Back to the future

It’s the typical sessional’s dilemma—what to do with all that course material you so painstakingly prepared once your course is over?

A crash course on time travel

A crash course on time travel

Longtime sessional instructor and Fine Arts communication honcho John Threlfall found a solution: he’s flipped the viewing list from his summer Fine Arts popular culture elective “It’s About Time: Time Travel in Popular Culture” into the summer recommended viewing wall at stalwart Cook Street Village video store Pic A Flic.

With a selection of 42 films and television shows in a variety of genres offering a romp across the time-space continuum, word is the wall has been quite popular with Pic A Flic’s loyal customer base. (And we’re sure it’s just a coincidence that the Victoria Film Festival‘s annual Free B-Film Festival kicked off on August 1st with the campy time-travel classic Bill & Ted’s Excellent Adventure.)

TardisIn fact, this is the second time that Threlfall has been a guest programmer for Pic A Flic: to mark the 50th anniversary of the James Bond film franchise in 2012, he assembled a selection of films that never would have been made without the influence of Bond. (Think The Incredibles, the Bourne series, the hilarious French series OSS-117, etcetera.)

Indeed, one of the reasons Pic A Flic has managed to survive in the digital direct era is not only because of their knowledgeable staff and fantastic selection, but also because of their relationship with their loyal customer base. Much like a favourite independent book store or record shop, it’s important for film fans to help keep Pic A Flic afloat.

But if you don’t have the time (ha!) to rent a movie right now, here’s the master list for future reference:

What's on your summer viewing list?

What’s on your summer viewing list?

The Twilight Zone: “Walking Distance”, Hot Tub Time Machine, The Time Machine (1959), The Time Machine (2002), Time After Time, Warehouse 13: “Time Will Tell”, Back to the Future (1, 2, 3),Frequency, Meet the Robinsons, Austin Powers: The Spy Who Shagged Me, Timeline, Army of Darkness, Harry Potter and the Prisoner of Azkaban, La Jetee, 12 Monkeys,Peggy Sue Got Married, Star Trek: “The City on the Edge of Forever”, Heroes, Life on Mars, Donnie Darko, Les Visiteurs, Just Visiting, The Girl Who Leapt Through Time, Triangle, Slaughterhouse Five, Timecrimes, Safety Not Guaranteed, Source Code, Primer, About Time, The Prince of Persia: Sands of Time, Black Adder: Back and Forth, Quantum Leap: “The Color of Truth”, Being Erica, Southland Tales, Time Bandits, The Navigator, Fringe: “White Tulip”, The Terminator (1, 2, 3, 4), Free Birds, The Time Tunnel, Bill & Ted’s Excellent Adventure, Cosmos, A Brief History of Time, A Connecticut Yankee in King Arthur’s Court, Kate & Leopold, Star Trek: The Next Generation “All Good Things”, The Simpsons “Time and Punishment”, Doctor Who: “The Doctor’s Wife”, Next, Source Code

Threlfall’s time-travel selections were up throughout July and will likely be on view until mid-August. If you’re a time travel fan, be sure to pop down to Pic A Flic at 328 Cook Street and peruse the selection.

 

Last week for Heaven

If you haven’t been to Heaven yet, you’ve still got time. No need to bother St. Peter, however—simply pop into the Legacy Art Gallery Downtown for the final week of the  exhibit Windows Into Heaven: Religious Icons from the Permanent Collection.

Co-curator Regan Shrumm explains the significance of some of the icons

Co-curator Regan Shrumm explains the significance of some of the icons

Running through to Saturday, August 9, Windows Into Heaven is a result of the graduate research of History in Art MFA and exhibit co-curator Regan Shrumm.

Featuring Christian Orthodox icons and crucifixes from the permanent collection of the Legacy Gallery, this exhibition examines religious, historical, and cultural meanings past and present. “A lot of people don’t know what icons are or what they’re used for,” says Shrumm, who originally started exploring the Legacy’s collection for the Jamie Cassels Undergraduate Research Award in 2012.

