Front Magazine September/October 2008

CONTEMPORARY ART AND IDEAS

S E P T E M B E R / O C T O B E R 2 0 0 8

PM

40

01

58

09

ww

w.f

ron

t.b

c.ca

SINGLE ISSUE PRICE CAN $3.95

TOLERANCES

A MIRRORED INTERVIEW BY NHAN DUC NGUYEN

OLYMPIC TOLERANCES:THE NEW DISCIPLINES

CONTENTS

TOLERANCES

REPEATABLE

DEPARTMENTS

6 FOUND AND RECENT

6 PUMP, BY IGOR SANTIZO

7 THE HOMELESS DOCUMENTATION KIT

8 CORRESPONDENCE

27 SPECIAL SECTION:WESTERN FRONT PROGRAMME EVENTS

42 THE FRONT ADVERTISERS’ CALENDAR

26 SWEDE THE CARPENTERBY ELIZABETH FISCHER

DOG FOOD LULABY SHELSEY HAINES

FRONT magazine is a journal of contemporaryart and ideas. It is published five times a yearby the Western Front Society PublicationsProgramme. Views expressed in front arethose of the individual editors, writers orartists. Images and text remain the propertyof their respective copyright holders, and alldata is protected according to the terms ofCanadian privacy legislation. FRONT alwaysinvites letters and submissions,in electronicform, or hardcopy. Please do not send originalwork, since we do not return submissions.

PAGE 2, FRONT, SEPTEMBER | OCTOBER 2008


UPCOMING NOVEMBER | DECEMBER 2008:FINDINGS

EDITOR, ART DIRECTION & DESIGNANDREAS KAHRE

MANAGING EDITOR &PRODUCTION MANAGEMENTLEANNE JOHNSON

PRODUCTION INTERNAMY SCOTT-SAMUEL

SUBSCRIPTIONS & MAILINGDEMIAN PETRYSHYN

DISTRIBUTIONLEAH HOKANSONMAGAZINES CANADA

FRONT MAGAZINE303 EAST 8TH AVE.VANCOUVER, BC, CANADA, V5T 1S1PHONE: (604) 876-9343FAX: (604) 876-4099VOICEMAIL: (604) 878-7498EMAIL:[email protected]: WWW.FRONT.BC.CAPRINTED ON 10% PCW PAPER BY RHINO

SUBSCRIPTIONS$18/YEAR ($40 INSTITUTIONAL)$40/YEAR TOGETHER WITHWESTERN FRONT MEMBERSHIPSINGLE COPY SALES PRICE: CAN $3.95PRODUCED WITH SUPPORT FROM

VOLUME XIX, NUMBER 4SEPTEMBER | OCTOBER 2008ISSN 1187-5267PM 40015809

Tolerances

COVER

WHEN IS ENOUGH ENOUGH—OR IS IT EVER? NESTLEDBETWEEN THE MAXIMUM ALLOWABLES AND A BAD CASEOF FRICTION FIT, THE TOLERABLE USUALLY EMERGESONLY ONCE WE HAVE GONE BEYOND WHAT FLESH ANDBLOOD CAN STAND. THE QUESTION THEN IS: HOW MUCHIS TOO MUCH? MIND THE GAP.

DOG FOOD LULABY SHELSEY HAINES

FRONT, SEPTEMBER | OCTOBER 2008, PAGE 3

Tolerances

FEATURES

Artists Projects

Images

DRAWING

5 CONVERSATIONS W/DEEP TISSUEBY LEE HUTZULAK

PHOTOGRAPHY

2 UNTITLEDBY BYRON BARRETT

44 UNTITLEDPHOTGRAPHY BY JEFF OTTO O’BRIEN

ASSEMBLAGE

10 AND SO IT’S NOW WE CHOOSE TO FIGHTBY CHRISTOPHER OLSON

20 THE WORLD OF NO PLACE

BY PENNY LEONG BROWNE

25 CANNIBAL HOLOCAUSTBY JEREMY TODD

Text

FICTION

11 STAR WARSBY KIM GOLDBERG

18 PHOTO BOOTH

BY CHRISTINE LECLERC

19 THE INVESTMENT

BY SANDRA YUEN MACKAY

INTERVIEW

12 COMPONENT ENVYAN INTERVIEW WITH DARSHA HEWITT,

Shelsey Haines writes: “10 years ago, I found a dusty old Pentax than came the Canon FTB and I was hooked I carried on to study mainly black and whitephotography and night and low light photography later becoming a media/newspaper freelance photographer with assignment,commercial and otherfreelance work. Relying on the beauty of mother nature, intuition, imagination and and using only the light provided in that environment helps create asome what fun , surreal and sometimes dark captivating image that I like to call my own.” Shelsey is from Calagary and now lives in Salmon Arm.

Page 16


NEXT:NOVEMBER/DECEMBER 2008FINDINGS

SUBMISSIONS DEADLINE: September 15ADVERTISING DEADLINE: October 15CALL 604.876.9343E-mail: [email protected]

UPCOMING:JANUARY/FEBRUARY 2009: PROPERTIESSUBMISSIONS Deadline: September 15ADVERTISING Deadline: October 15

for submissions details, visit our website atwww.front.bc.ca Photo by Zy-Xin

Outside there is a wilderness

Outside there is a wildernessand one inside too

left alone by civilizationtoo dangerous for an invitationtoo direct for polite conversation

The baring of teeth is not a smile

greetings are battle cries

no culture here

only force, trickery and theft.

No servitude, but to the nature of things(mother nature has no kindness in her eyes)

We have become wild-eyed and present

We hold words in the back of our throatWe hold actions in the back of our step

We sit right next to you and we are countries apart.

ARTISTS PROJECT


TolerancesAnne Palmer is currently an undergrad at Emily Carr. Who currently enjoys text based photography work as well as raucous parties where people get toodrunk (but no one gets hurt). In addition to her plethora of amazing qualities, she is a modest person. Her favourite word at the moment is “Chawesome”.

Wildernessby Anne Palmer

, FRONT, SEPTEMBER | OCTOBER 2008

ARTISTS PROJECT | ASSEMBLY

Tolerances

Kiss Bulletsby Mimi Law

1. Kiss Bullets 1,

Found bullet shells, sculpey, 2008

2. Kiss Bullets 2,

Found bullet shells, sculpey, 2008

Mimi Law is a Vancouver-based mixed-media artist.

Tolerances


FOUND & RECENT

Above: Michael Moore’s website offers a graphic representation of what are referred to as ‘excess deaths’ by the Bush administration—and all of whom, curiously, appear to be African–American males.


