation and scripting that manifest in choreographic forms. Calla’s practice, past and present, is focused on a dialogue between processes of the materiality of the medium, and the corporeality of presence.

my friend, the don valley (2020)

my friend, the don valley (2020) investigates Durose-Moya’s relationship with the Don Valley as a site of Symbiotic Culture Of Being and Yearning (SCOBY). Together, the Don and Durose-Moya explore queer possibilities of co-parenting through transforming shared natural, urban, and industrial environments via Zoom.

Jay Havens

Jay Havens is a two-spirit multidisciplinary artist of Haudenosaunee-Mohawk and Scottish-Canadian ancestry. He produces large scale installations for many different types of situations such as public performance, mural making, and works for display in galleries and museums.

Presence (2020)

During isolation Havens has been experimenting with new digital mediums through an examination of Indigenous Resurgence after the flashpoint of the 2020 Wet’suwet’an crisis.  Untitled Isolation tests (2020) reflects on being witness to continuing colonial violence through the lens of social media and the window of digital devices.

Erin Gee + Jen Kutler

Erin Gee and Jen Kutler are composers and artists who have never met physically, who are now using telematics and the mail to collaborate across the US/Canadian border. Co-constructing instruments for digital music as tools for reconfiguring human embodiment, the artists are materializing queer and feminist quantification through instrumentalized affect and touch.

Presence (2020)

In Presence (2020), Gee and Kutler use verbal suggestion, biosensors and transcutaneous electrical pulses as technologies that allow for touch at a networked distance. Instrumentalizing their bodies, the artists trigger one another through a sonic/haptic/physical feedback loop to create harmonic structures of affective telematics and togetherness via audio and video.