Frequent readers of this blog may well remember Shrumm’s name as the winner of the 2013 Victoria Medal—awarded annually to the student with the highest GPA in the Faculty of Fine Arts. Describing her as “a remarkable student” with “a lively, vibrant spark,” History in Art chair Dr. Catherine Harding noted Shrumm “made these precious items come alive through her focus on their materiality and their special relationship to other artistic traditions, such as the close visual connections between Greek Byzantine and Russian religious culture.”

Eva Baboula speaks to a packed house at the curator's talk in April

Eva Baboula speaks to a packed house at the curator’s talk in April

Windows Into Heaven is co-curated HIA professor and recently appointed Associate Dean of Fine Arts, Dr. Evanthia Baboula, who also led Shrumm’s directed studies course which led to the creation of this popular exhibit. Over a hundred people turned out for the curator’s talk and tour back in April, showing the continuing interest in this kind of religious iconography.

Just a few of the icons on display

Just a few of the icons on display

The 18th and 19th century icons—created from egg tempera, enamel and silver metalwork—are from the eastern Christian tradition and show how religious imagery maintained a central role in orthodox Christianity. Many of the icons are from the donated collection of Dr. Bruce and Mrs. Dorothy Brown.

Icons were venerated in churches, private homes or during a journey to provide protection to body and spirit. Images of saints, Christ and the Virgin that date back to the Byzantine tradition, the medieval empire of Constantinople, are also a concrete remnant of how the religious communities of imperial Russia built on these traditions to create a recognizable, yet distinctive and lively art.

Viewers at the exhibit

Viewers at the exhibit

“The icons in this exhibition are similar in age and importance to others found in major galleries and museums worldwide, including the Metropolitan Museum, the British Museum, and the Ashmolean,” says Baboula.

Windows Into Heaven must close on August 9 at the Legacy Art Gallery Downtown, 630 Yates. Admission is free and the gallery is open 9am to 4pm Wednesday to Saturday.

Sounds like art

Most artists aren’t very pleased when their work receives a chilly reception. But when Visual Arts professor Paul Walde created a four-movement orchestral requiem for an audience of one—the Farnham glacier in the Kootenays—he was expecting to get the cold shoulder.

Paul Walde recording on Farnham Glacier (photo: Pat Morrow)

Paul Walde recording on Farnham Glacier (photo: Pat Morrow)

Accompanied by a 70-person choir and orchestra, Walde and a film crew trekked up the icefield in July 2013 to bring awareness to melting glaciers in general, and to the Jumbo and Farnham glaciers in particular. The glacier area is the site of a controversial resort development.

While composing music for a glacier may seem a bit odd, it’s simply part of Walde’s wider practice as an artist exploring the boundaries between sound, landscape and art.

“Is listening a natural act? Is perception a cultural act? What does it mean to overlay something completely natural with something overtly cultural?” asks Walde. “Those are the kind of questions I deal with.”

As an artist, Walde believes the combination of visual material with natural sounds allows for a different kind of listening experience. “If you can convince your brain that what you’re hearing is music, you’re going to listen to those sounds very differently,” he says.

Growing up in northern Ontario, Walde was influenced by his experiences with nature and landscape art. “On a larger scale, Canadian identity has always been wrapped up in landscape,” he says. “But I have a strong interest in science, and a lot of science is centered on the investigation of the natural world and how it works.

“Then there’s the larger socio-political dimension of climate change—if you consider the environment somehow integral to our Canadian identity, what does it mean when it’s threatened?”

Paul Walde (photo: Times Colonist)

Falling pine needles bring a piano to life (photo: Times Colonist)

As an acclaimed intermedia artist, Walde has fused his passion for nature and art by transforming mushroom spores, flitting moths, falling pine needles, beaver-gnawed trees and improvised soundscapes into numerous gallery pieces over the years—including Requiem for a Glacier.

Originally commissioned by the Langham Cultural Centre in Kaslo, Requiem received international media attention. Conducted by UVic Symphony director Ajtony Csaba, the performance was filmed as the basis for a video installation.