Tolerances

FOUND & RECENT

21st centuryOlympicdisciplines

Design Student Fabian Braun created a series of new “Olympic disciplines” as part of his final project at Bauhaus University Weimar. Theseinclude (clockwise from top right: The Timed Dive, the 72 hour Suspension, The Shardwalk, Passive Boxing, and the Shock Relay. For moredetails (in German), please see www.spiegel.de/fotostrecke/fotostrecke-34480.html

by Fabian Braun


Tolerances

IMAGE | PHOTOGRAPHY

bushrag [2007] is from "The Paris Primitif Project" ZY-XIN scavenges for street ephemerae with her teeny camera... zy-xin.blogspot.com

bushragby Zy-Xin


Tolerances

We do not often speak of the head as if it were at a height—we do not often whistle

at the drop from up there. But then, we have all seen the elderly trip, and know that

skulls can come down like sledgehammers. We know, too, that sledgehammers begin

to be useful from about the height of the knee.

That we stand up and think so little of it is a sign of an irreducible pride—

of the neurological depths in which cartoon bipedalism snags our collective phantasm.

Sure, we loudly venerate our dancers and athletes, but this veneration is overeager.

It belies the unaccountability of our shared uprightness—fails to note the freakishness

of the ease with which most of us get about on two feet.

How did we become upright, and how have we maintained ourselves on

high? We do not know. Plausible accounts are forever at the ready, but none of them

finally penetrate the hypnosis that walking tends to entail. Most walking is indeed

sleepwalking—the involuntary, sourceless travel atop which we hallucinate ourselves

captains.

It has come to mean everything, whether we stand or fall. We speak of gaits

as if they were philosophies, and stances, as if they were moral schemata rooted in

the soul. We ask, when faced with all the inclemencies of our being here, whether we

can stand it. We route the question of endurance through the legs, asking whether the

news, the pang, the blow can be tolerated on the feet.

How do we stand it? Here, I would not question the physics of bipedalism,

but its theatre. Several times I have been asked to sit down for terrible pieces of news—

more as a dramatic exigency, I feel, than as an actual precaution. This is worth noting.

I am still young, and can reach about myself for railings and walls. I can still break my

falls. Not, mind you, the way one breaks horses—I cannot break their spirit. But I do

not trip without my arms going out.

I appreciate this convention; that I should sit for terrible news—that I should

be expected to go lax as the world falls apart. In such moments, I am understood to

be human—and, what is preciously rare, no longer in possession of standing. If standing

and walking are of the human essence, then never am I more so a human than when

my head is loosed from the facial plane, and the ground suddenly rears up. When a

chair or a bed is indicated, and the hypothesis of my falling is suggested—then standing

is mine to throw away, mine to quit. Then gravity is mine to will.

Our species is fond of company. We invoke no higher ideal than to stand or

to fall in common. And yet, though we pledge version after version of togetherness,

our fundamental interconnectedness is most profoundly disclosed involuntarily. I am

thinking of my sister, who compulsively hobbles if, on a walk, the conversation turns

lurid. I am thinking of the contagiousness of yawns. Some of us believe our physiological

sympathies are confined to the tear ducts, but this is absurd. There is nothing rare

about stigmata, locomotive or otherwise. Stigmata is the norm, the essence of the

human. Our whole flesh and posture. What we take, we take together—even, and

especially, as awareness fails us. We stand this world per force.

Standing Itby Dylan Godwin

Tolerating the act of being appears simpleenough, at least until one examines the givens.Then it may become apparent that some, ifnot all of them, require more leeway than wemay be prepared to afford them. Collectivityonly compounds this condition.

TEXT | FICTION

ARTISTS PROJECT | REPORTAGE

Kim Goldberg is the author of Ride Backwards On Dragon and other books. She is currently being held hostage in a Scrabble factory whilefellow poets raise her ransom.

This is theHouseby Kim GoldbergIf tolerance is a measure of the abilityto be subjected to cognitive dissonancewithout resorting to violence, thequestion arises whether it is an infiniteor in fact a finite resource.


Tolerances


Tolerances

Tolerance operates in time. As

such, it may be exercised in

response to an action which has

taken place in the past, or it

may be deployed pre-emptively,

anticipating that an action

which demands tolerance will

be taking place in the future.

Barbershopby Christine Leclerc


Tolerances Christine Leclerc is a Vancouver writer. She has contributed previously to FRONT

TEXT | FICTION

There’s a fly

on the hand towel. You’re

next, but you sit

as milk is delivered

at the back of the store

next door.

Bottles knock.

But no one knocks at the bathroom.

The barber sweeps

up as the last guy leaves.

Chevy Chase, Chevy Chevy Chevy Chase, Chevy Chase,

Chevy Chase.

You’re up for it!

Isn’t it a terrible feeling?

You’ve hurt the inside of your body

with stomach acid.

If you hear what is being said

(which, how could you, because it has not been said),

you know the depth of censorship.

The time is: free speech but not free action.

So, of course, it is quite easy

to speak of it as we stand

beyond the shadows cast

by the trees that line the boulevard.

BARBER

Say, look Billy.

Here comes the vote collector.

Shame he always seems ta

take yers

while yer

getting yer hair cut.

You’ve really hurt the inside

of your body with stomach acid.

It seems that time can be buried in pillows.


Tolerances

Youth is not the timefor irony

And it’s hard to BE HERE NOW

because to BE HERE NOW is to

kick time out of the front-most part of the frontal lobe where

time

tells you what kind of haircut—

BARBER

Why, that’s a nice watch you’ve got there.

He learned to tell time by sitting next to his mother on a tweed

couch. [wrappable]

They looked at the alarm clock

on the third shelf

of the three-piece

vinyl laminate wall unit

together. She said: Every number is one hour. But it is also two

hours, and five minutes.

This is where the confusion started.

For many years, all Billy could think was:

BILLY

My name is Billy, and I thought I liked pop tarts

for a long time.

I haven’t had a pop tart since ‘91,

and do not own a toaster.

Also, I loved the rhinestones in the eyes

of my sister’s green unicorn,

just like they said I would. I loved them.

Those weird

little rhinestone eyes.

What is play, when the plaything is not played into being?

[wrappable]

Youth is not the time for irony.

Golf, and a woods-for-a-while upbringing.

Billy is like a pop tart looking for love. He needs a new filling.

BARBER

(Sleezily) Vote like this an’ I’ll thin the top. Vote like that

an’ I’ll cut yer bangs off.

He knew someone who preferred a good haircut.

He preferred a good haircut.

He just preferred a good haircut, okay?

Billy looked from his mother to the alarm clock.

Mother.

Clock.

Mother.

Clock.

His mother gave him a watch for his birthday.

And Billy went this way and that.


Tolerances

...a yoke of non-pessimism.

In Defense ofNeglectfulness

by Annika Hagen

Tolerance, curiously, is both transitive and intransitive,inasmuch as to tolerate the operations of the self is totolerate another, which can become, on occasion at least,quite intolerable.