The soundtrack also incorporates field recordings taken on top of (and beneath) the glacier’s ice field. “The natural resonances of the glacial sounds almost elicit another melody,” he says.

The volunteer orchestra on the glacier (photo: Pat Morrow)

The volunteer orchestra on the glacier (photo: Pat Morrow)

The final 9 x 32-foot, 40-minute projected video installation—which also includes material recounting the history of the glacier, the advent of electricity and climate change, and the government’s announcement of a year-round resort community in the Jumbo Glacier area (which Walde translated into Latin and used as the choral parts in his Requiem) has already appeared in two Kootenay-region galleries.

As the proposed $1-billion Jumbo Glacier Resort continues to generate controversy, Requiem for a Glacier has created new awareness about the issues of global warming and the development of wild spaces. “I offer information and allow people to draw their own conclusions,” he explains. “The video isn’t simply a documentation of the performance. I didn’t want to make a music video, I wanted to make a unique art work which operated more like a painting.”

As always, Walde leaves it to his audience to discover the impact of the art.

Walde's "Interdeterminacy" offers art from mushroom spores

Walde’s “Interdeterminacy” offers art from mushroom spores

“I love leaving a gallery and seeing information in ways I never noticed before,” he says. “That’s one of the great experiences you can have with any art form—literature, theatre, film, visual art—the artist gives you a lens to understand the world.”

Walde is the new chair of UVic’s Visual Arts department and an old hand at engaging students in the contemporary creative process. “I try to convince them that their first idea isn’t always their best idea,” he says. “Consider that first idea an initial impulse and see where else it can go.”

He’s also excited by new opportunities in the art world. “There are great opportunities in technology,” he says. “We’re also seeing the development of an art market that’s unprecedented; it’s enormous compared to what it used to be. Really, it’s a great time to be an artist.”

Requiem for a Glacier runs September 11 to November 1 at the Evergreen Cultural Centre in Coquitlam, then at Laval University Art Gallery in Quebec City until the end of December.

This piece originally ran as part of the KnowlEDGE UVic Research series.

Biró’s Mediterranean voice

School of Music professor and internationally recognized composer Dániel Péter Biró will be spending the 2014/15 academic-year at Harvard University’s Radcliffe Institute for Advanced Study, thanks to the prestigious Fellowship he recently received—a first for the University of Victoria. But he is also currently engaged with his latest round of international projects as well.

Dániel Péter Biró

Dániel Péter Biró

Biró’s new composition Al Ken Kara (That Is Why It Was Called) will be performed on July 26 at the Teatro Fondamenta Nuove in Venice, Italy. It was originally composed as part of the film project Mediterranean Voices, which premiered in February 2014 at the Eclat Festival in Stuttgart, Germany. Biró was one of 12 international composers invited to participate in the ambitious undertaking.

“It’s a project that incorporates video, architecture and music,” he explains. “There are six rooms, so in between pieces they go to these rooms where there are 12 video screens. The video artist traveled for eight months through 12 countries shooting different themes.”

Take a few minutes to watch and listen to the video of the premiere of Biró’s composition Al Ken Kara Kara as part of the Mediterranean Voices project.

Biró in Tunisia

Biró in Tunisia

Mediterranean Voices explores themes like “public places” (religious buildings, demonstrations) and “borders” (both political and physical). Biró himself traveled to Tunisia in December 2013, where he visited the ancient El Ghriba synagogue in Djerba, an island where the oldest Jewish community outside of Jerusalem has existed for 2,500 years.

Click here to listen imam Slah Ben Daoued’s amazing recitation.

“My piece dealt with the problem of language in the Mediterranean. It’s based on the Tower of Babel, is written for seven voice and uses 36 languages,” he says. “It was quite intense at times in Tunisia due to the tense political atmosphere. We witnessed a major demonstration just in front of our hotel.”

Biró also just returned from Istanbul in June, where he was participating in the Fourth International Workshop on Folk Music Analysis at Bogazici University. The conference dealt with computational ethnomusicology, the study of indigenous musical cultures using cutting-edge technology.

When asked how he gets involved with so many global projects, Biró chuckles. “People actually know about Victoria through our contemporary music scene,” he explains. “Last year I was in Vienna and just met someone by chance on the street and they said, ‘Oh, you run the SALT New Music Festival.’ So people know Victoria is a place for contemporary music composers. There’s a long history of this also—Victoria has always been known as kind of a weird place, a place for experimentation. Our students also go out into the world and they continue, and come back here.“

Biró and students

Biró and students

Biró feels the School of Music‘s alumni also enhance our reputation. “We just had our interviews with potential student composers and we asked them why they came here to Victoria and a number of them said, ‘I met this former student who said I should come here.’ So our students in the world are spreading the word that this is a place where students can develop a voice, experiment and do things.”

Ultimately, Biró sees the School of Music—and the Faculty of Fine Arts as a whole—as something of an incubator. “It’s small enough and lively enough that people are able to develop things here and not get too distracted,” he says. “That’s also a strength we have in our program too—a lot of people go to McGill or other large schools and they say it’s really a factory out there. But we’re not a factory; we’re small and personal and that’s necessary for not only acquiring skills but for incubating material.”

Theatre grad already in good company

It’s safe to say few students would be proud of being called a scam artist, but Department of Theatre graduate Max Johnson’s pride comes from the spelling. Johnson, who has been working for local professional theatrical company Theatre SKAM since 2011 (whose associates are charmingly dubbed “SKAM artists”), is graduating with a double major in Writing and Theatre. But it’s the practical experience he learned at Phoenix Theatre that has made him such a valued member of SKAM’s team.

Max Johnson (photo: Pamela Bethel)

Max Johnson (photo: Pamela Bethel)

As with many students in the Faculty of Fine Arts, Johnson didn’t wait until graduation to put his experiential learning to work. He was hired into a part-time position as the Administrative and Communications Assistant for Theatre SKAM while only in his second year.

“Theatre is a department where you absolutely get out of it what you put in,” says Johnson. “My entire time at university was spent stepping sideways into things that would lead me places I never expected—which is how I got into marketing and Theatre SKAM in the first place.”

Daniel MacIvor (seated, left) with the cast & director of Inside (photo: Travis Bower)

Daniel MacIvor (seated, left) with the cast & director of Inside (photo: Travis Bower)

Even though marketing and communications wasn’t his first choice as a specialization, that’s where he was placed in his second year. “They needed someone with writing experience—and I was part of a group where I needed to solve a lot of crises,” he recalls.

One of those crises? Helping to market Phoenix Theatre’s 2011 production of Inside, a world premiere by Daniel MacIvor, one of Canada’s leading theatre artists. But when Johnson’s communications team of three lost two members due to illness and the Tohoku earthquake (“one of my group was an exchange student from Japan, so she was out of the picture making sure her family was okay”), he soon found himself as a solo act. “It was a crash course on marketing, publicity, photography and media relations,” he says. “It definitely acclimated me to the whole trial-by-fire scenario.”

Johnson at Theatre SKAM HQ

Johnson at Theatre SKAM HQ

No surprise, then that Theatre SKAM thought Johnson would be a good fit when they found themselves in a similar situation: just as SKAM was beginning to plan a tour of their show Cariboo Buckaroo, a medical crisis and an unexpected resignation left them bust in the dust. “To say Theatre SKAM was desperate for good help would be entirely accurate,” recalls alumnus Matthew Payne, SKAM’s Artistic Producer. Payne contacted Adrienne Holierhoek, Marketing & Communications Manager for the Department of Theatre, who recommended Johnson; as a Phoenix grad, Payne well knew the potential Theatre students had for putting learning into action. “I just wished a tour in Max’s general direction and somehow he pulled it off—a three-week tour in rural B.C. A true SKAM artist was born.”

While it sounds funny now, Johnson recalls it as being anything but. “I had never planned a tour before, but suddenly I was the sole person responsible for finding venues,” he says. “Then while the show was on tour, I was the only person left in the office. But it turned out to be a very harmonious fit—I got the vibe of the company very quickly.” While he started as a tour coordinator, Johnson is now SKAM’s full-time Administrative Assistant, and soon to be Artistic Associate.