Why the impulse has fallen on this non sequitur day in my life,

to stand on shaky, drained legs and stutter toward the permanence

of the word & its reflective self-awareness, I cannot conclude. But

finally I find myself here in a doorway that has been left open for

months. Until now I chose to sit in the dark of non-expression,

watching months pass by like gasping wet eels across gelatinous

pavement; snagging a gill now and then on sharp objects left in

the street. Do I spend the next 45 pages then, trying to recant

moments that I deliberately, or out of human error, did not write

down on the day? Do I care that much about what has past and

is therefore non-existent & impertinent? I can only say in my

defense that I have been unruly & unwilling to cooperate with

myself, my own best interest ignored like a thought that invokes

nausea. It's this nausea which so often drowns me in defeat.

Weighted down in pools of my own disinterest. My retaliation

swims to the surface of incessant social interaction like a double-

edged sword. Splitting the seas with laughing and drink.

My raised glass fills my lungs with apathy.

But if ever an apathy could be brim with another emotion, for me

this has been a curdled joy. A pleasure smirking with betterment.

Never so fatalistic as in old eons of youth & despair. My frustration

often now stronger & more hard-boiled but with a yolk of non-

pessimism. And I say non-pessimism, and not optimism, as the

word optimism reeks of dead babies. Whether there are babies

to consider, I've come to terms with their mauling. I know they

are not fresh and plump with rosy potential. Potential perhaps,

but hardened by earth and more of a steeped charcoal in hue;

and so warm from gleaming in the fire. It's there that I've been

basking; in the kiln of 'the here & now'. Consciously avoiding the

throes of my written fabrications. Creating a service for my over-

worked, hyper-emotional self and yet leaving my neglected talent

to drain its functions into a rusting bed pan. The life-support of

my overextended social life leaves no written insight but relieves

itself through a catheter that recycles the stream of denial.

The good news is that I harbor no remorse. I have enjoyed myself.

I have let myself run amok. I have even tossed myself into a

balance that sometimes feels like denial but most often refreshes

that which once festered as despair. I am now giddy in my beaten

rejuvenation. I have spoiled & scarred and overcome the worst

of my inner demons. But I've not let them take me down. That

through the madness of my recent year I have no documentation,

that I have no regrets and that I can now put pen to paper eluding

the pain of its permanence, I rejoice. And plunge back into the

heart of it with daggers drawn and appendages unfurling on to

the battlefield, like fertilizer for the dead.

There will be a minor flaw in the way the air tastes when I read this

back to myself. Bitter and unconditioned. For this speculation alone,

I have not returned to the page in what seems like years. Maybe it

has been years. Maybe I have let myself slip. I have avoided this

confrontation for many months now. Leaving whole lifetimes of

change and experience to lay waste in dank passageways, covertly

averting their potential stench. No matter how fresh the thought or

day has been in my awareness of it, I've subconsciously stifled its

daily chances at fruition. What sort of nihilist have I become? Cold

& impersonal, in denial of my own humanity. But I have survived my

own travesty. I have kept some part awake in a cellar below. And for

what reason it has found light today, of all days? I cannot be aware

of responsibility. There was no diligence involved. No amount of

necessity either. There is only the natural escaping of gases from a

surrendered corpse. The eminent smell now staining these pages.

Annika Hagen is a Vancouver-based writer.

TEXT | FICTION


Tolerances

IMAGE | PHOTOGRAPH

by Fabian Braun

Above: Dr. Daniel de Jesus, by Colleen Baran,


Tolerances e k rzepka can be found at www.x-o-x-o-x.com

author = e k rzepka

4 Tolerances

TEXT | ASSEMBLY

1. wittily and sporadically

the mutiny gas hepatica fictive — profligate

bisectional — profligate (escalate)

the moveable strope

ripen - reciprocate

the sardonic inclusive

2. idealism: issuance.

sinistral disbar (smoke)

the smoke rings travel up to the ceiling

executable tramlines

slightless

stupidly abscessing - electroplates - preexposed (before) comprehended (as pecked)

the engraft chafe tarting

panned to the other admiration

(when as lotikaya unsexed the whittled wood statue

the speech for the bluebonnet

timesharing leisure

how pshaw conversed, committed

trapping dredged

utahan trapping dredged hippodrome and engrafted telemachy

the remembrance of the forest dwarf whose grim tale issuance purveys disenchant

diminutive idealism of the small-starting septuagentisna

when septal veins wrote the executable

and stories of bluebonnets and animal encounters

nature parochialism of fixate, smoke

disbar calligraphic


Tolerances

3. kishka limelight

proportionate lameness furrows the aciduous stymied

(echoey, plink.

hazy contour

derived from idle hours, the delimited embowelment

overscrupulous

4. tincture

tincture disagreed

cruelness. plunked, toeless - the focus and infatuation. the effective dancing retrieved into widescreen.

navigation. chrome uncased (hearkens to severing)

(to lucent)

"decontamination"

"the fetched, pervaded"

"songbooks"

"effective swoon"

TEXT | POETRY

We hate summer pears and this is

an opinion I’m having.

Why do we have to talk

about her so soon

after her death.

“Humid”—such words exist.

I enter her book, a kitchen—

I have always been

friends with rooms

like this. Maybe she was one

of the girls with painted arms

in the poetry class.

Made her a talisman

so many times in my mind.

Now we are on a beach.

Our pens keep running out.

I saw her walking, and then, running.

That’s how I knew

it was a bus.

She didn’t catch it, waving

as she was to the moon.

by Jen CurrinAugust


TolerancesJen Currin is a Vancouver-based writer


TolerancesMargot Leigh Butler truly thanks Kate Hammett-Vaughn, Carol Sawyer, DB Boyko, Christine Duncan, and the VOXYmusic’s vocalists andworkshop facilitators. As an installation artist and educator, her work focuses on implicatedness, on how we are part of and entangled inways of being which matter. Most recently working with sound, for the NOW Orchestra Workshop Concert in December 2007 she wrotean improv score to accompany her film “ ‘Other’ Honey” about bees which pollinate flowers growing on the Pickton farms.

ARTISTS PROJECT | SCORE


Tolerances


Tolerances

ARTISTS PROJECT | INTERVIEW

by Nhan Duc NguyenLao Oi, Lao A(O Ancient One…)CHAT VICTORIA is a series of questions on food, nation and citizenship,

Victoria’s best kept secrets, musings from the famous, saints, school

children, pundits, artists and the Prime Minister of Canada. The texts

were sent in by participants, or gathered from publications, or have

been transcribed by him from a series of interviews in Victoria during

a residency at Open Space. For more information, please see

www.onedge.tv/20th/94_temple.html

Born in Qui Nhon, Vietnam Nhan Duc Nguyen immigrated to Vancouver in 1976. Revitalizing traditions of his heritage, Nguyen uses shrinesincorporating the importance of food as a hybridized and fluid cultural form. Assemblages of cultural relics, automatic writings, and offeringssit in the context of contemporary art, drawing connections among the ephemeral nature of worship.