Johnson dressed for success at SKAM's Bike Ride

Johnson dressed for success at SKAM’s Bike Ride

Given the current drumbeat of practical employability, does Johnson ever worry about pursuing a career in the arts? “I took a couple years off after high school to try and come up with something more practical than the arts, but I couldn’t think of anything I wanted to study outside of that,” he admits. “I could have become an electrician, but that’s not where my skills lay.”

Ultimately, says Johnson, studying Theatre at UVic revealed his true passion. “I wanted to better myself, and I’m a better person now for having come here. I understand the need to be practical, but we clearly want to live in a society that values creativity. That needs to be encouraged.”

Theatre SKAM’s annual Bike Ride mini-theatre festival runs along the Galloping Goose trail July 12-13 & 19-20. Full details here, and be sure to say hi to Max.

Growing the Concrete Garden

If you’re like many of the Garden City’s residents, you’ll be spending part of your summer getting your hands dirty. But whether you have a backyard garden, community plot or simply grown tomatoes on your balcony—or are part of one of the more serious urban agricultural projects like the Mason Street City Farm, City Harvest Co-op, Lifecycles Project Society or the Compost Education CentreConcrete Garden is the magazine for you.

The latest issue, on sale now!

The latest issue, on sale now!

Now heading into its third issue, Concrete Garden originally began as a project in the Department of Writing’s Magazine Publishing class but has since evolved into an actual hard copy magazine that’s now for sale around the city.

With its focus on sustainable urban agriculture, Concrete Garden is Victoria’s first magazine to focus on sustainable urban food production. As their website notes, “Concrete Garden showcases the agricultural ingenuity of communities, organizations and individuals . . . [and] walks a fine line between activism and educational entertainment.”

Concrete Garden is a magazine that focuses on how an urban population is feeding itself,” says editor Kimberley Veness. “That’s everything from growing your own food in a planter box to learning about city problems like the current food composting issue.”

“We’re also interested in the ‘culture’ aspect of agriculture—architecture, green businesses, the political structures that make us need to feed ourselves and create a better system—because you can’t have community gardening without community,” says senior editor Quinn MacDonald. “We want to engage younger people, young families who are worried about sustainable agriculture. It’s a best-solution oriented magazine too.”

Urban beekeeping (photo: Hugo Wong)

Urban beekeeping (photo: Hugo Wong)

With two issues already under their belt, 500 copies of the latest issue are due to come out near the end of July. A sneak-peek at their story list reveals features on urban beekeeping, land-based salmon farming, the Pedal to Pettle composting company and the problems with urban deer.

Both Veness and MacDonald are enthusiastic about the magazine’s future. “It’s had such a good reception,” says MacDonald. “We already have people watching for the next issue. And instead of just students, we now have a few professionals working with us.”

Do you know where your compost goes? (photo: Hugo Wong)

Do you know where your compost goes? (photo: Hugo Wong)

“It’s really nice to see it expand beyond the university,” says Veness. “We don’t just want it to be a student publication. We want good writing, whether that’s good student writers who we can help grow or people on more of a community engagement level.”

Concrete Garden was showcased during this spring during UVic’s IdeaFest, where they presented as part of the “So You Want To Launch A Magazine” panel alongside other UVic-created publications like The Warren, This Side of West, Plenitude and the online Coastal Spectator. Right now, Veness is focused on the magazine’s business plan. “We’re looking at getting long-term funding so we can focus on the magazine and not on the business side of things,” she says.

With that in mind, Veness just completed a fellowship at UVic’s Centre for Cooperative and Community-Based Economy. “I was looking at the transformative effects of modern print media, specifically magazines, and how they influence communities. Ideally, I’d like Concrete Garden to be a catalyst, a system-changer.”

MacDonald (left) and Veness

MacDonald (left) and Veness

As part of her fellowship, Veness interviewed professional magazine editors locally and in Vancouver about the recent changes in the print industry. “But what are doing well are the niche magazines that focus on one thing and are hyper-local in their content” she says. “That really brings people together and creates a community. That’s good for advertisers and good for content.”