Tolerances

Is Canada the first post-modern state?

What is postmodernism?

Does postmortem-ism applicable to talking heads and punditsas well as polls and politicians?

Is our multiculturalism shallow?

Are collective rights cultural absolutism are really moreconcerned with achieving certain unrealistic outcomes ratherthan anything to do with the rights, freedoms, andopportunities of individuals?

Is culture life? Is it a living, breathing, multi-faceted entity inconstant evolution? Does it alter everyday?

Is the view of Canada as an influential nation riding on thecoat tails of past policymakers?

Is the world ruled by letting things take their course?

Is the belief in progress a doctrine of idlers and Belgians?

Is seriousness only the refuge of the shallow?

If the fool persist in his folly, would he become wise?

Is the aim of a joke not to degrade a human being but toremind him that he is already degraded?Does Canada have a responsible, independent voice in globalpolitics?

Can we play the international game in our own unique styleof our land, our nation, our Canada? What does that mean?

Is every choice debatable? Every belief valid? Every opinionsound and every viewpoint equally deserving of our attention?

Are some Province's history courses bury the past in amishmash of civics, pop sociology, and English as a SecondLanguage? And eliminate anything that might offend students,parents and school trustees in an attempt to produce anairbrushed past free of warts?

How are we to judge and understand the things to come ifwe cannot understand those that have already gone?

If history matters, should it be everybody own histories thatis taught?

Can the significance of people and politics of the past becommunicated when no one agrees? Are the advantages ofour time: nothing is true, everything is permitted?

Does theatre takes place all the time? Wherever one is? Andart simply facilitates persuading one that is the case?

Can one apply art history to current issues?

Which idea whose time has come?

Why isn’t pot legalized when the majority is in favour ofdecriminalization?

What is BC biggest crop? Why isn’t it taxed?

What is relativism?

Can one successfully assert that one own version of historyis as valid as the generally accepted version, simply becauseit is one’s viewpoint?

Is there no argument that can be won or lost, due to ourinsistence on the importance of accepting the legitimacy ofdisparate perspectives?

What are our common truths?

Are you innocent until you know?

What if you don’t make jokes and just watch the governmentand report the facts?

Man, is this your greatness: Your meat is useless, your bonesdo not make ornaments, and your skin can’t be played on aninstrument?

Is Victoria steamed cauliflowers? Faintly of white sauce?

Is Victoria blamange? Correctly spiced?

Is Victoria mostly the society of indifference?

Is your daughter threatened by being in a multiple marriage?

Is land claim a matter of how much?

If context is a matter of putting things in order, doesn’tsomething always come last?

Who’s on first, eh?

Is Canada the most engaged peacekeeper?

Does Canada still distinguish itself in diplomacy?

Knowledge of foreign languages, cultures and history;analytical skills, excellent judgment refined through sustainedexperience—these are the essential ingredients... for producinginfluential diplomats and foreign-policy advisors. Is the triedand true recipe followed these days?

Are we turning diplomats into trade-promotion officers?Does it have negative implications for Canada’s influence inthe world?

Can Canadian foreign policy remain independent among ahost of influences while still recognizing the importance ofinternational cooperation?

Can Canada afford to hesitate in seeking a firm global voice?

Is history the story of our arguments?

Is that we learn nothing from history what we learn fromhistory?

Can’t a man’s worst enemies wish on him what he can thinkfor himself?

Can you behead yourself?

Is the Canadian’s military also in need of renovation?

Why art defended?

What make art educational?

Can personal identity and public identity kept separate?

Does Gordon Campbell lie but a short distance from hisethics?

Should the word majority and minority eradicated from civictalks? What would the replacements be?

Isn’t the mural in the legislative building a part of BC past?

Where are the walled off ethnic theme park of Victoria?

Where are the religious courts of BC?

What is self-determination?

What are the advantages of assimilation? Or adaptation?Which suit Canadian society most?

Why are out judges appointed?

Is The Way the other way?

Is the more the critical reason dominates, the moreimpoverished life become? Does over-valued reason havethis in common with political absolutism: under its dominionthe individual is pauperized?

What is civic culture?

What are the cultural rights of the individuals?

What is so frightening about a cultural hybrid?

Is the CBC still around?Listen with your ear? Speak without forming words? Doeslanguage turns against itself? And is likely to cause injury?

Is language a tailor’s shop where nothing fits?

Would repeating a word again and again show that withouta use in a situation it becomes meaningless?

Is language a virus from outer space?

Is not the universe made of stories, not atoms?

Has the comedy of existence not yet “become conscious” of

itself? Are we still living in the age of tragedy, the age ofmorality and religion?

If all the time I am being carried on great winds acrossthe sky, can I go about pitying myself?

If all the time I am being carried on great winds acrossthe sky, can I go about pitying myself?

What is the Void? Love it? Or leave it?

What was my fundamental face before I was born?

Would I only believe in a God who could dance?

Is that fear which first create the gods perhaps as true asanything so brief could be on so great a subject?

Is hearasay in paradox lust?

Are Love, Hate, Charity, Revenge, Humanity, Magnanimity,Forgiveness different results of the one Master Impulse:the necessity of securing one’s self-approval?

Is the Great Way not difficult for those who have nopreference?

Do students achieving oneness move ahead to twoness?

Is life is too important a thing to ever talk seriously aboutit?

What is destiny?

Do Victorians cling to Manifest Destiny?

Aren’t politicians hatched not born?

What is the actual? the factual? and the real?

Is historical fiction about spicing up the past with oneown imagination? DO ONE NEED TO BE BRAVE? Isn’tone breaking some kind of taboo by ‘sexing up’ real peoplein the real past?

Is all writing fiction?

Are spin-doctors the new millennium shamans?

What tunes are most current in Victoria’s civic operetta?

Is the rich civic and cultural standards differ from thepoor?

Where are the cultural ghettos of Victoria?

Is a good five-cent synthesis what we need?

Is the only work of art which succeeds that which fails?

Does starting a huge, foolish project, like Noah, makeabsolutely no difference what people think of you?

Does not the mad mind halt? If it halts, is it enlightenment?

Isn’t reality a figment of the known imagination?

Achieving Historical Consciousness: How Can We GetThere?

How is it possible to find meaning in a finite world, givenmy waist and shirt size?

Is history the swords of our arguments?

Can we, and do we understand history?

What about her-story? Does it matter which word to use?

Is his/her-story a lesson in truth?

What is truth?

Is it impossible to keep up, no matter how cynical youget?

With God dead, are only history and power remained?

Who is Celine Dion, eh?

by Nhan Duc Nguyen

Lao Oi, Lao A(O Ancient One…)

continued

Nhan Duc writes: “I would like to see the texts in mirror image; a reader would need a mirror to read it.”


Tolerances

Did God Made Man Because He Loves Stories?