And good for Concrete Garden, of course.

“We distributed more than 400 copies of the last issue all over the place—mostly downtown, but also up in Mill Bay and out in Sooke—so the demand is there. The Compost Education Centre in Fernwood took a stack of copies, and Swan’s even put them in their rooms for their guests,” says Veness.

“We’ve always been really focused and our aesthetic quality has always been really high,” says MacDonald. “That’s been important to us since the beginning. Our audience are the people who are out there in the community, the ones with green thumbs who want to talk about these kind of things.”

Harald Krebs wins Craigdarroch Award

Scholar, pianist, author, artistic collaborator and professional speaker—School of Music professor Harald Krebs is one of Canada’s finest music theorists, and has been named this year’s winner of the Craigdarroch Award for Excellence in Artistic Expression.

Harald Krebs (UVic Photo Services)

Harald Krebs (UVic Photo Services)

“It’s very touching that my colleagues would do this, given the nomination process,” says Krebs. “In fact, I really thought someone else should be nominated this year, but it’s very sweet that the department nominated me. I have such great colleagues.”

Recognized internationally as an expert on musical meter and rhythm— especially in the 19th-century German art song known as Lieder—Krebs was also named a UVic Distinguished Professor in 2010. This award comes with a $1,000 prize, which Krebs characteristically is considering using for the greater good. “One thing I’ve done with other awards I’ve received is to bring in a guest speaker, so it’s not just for my benefit but also for the benefit of the School and the faculty,” he says. “It’s really nice to contribute in this way.”

Now the Head of Theory, Krebs joined the School of Music back in 1986 “It’s been almost 30 years, and there have been a lot of changes over the years,” he says. “Good friends have retired, but we’ve been very lucky with the new people who have come in—they’ve maintained the collegial atmosphere that was there when I came in. I’m really proud of my colleagues, and the students too—it’s not just about doing scholarly work, it’s also about performing.”

Krebs pauses for a moment. “I think that’s probably why I was nominated,” he continues. “The award says ‘uses artistic expression to further knowledge’—and that’s certainly what I try to do. My talks always have a live performance aspect; I always clarify my points by actually performing—which makes it more fun for me, and the listeners too.”

Krebs' 2007 book

Krebs’ 2007 book

In his 34-year academic career, Krebs has produced two groundbreaking books, a steady stream of peer-reviewed articles and collaborative performances fusing scholarship and musical practice. At the core of this work is his talent as a pianist, which he shares regularly with the broader community of music lovers—notably through his Lieder at Lunch series, which has been running since 2001. “It took a bit of time to take off—it is an esoteric genre, after all,” he chuckles. “But now we have quite a large following from town as well as campus.”

Immediate plans include traveling to Belgium for a pair of conferences (“I’m a little stressed about it, but I’m sure it’ll be fun once I get there”) and a German research trip to both Berlin and Bonn.

Only three other Fine Arts representatives have won Craigdarroch Awards: Marcus Milwright in 2013, Lorna Crozierin both 2012 and 2011, and the Lafayette String Quartetin 2010.

The Craigdarroch Research Awards were established in 2003 to recognize outstanding research-focused and creative contributions at UVic. They were named for Craigdarroch Castle, the estate that was once home to UVic’s predecessor institution, Victoria College, from 1921 to 1946.

Summer plans (part two)

What else is on the horizon for Fine Arts faculty members?

book-U6-A146-B319-R493Department of Writing professor Lee Henderson has his sophomore novel, The Road Narrows As You Go, coming out this fall . . . which he’s, uh, still putting the finishing touches to this summer. But it has already been touted as “one of the most anticipated (Canadian) titles of 2014″ by the National Post . . . no pressure, eh? Henderson has previously released the short story collection The Broken Record Technique and the novel The Man Game (which the Post described as “an audacious, wildly inventive novel that deserved a wider audience”). For  The Road Narrows As You Go, Henderson is fusing his love of art and graphic novels into a story about Victoria-born comic artist Wendy Ashbubble, who may or may not be the illegitimate love-child of then-US President Ronald Reagan

Described as “a highly entertaining and unendingly surprising novel about love, comics, Ronald Reagan, and the true meaning of success,” The Road Narrows As You Go is “simultaneously the portrait of a young woman struggling to find her place and a bright, rollicking, unflinching depiction of the 1980s.” Stay tuned for more details.

Over in the School of Music, sessional instructor Anita Bonkowski spent the month of June performing in Europe and will have a full summer slate of playing gigs as well, both locally at out in Winnipeg.

Hogg, (left) on the set for Two 4 One  (photo: Arnold Lim)

Hogg, (left) on the set for Two 4 One (photo: Arnold Lim)

After producing Maureen Bradley’s transgender rom-com Two 4 One this spring, busy digital media staffer and filmmaker Daniel Hogg just finished shooting the short film Gord’s Brother with Writing department alumnus filmmaker and frequent collaborator Jeremy Lutter. “Gord’s Brother is about a boy trying to find a place for his monster brother to fit in, the film grapples with unspoken issues of discrimination from a child’s perspective, accessible by a layer of fantasy,” says Hogg.

The Lafayette String Quartet has a busy recording session ahead of them this summer, thanks to the August release date set for their world premier recording of Piano Quintet by Canadian composer Kelly Marie-Murphy, featuring pianist Alexander Tselyakov. Marie-Murphy was commissioned by the Pender Harbour Chamber Music Festival to compose a piano quintet for Alexander (the festival’s artistic director) and the LSQ in celebration of the festival’s 10th anniversary. As a bonus, the CD will also feature the Shostakovich piano quintet. The LSQ will perform the world premier of Marie-Murphy’s quintet at the fest in August, where they will also launch the CD.

The Lafayette String Quartet

The Lafayette String Quartet

And in other LSQ news, having just completed QuarteFest West here on campus, the busy quartet will be in Ontario for a large part of the summer performing in Leith, Waterloo, Ottawa, and the 35th annual Festival of the Sound in Parry Sound. Just by way of showing the range of works they’ll be tackling this summer, their lineup of composers includes Murray Adaskin, Fanny Hensel-Mendelssohn, Benjamin Britten, Beethoven (“Op. 95 String Quartet and the 9th Symphony with a smash-up band organized to celebrate the 35th anniversary of the Festival of the Sound,” says the LSQ’s Ann Elliott-Goldschmid), Alberto Ginastera, Felix Mendeslssohn, Luigi Boccherini, Arthur Foote, Rebecca Clarke, Joseph Haydn, Tchaikovsky, Mozart, Dmitri Shostakovich (quartet and piano quintet), and Ernst Chausson.

David Leach

David Leach

In addition to getting up to speed on his duties as the new Department of Writing chair, David Leach will be off to Madison, Wisconsin, for the Games Learning Society conference. “I’ll be presenting a paper on the results of our research study into the benefits of ‘gamification’ tools—badges and leader boards—to promote online learning,” he says. “David Broome plus colleagues in Education, the Library and an undergrad research assistant are listed as co-authors for helping with the research.” Leach will also be on a panel about using augmented reality tools in the classroom, as his TS400 students created AR guides to the future of the campus, using a geolocative tool called ARIS. Got all that? (Good, ’cause there’s going to be a quiz!) Any extra spare time will find Leach “finally finishing my damn book! (Maybe…)”

Noted pianist and School of Music professor Arthur Rowe is back in his role as the artistic director of the 19th annual Victoria Summer Music Festival in July—a position he has held for at least 10 years now. “It’s a good festival, ever growing in stature and popularity,” he says.

poster-bellaAlthough it’s a bit further off than the summer, acclaimed theatrical set designer, Fellow of the Royal Society of Canada and Department of Theatre professor Mary Kerr is in the planning stages of her upcoming musical about Bella Chagall—the wife of famed artists Marc Chagall. Titled Bella: The Colour of Love, Kerr designed and co-wrote the production with Theresa Tova, who will be playing Bella. The show will have a 3-week run at Toronto’s Harold Green Theatre in October

Also in the theatrical vein is news from famed playwright and Writing professor Joan MacLeod. “I’m just writing, starting a new play,” she says. “What it’s about? No clue!” MacLeod latest play, The Valley, was most recently mounted in Winnipeg, and the book of the script was released this spring by Talon Books.