Was Coyote, in the beginning of the world, more foolishthan he is now?

Do whales come into being because nature had a lot of extraplankton and squid? What evolutionary vacuum suckedhumans into existence?

If man created man, would he be ashamed of hisperformance?

Can you define dominion?

Is Canada a real country?

Do the Ethiopians say that their gods are snub-nosed andblack? Do the Thracians that theirs have light blue eyes andred hair?

Are Canadians godless?

Is the Lord my God a jealous God?

The world is, is that the mystical?

If you are what you eat, then why be a vegetable? Why noteat people who are smarter and better looking than you?With a side order of faith?

Are Canada’s founding principles of ‘diversity and unity’ likerecipes for making fruitcake?

Does our national symbol, the beaver, represents the groupactivity required to make and maintain a community?

Is the Vancouver Island marmot representative of Victoria’sold-boy network sensibilities?

How many marmots make a coat the size of freedom? Andfor whom?

For whom the marmot tolls?

Eight minutes passed…'85 and how many new gods exactly?

What is dignity?

Is history, like evolution, more a matter of chance than logic?

Is in singing and dancing the voice of the Law?

What if I could tell you what it means, and still want to danceit?

If the world were clear would art exist?

Is the work of art born of the intelligence’s refusal to reasonthe concrete? Does it mark the triumph of the carnal?

Must I create a system or be enslav’d by another Man’s? Willl not Reason and Compare? Is my business to create?

Is art frozen Zen?

Is this porridge too hot? Is this porridge too cold? Is thisporridge just right? Is it porridge?

Is it by suicide that a nation fails?

Can you define nation?

Would the UN be interested in a definitive meaning of theword nation? How should Canadian history be taught in schools?

How should it be conveyed to increase historicalconsciousness?

How is our cultural capital spent?

How do ordinary Canadians come back in to the Canadianstory where they belong?

What draws the 49th parallel in our minds?

Is form emptiness and emptiness form?

In seeing truth, must one contemplate all phenomena as alie?

Is there of the wise man as of the fool no enduringremembrance, seeing that in the days to come all will havebeen long forgotten? Does the wise man die just like thefool? Is all vanity? And a striving after the wind?

Is Illusion the only reality?

Is nothing more real than nothing?

Is everything we do futile? Must we do it anyway?

If others had not been foolish, should we be so?

Is it happiness to practice the yoga of renouncing one’sown country?

Is our greatest bondage the illusion that we are free?

Is reality the leading cause of stress amongst those in touchwith it?What is the Canadian Dream?

Do grown-ups dream?

Do you dream you are the doer? Do you dream that actionis done? Do you dream that action bears fruit? Is it yourignorance? Is it the world’s delusions that give you thesedreams?

Is it time to grow up?

If we, as a nation are claiming as our own individuals whohave left our country for such a long period of time, howcan it be expected of others who come into our country todo the opposite?

If history what you make it, then would Canada be whateverwe legislate to?

Whose mission is to ensure that all Canadians have thehistorical and civic knowledge they need to participate insociety as active and informed citizens?

What is a constitutional monarchy? Or a representativerepublic? Or a cooperative assembly?

Are the institutions of a nation and the principles it abidesby true indicators of the identity of that country?

What institutions and principles do our elected representativeabide by?

How many volumes a tall tale has our elected representativespromised us?

Are Canadians patriotic?

Is Victoria a place where freedom, democracy and humanrights are valued? Where diversity is encouraged?

Does social housing in Victoria need more parking spaces?

What are Victoria’s symbols?

Who are Victoria’s heroes?

Are heroes ‘sticks used by one part of the community tobeat on another”?

Does anyone wants to know what is in a hero sandwich?

Is ‘hero’ a four-letter word?

Was the world delivered unto fools?

Is the clown a primitive comedian?

Does the great the confusion of the world come fromcoveting knowledge?

If I think, therefore I think I am?

Does the mind precedes all things?

Does the mind dominate all things? Does the mind createall things? Is the only thing that we can know that we knownothing and that it is the highest flight of human reason?

Is reason the true self of every man, since it is the supremeand better part?

Has our reason driven all away? Are we alone at last? Dowe end up ruling over a desert?

Are we here and is it now? Is further than that all humanknowledge moonshine?

Has nature no instructions for mankind except that our poorbeleaguered humanist-democratic way of life, our fantasyof the individual’s high worth, our sense of the weak no lessthan the strong, has a right to exist, is absurd?Is life a disease of matter?

Is the meaning of life that it stops?

Is knowledge virtue?

Are most of the propositions and questions to be found inphilosophical works not false but nonsensical?

Was it intelligence and nothing else that has to be opposed?

Is much wisdom in much grief? Is it he that increasethknowledge who increaseth sorrow?

Do only the shallow know themselves?

Should all ‘isms’ be ‘wasms’?

Is the poet he who, beneath the named, constantly expectsthe differences, rediscovers the buried kinship betweenthings, the scattered resemblances?

Is the trickster a collective shadow figure, an epitome of allthe inferior traits of character in individuals?Do we have art in order not to perish of truth?

Is aesthetics for the artists as ornithology is for the birds?

Is the role of the artist-run centre to bring down thegovernment?

Is social work art? What about philanthropy? Is art a tool?

Is the idea of content in art is today mainly a hindrance, anuisance, a subtle and not so subtle philistinism?

What is art?

What is multiculturalism?

Is Multiculturalism art?

Is official multiculturalism a shallow and superficial attemptto manage diversities under a faç'e7ade of unity whileignoring deeper issues of diversity and inequality?

Shouldn’t values and traditions of Canadian life be force-fed to new immigrants?

What are the values and traditions of a Canadian Life?Has Canadian identity acquired a different flavour duringrecent years?

Are you lacking in ethnic flavours?

Would you like the Canada banquet to come with poutine,two veg, or bannock?

Where did bannock originated?

Is Canada Our Home and Naï'efve Land?

Are peace, order and good government art?

Is the future of Canada living with difference but do nothave to understand it?

How does one prepare for a future in which contrastingvalues and expectations could clash?

Is being lucky unpatriotic?

Is our political system built upon institution and innovation?Does it mean our country is malleable?

Why aren’t Tasers given free to the electorate to keep ourelected representatives in line with their election promises?

Why aren’t our Senators elected rather than appointed?

Why can’t we vote the bad-assed Senators off the publictrough?

Why can’t we have a lottery system to a few seats in theSenate for those who have voted in municipal, provincialand federal elections?

, FRONT, SEPTMBER | OCTOBER 2008

Tolerances

TEXT | COLUMN

by Elizabeth FischerPeggy on the CornerEnvy comes in a variety of forms: the long sustained type,

and the short stabbing kind. Sometimes, however, the two

overlap.

He won’t leave me alone, he won’t leave me alone, why won’t he leave

me alone. He is always following me. I can’t go anywhere without him

following me. No, I’m okay now, really I am, it’s just that he is always

following me. That’s why I was screaming. You must have thought I

was crazy, didn’t you. In the bushes, screaming. But I’m okay now.

Look would you check, is my eyeliner down my face, no, I look okay

then. Thanks, I was on my way to visit some people but then he started

following me. That’s why, that’s why I’m crying. But I’ve stopped now,

I really have, are you sure about the eyes. Hey, I remember you, I had

a yard sale once and you were there. I think you bought a piece of

jewelry or something, didn’t you. At that crazy house, where I live. I

have a room there. Most of the people there are mental, crazy you

know. Me, I’m on assistance but not on handicapped, not me. I just

rent a room there. I have this room and we all share a bathroom. It’s

really hard to be alone there, I mean everyone’s always in your face.

I let him move in with me cause he said he’d pay half the rent. Famous

last words, don’t you know. Now he won’t pay anything and he doesn’t

do anything either. Then he says he wants me to move to another

place with him. That this time he is going to pay half and all that. Me,

I don’t want to move. I like it in this house. Everyone in your face and

all that but I like it anyways. Then he starts following me around

everywhere. If I go to the toilet, he says what are you doing now.

Outside, he follows me around on his bicycle. Everywhere I go, he’s

there on his bicycle.

This one’s mine. This here is my bicycle. I really like it. I really like

riding around everywhere on my bicycle. Sometimes I visit people on

my bicycle. I’m on my way to visit some people right now. But he was

following me.

Thanks for coming down and all that, I feel better now, I do.

Listen if I look up like this, could you, could you wipe underneath with

your fingers. I want to make sure I look okay, these people are expecting

me. I want to look okay. Thanks. Oh, this is a wig, do you really like

it. My hair is too short, that’s why I wear this wig. When I comb my

hair it just sticks up all over the place. And then I have to keep cutting

it, the pieces that stick up all over the place. That’s why I wear a wig.

I hate short hair. I like yours, is that henna. Me, I always wanted blond

hair, that’s why the wig is blond.

Oh no, there he is on his bicycle. Go away. Go away, go away,

asshole. Okay, he’s gone now. Thanks for talking to me. Really.

At the house where I live, everyone’s always in your face. But no

one talks to me. Or everyone talks to me but I don’t know what

they are saying. They’re all crazy, you know. They’re all from the

hospital. I’m not. I’m not on handicapped or anything. I just have

a room there. I see you walking your dog sometimes. Sometimes

I want you to talk to me. You did once, at the yard sale, do you

remember.

Oh, her, the one with the curly hair, she’s crazy. Don’t talk to her.

But the one with the long hair, she’s okay. She’s only a little bit

crazy, that’s funny, a little bit crazy. She drinks, you know. But she’s

okay.

No, I don’t think he’s jealous. I’m the one that’s jealous. I don’t want

him talking to other girls and all that. But I hate it when he follows

me around, all the time he is following me. It drives me up the

wall, him following me. Sometimes I just want to be alone and he’s

all the time what are you doing and where are you going. That’s

why I was in the bushes. I’m sorry I was screaming. Did I scare

you. Did you really come down all the way from the third floor.

Thanks. Talking to me and all that. I’m okay now.

Do you live in that building, up there. That’s a nice building, I always

wonder who lives there. I like those windows. Big windows. In my

room I have a tiny little window. It’s a pretty small room but I like

it. I have been there for two years now, don’t you know. Last

summer is when I met you. Maybe you don’t remember, but I

remember. You bought an earring, I remember. Not too many other

people bought things, that’s why I remember. Maybe my stuff was

too junky, I don’t know. But I talked to some people and all that.

I’m okay now, really. I guess I’ll be on my way, these people are

expecting me. I visit them sometimes. Sometimes we sit around

and sometimes they have a joint to smoke or something. I just

need to get away from him sometimes and be alone, you know.

But it’s okay. He is gone now.

So where do you live in that building. What’s your apartment

number, I mean. I know you’re busy, I won’t visit or anything. I’d

just like to know. I want to see if I’ll remember it and all that. Cause

then I’ll know. I’ll know that I know you. And then if I wave to you

from my window, you’ll wave back, won’t you.

I’m okay now, really I am. I’ll be on my way now. Hey, thanks.

Thanks a lot. Thanks for coming down to talk to me.

28 NEW MUSIC

30 EXHIBITIONS

32 MEDIA ARTS

34 STAFF AND MEMBERS

The Western Front Society (est. 1973) is an artist-run centrethat focuses on the production and presentation ofexhibitions, performance art, new music, media includingvideo, audio and telecommunications, publications, spokenword and a bi-monthly arts magazine. Through a residencyprogram, local, national and international artists are invitedto create new works in this interdisciplinary environment.

The Western Front is a member of the Pacific Associationof Artist Run Centres (PAARC), the Independent Media ArtsAlliance (IMAA), B.C. Association of Magazine Publishers(BCAMP), the Canadian Magazine Publishers Associaton(CMPA) and the Alliance for Arts and Culture.

The Western Front is committed to the representation of allforms of diversity in its programming, membership,administration and audience development. It promotes andwelcomes the participation of people of Native ancestry andmembers of Canada’s many different cultural communities.

For current events and programme information, visit: www.front.bc.ca

WESTERN FRONT PROGRAMME EVENTS

May - June 2008

WESTERN FRONT

EVENTS PAGE 27FRONT

NEW MUSICWESTERN FRONT EVENTS: September - October 2008

PAGE 28, FRONT

NOW Improvisation WorkshopsMondays, October 6 – December 1,from 4-6PM, Western Front $FREE

New Orchestra Workshop Society presents itsannual workshop series for musiciansinterested in learning the techniques ofimprovised music. Each week, a differentfacilitator presents their own approaches tothe spontaneous creation of music. Open to alllevels of ability.

Guest Facilitators: Coat Cooke, Matthew Welch,others TBA

Fake Jazz FridaysFriday, September 26, 8PMWestern Front $5

An evening of experimental, underground, do-it-yourself jazz. Guest curated by Jeremy Van Wyck andBill Batt, creators of Fake Jazz Wednesdays, this eventfeatures Von Bingen, The Sorrow and the Pity, i/i andMR.UGLY.

En Masse (All Together Now)is a concert series that examines the ways thatmusicians perform together, and the ways audiencescontribute to the experience. The series offerstraditional and nontraditional ensembles that performtheir own music, or perhaps, do not perform musicat all?

En Masse IBlarvusterSaturday, October 4, 8PMWestern Front $16 door / $14 advance / $12 WFMembers/Students

Alien funk meets minimalist rock with Blarvuster, aBrooklyn-based ensemble led by acclaimed bagpiperMatthew Welch. Inspired both by Celtic and SouthEast Asian sounds, Blarvuster also boasts a lineup ofsome of the brightest young stars in the New Yorkexperimental scene.

En Masse IIMotion EnsembleSaturday, October 18, 8PMWestern Front $14 door / $12 advance / $10 WFMembers/Students

Experimental chamber music group Motion Ensembleis making its Vancouver debut at the Western Front.Based in Fredericton, New Brunswick, MotionEnsemble offers an eclectic repertoire of post-classicaland avant-garde music, incorporating electronics andnew media.

FRONT, PAGE 29

Motion Ensemble

Coming in November….

Stand Alone (Lost Solos and Musical Monologues)is a series of solo presentations exploring musicas a two-way communication between performerand listener, and music as an activity experiencedin solitude, with or without an audience.

Stand Alone IBird on a WireSaturday, November 1, 8PMWestern Front $12 door / $10 advance / $8 WFMembers/Students

New electroacoustic works by eight composers,performed by soloists Terri Hron, Dave Chokroun,and Rachael Wadham.

EXHIBITIONS + PERFORMANCE ARTWESTERN FRONT EVENTS: September – October 2008

PAGE 30, FRONT Allan Packer, Corvus Corax, 2006 plastic, dimensions variable. Image courtesy the artist.

Never Let The Facts Get In The Way Of The TruthNadia Myre, Allan Packer, Tania Willard and Suvinai Ashoona.

Opening Thursday, September 4 at 7pm. Exhibition runs through to October 11, 2008.

FRONT, PAGE 31

This exhibition brings together works by Nadia Myre, Allan Packer, Tania Willard and Suvinai Ashoonawhich look at the intersections between landscape, memory, and the built environment. In SuvinaiAshoona’s intricate drawings, the Arctic landscape is rendered fictive. At a stasis between constructionand deconstruction, Allan Packer’s sculpture consists of nearly life size partially constructed igloo castfrom clear plastic. A further mediation on history and temporality, in an animation by Nadia Myre a linedrawing of a single canoe is continually erased and redrawn. Akin to Robert Raushenberg’s 1953 “ErasedDe Kooning Drawing”, Myre’s gesture, rather than an attempt to eradicate the past, re-imagines it.Willard’s series of silkscreen prints appropriate mappings of North America from the 1500s, a time whenmuch of the land was unknown to non-Native explorers. In Willard’s work this “terra incognita” is renderedincreasingly abstract, mimicking the hypothetical nature of the maps themselves.

MEDIA ARTSWESTERN FRONT EVENTS: September - October 2008

PAGE 32, FRONT

Western Front Media Arts presents

Between Us - A Toronto/Vancouver ExchangeOpening Reception: September 4, 2008, 7:00 PMExhibition: September 4 – 18, 2008The Grand Luxe HallWestern Front Society303 East 8th Avenue

Featuring posters by Luis Jacob & Paul De Guzman, Will Kwan & Kristina Lee Podesva,and Fedora Romita & Sara Mameni

Curated by Alissa Firth-Eagland & Johan Lundh

Between Us – A Toronto/Vancouver Exchange is an experimental, curated group project that invitedsix artists to participate as key contributors to, and creators of a national dialogue between the citiesof Toronto and Vancouver, Canada. The project is comprised of three double-sided posters, exhibitedat YYZ Artists' Outlet, Toronto, June 28, 2008 – August 9, 2008, and Western Front Media Arts, Vancouver,September 4 – 18, 2008. In each instance, two artists collaboratively conceptualized and crafted oneposter in a long distance dialogue.

Luis Jacob is a Toronto-based artist, curator, educator, writer, organizer and activist whose practicechallenges categorization. Jacob shares an interest in social spaces like his Vancouver collaboratorPaul De Guzman. De Guzman is a self-taught artist, and his practice draws from his training as anengineer. Both have incorporated the image of a tower in their poster works, but notably, not the high-rise architecture conventionally used to visually represent their respective cities.

Toronto artist Will Kwan uses a range of approaches such as installation, performance, photo, text,video and editions in his practice. Like his Vancouver collaborator Kristina Lee Podesva, he addressesthe politics of space, geographies, identity and globalization. Podesva is the founder of Colourschool,a free school within a school, Emily Carr Institute of Art and Design. The project is dedicated to thespeculative study of five colours: white, black, red, yellow, and brown. Through their poster works, Kwanand Podesva have described the space that exists between the two of them and more broadly, the spacebetween humans in a global context.

Toronto artist Fedora Romita's versatile practice encompasses performance, video, and drawing. Romita'sprocess-based works are self-referential, as they both respond to and envelop their own methods ofcreation. Both Romita and her Vancouver collaborator Sara Mameni use text and transcribe informationthrough painstaking labour. Sara Mameni's practice of drawing, design and text deals with languageand translation. These artists' poster works are in direct conversation with one another, and act as arecord of what communication took place between the artists up to the point of production. The postersdescribe the unpredictable dialogues and inevitable miscommunications that take place in any longdistance relationship.

FRONT, PAGE 33

The antagonism between Toronto and Vancouver is undeniable. Like all renowned rivalries, thesuccess of one party is measured in relation to the other. Identical glass condos erected by thesame developer can be seen along the waterfronts of both cities. Today, Toronto is Canada'seconomic capital. Population density of Vancouver is expected to rise to the second highest on thecontinent just after New York City by 2021. Each location in turn is perceived as 'the other side'.Stories circulate in each city: Tales of Captain Vancouver and The Myth of Miss Toronto. And likeall renowned rivalries, hot gossip about one's opponent spreads like wildfire.

There is equally a rich, unmined territory of conversation and creativity hanging in the air betweenthe two cities. This project opens up channels of conversation between these disparate, yet criticalspaces for Canadian culture, turning competition and hearsay into collaboration and dialogue.

Between Us – A Toronto/Vancouver Exchange taps into the competition between the artcommunities in Toronto and Vancouver through a complex, unprecedented strategy: a long distanceexchange throughout the production stages of artistic creation. The project inspires an unpredictable,experimental space for all, and brings attention to the generosities and risks involved in collaboration.A critical part of the project has been the pairing of the artists, none of whom have met. Each wasinvited based on their own unique role in their respective communities. We considered thismatchmaking to be a re-introduction filled with possibility: "Toronto, meet Vancouver. Vancouver,Toronto."

A poster, displaced from an art context, can operate as simply as a message board. An everydayspace for communicating with limited image and text, the poster is also a versatile, portable,distributable vehicle for art and ideas. Posters were chosen as the means for this project becausethey respond to theoretical questions about value, storytelling, happenstance, word of mouth,hype, nostalgia, and legacy.

This conceptual framework provides space for artists of two cities to exchange ideas in the creationof new work, and engineers a distribution mechanism for art between organizational partnersand cities. By choosing the form of three double-sided posters, we distribute six new works to twomajor cities in a format that is challenging to artists and affordable to all.

The opportunities presented by Between Us – A Toronto/Vancouver Exchange over the long termare what we find most exciting of all. We imagine this project to be a point of departure for anincreasingly dynamic relationship between the two cities, one that could catalyze future exchangesbetween Toronto and Vancouver-based artists. (Alissa Firth-Eagland and Johan Lundh, Vancouver,May 2008)

Media contact: Alissa Firth-EaglandDirector / CuratorWestern Front Media Arts

Western Front Foundation The Western Front Foundation was formed in 2001 to build an endowment fund that will ensure the long-term sustainability of the Western Front Society. Your gift to the Foundation will leave a permanent legacy,generating interest to support the work of the Society for many years to come. The endowment is managedon behalf of the Western Front Foundation by the Vancouver Foundation. Help us to build a secure future.For information on how you can support the work of the Western Front Foundation, please send email [email protected], or call the Western Front directly at 604-876-9343.www.vancouverfoundation.bc.ca/GrantInformation/Media.shtml

Staff

Director/Curator Exhibitions: Candice Hopkins ([email protected])Director/Curator New Music Progamme: DB Boyko ([email protected])Director/Curator Media Arts Programme: Alissa Firth-Eagland ([email protected])Guest Curator Performance Art Programme: Natalie Loveless ([email protected])Directors/Co-Curators FRONT Magazine: Leanne Johnson, Andreas Kahre ([email protected])Operations Director: Demian Petryshyn ([email protected])Administratiuve Assistant: Lindsay Dew ([email protected])Bookkeeper: Ann Hepper ([email protected])Technical Directors: Eileen Kage, Ben Rogalsky, Sandra Wintner ([email protected])Exhibitions Assistant: Mark Soo ([email protected])New Music Assistant: Ben Wilson ([email protected])Media Arts Curatorial Resident: Liz ParkExhibitions Aboriginal Curator-in-Residence: Peter Morin ([email protected]) The Western Front would like to recognize the work of our current interns: Amy Scott-Samuel (FRONT Magazine) andAnna Szaflarski (Media Arts), and thank our volunteers.

THE WESTERN FRONT

The Western Front is grateful for the support of our members and the following:

ORGANIZATIONWESTERN FRONT

PAGE 34, FRONT

Western Front Board of Directors

Erin Boniferro – presidentCharo Neville – secretary Keith Wallace – treasurerScot KeeferKate Armstrong Juan Gaitan Geraldine ParentWilliam EnwrightPaul de GuzmanRachel IwaasaPalma CorralCarie Helm

Sustaining Members Jack & Maryon Adelaar, Robin Blaser, Cath Bray, Coat Cooke, Chris & Sophie Dikeakos, Karen Gelmon & Peter Busby,Martin Gotfrit & Patricia Gruben, Mark King, DD Kugler, Friedel & Martin Maché, Sheila MacPherson & Bill Smith, GaryMcFarlane & Paul DeGuzman, Peggy & John McLernon, Bernice & Frank Miller, John & Helen O'Brian, Judy Radul,Abraham Rogatnick, Jayce Salloum, Anna Stauffer

Edge and Essence Counselling

Workshops and private practice

Michael Kenyon & Lorraine Thomson

bring skills forged through artistic practice

to bear within the therapeutic space

Lorraine’s career has been in dance and visual media

Michael has published nine books of poetry and fiction

Both are Registered Professional Counsellors

For workshop information or private sessions

in Authentic Movement, Jin Shin Do, counselling

call 604 421 6071

PESKY PEACOCKS

colourtexturedecadencemagic

221 East 16th Avenue, Vancouver BC

604-874-1030

Special feature: The FRONT index of useful terminology

Tolerant, n. [ tollerEnt ]



September

Tolerances

Sunday Monday Tuesday Wednesday Thursday Friday Saturday

3 4 5

7

6

8 11

12

13

14 15 18

19

20

21 22

26

2423 25 27

28 29 30

109

1716

1 2

SWARMWF MediaBetween UsA Toronto and VancouverExchangeopening 7PM

WF MusicFake Jazz Fridayguest curatedperformance 7PM

PHGRosalind Nashashibiopens to Nov 2

SFU GalleryRoller CoasterAlison Norlenopening 3PM

SFU GalleryRoller CoasterAlison NorlenArtist Talk 7PMECUGallery GachetSpace Troublespanel 7PM

SWARMTeck Galleryopening 8PMGallery Gachetopening 7PMHPG ARCopening 8PMAccessopening 7PMArtspeakopensCineworksscreening 7PMBelkin GalleryThe Sooner the BetterLate than Neveropens to Sept 21

Teck GalleryCave PaintingsJames K-Martist talk 7PM

SWARMOr GalleryConceicao, Knowles,Zervasopens to Oct 11SWARMBitter/Weberartist talk 4:30PMGallery Gachet

Gallery GachetSpace Collaborationpanel 4PMCAGClip/Stamp/Foldto Nov 9

Gallery GachetUrban Frontierspanel 7PMSFU Harbour Centre

Antimatter FilmFestivalopens to Sept 27Gallery GachetPicture Thispanel 7PMFCADrawing with A Differenceto Sept 20CineworksEditingworkshop to Sept 21

Gallery GachetInverted Educationpanel 6PM

CineworksGastown Drive-inscreening 8PM150 Water Street



CineworksMeet the Film Makersto Oct 10

ArtspeakCarrall StreetAlthea Thaubergerperformance 8PM200 Block, Carrall

New Forms Opens Sept 4, to Sept 27for more info:http://2008.newformsfestival.com/

1. The unit of measurement by which one missed a perfect fit 2. One who grins and bears it

ADVERTISERS’ Events CALENDAR


October

Tolerances

Sunday Monday Tuesday Wednesday Thursday Friday Saturday

2

9 10 11

12 13 14 15 16 17 18

19 20 21 22 23

24

25

26 27 28

7 8

1

5 6

43

29 30 31

WF MusicEn Masse 1Blarvusterperformance 8PM

WF MusicEn Masse 1IMotion Ensembleperformance 8PMOpen SpaceLao Oi, Lao A...Nhan Duc NguyenArtist talk 2PMAccessElsewhereartist talk 1PM

WF MusicNOW OrchestraMondays 4 to 6PMto Dec 1

PHGRosalind Nashashibipublic reception 7PMBelkin GalleryDavid Claerboutopens to Dec 7

Or GalleryMaking RealBushell, Molinari, Mouton,Tuttleopens to Nov 22Open SpaceLao Oi, Lao A...Nhan Duc Nguyenopening 7:30PMAccessElsewhereopening 7PM

ArtspeakCarrall Streetpublic forum 8PM

Battery OperaThe Whole Beastperformances 8PMScotia Bank Dance Centreto Oct 11

FCAAcryllics: Doing your ownworkto Oct 4

, SEPTEMBER | OCTOBER 2008

Tolerances

Front Magazine September/October 2008

Documents

Transcript of Front Magazine September/October 2008