Summer plans (part one)

Who doesn’t like summer? Classes are finished, the fall semester is still far enough away to not worry about and we’ve all got some time to put towards our own creative practices. What’s on deck for some of our faculty this summer? Let’s find out.

Lynne Van Luven

Lynne Van Luven

Outgoing Associate Dean Lynne Van Luven has been busy winding up her job in the Dean’s Office and trundling all her books back upstairs to her permanent home in the Department of Writing. But, before she assumes full teaching duties again, she’s taking a well-deserved administrative leave for the 2014/15 academic year.

“In the period of my leave, I hope to get a whole lot of work done on Flesh Wounds, which is the working title for my new book of essays about the hilarious and hair-raising process of ageing,” she says. “I have lots of research and writing to do, so I am most appreciative of the time off.” But having time off doesn’t come naturally to the diligent Van Luven. “I have never—since I started teaching at universities back in 1981—had a full year off to work on a project,” she admits. “I hope I just don’t blow all my time pursuing Skittles and beer . . . or, alternately, wine and roses.”

Bland with Canadian actress Neve Campbell

Bland with Canadian actress Neve Campbell

Busy Department of Theatre continuing sessional instructor Leslie Bland always has some fascinating side-projects on the go. Recently back from a trip to Paris and from attending the Banff World Media Festival in June, he’s currently completing his latest film project.

“I’m wrapping post production on our feature documentary Gone South: How Canada Invented Hollywood,” Bland reports. “There will a world premiere of it in August in Los Angeles hosted by the LA Consul General for Canada.” Word is the premier might even be held at the famous Grauman’s Chinese Theatre in Hollywood. (Maybe Bland can give a tour of all the famed Canadian hand-prints in the concrete there.) Gone South comes on the heels of the all-female stand-up comedy series She Kills Me that Bland recently produced and directedfor broadcast on APTN.

Lewis Hammond & Monteverdi

Lewis Hammond

School of Music director Susan Lewis Hammond is cracking the books this summer—her own book, that is. “I’ll be finishing a textbook titled Baroque Music: History, Culture, Performance—forthcoming with Routledge in 2015″, she says. On top of that, she’ll be presenting on a panel “on the value of a Bachelor of Music degree” at Congress 2015 at Brock University, and traveling to do research at the University of Toronto. Let’s hope there’s time for some relaxing in her schedule, too.

Writing professor and filmmaker Maureen Bradley recently completed editing her locally-lensed debut feature film Two 4 One—Canada’s, and possibly the world’s, first mainstream transgender romantic comedy— and is now in the process of submitting it to major film festivals, both Canadian and international.

Dániel Péter Biró

Biró

As well as preparing for his prestigious Fellowship from the Radcliffe Institute at Harvard University in 2014/15, School of Music professor Dániel Péter Biró will have his new composition Al Ken Kara (That Is Why It Was Called) performed on July 26 at the Teatro Fondamenta Nuove in Venice, Italy. This piece was originally composed as part of the Mediterranean Voices film project. In addition, the book The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective that he co-edited with fellow School of Music professor Harald Krebs, has just been released by Oxford University Press.

Youds photoVisual Arts professor Robert Youds currently has his light-based sculpture “turn on your electric* on view as part of the Vancouver Art Gallery’s exhibit Out of Sight: New Aquistions, running to September 1. He’s also completing a major sculptural commission which will be opening at the Vancouver Art Gallery’s Offsite this fall. Locally, his piece “soft works for complicated needs*” is featured in the current AGGV exhibit Through the Looking Glass until September 7.  In addition to that, Youds will have the paintings “our aurora borealis and everything else” as part of the Transformation of Canadian Landscape Art: Inside and Outside of Being at the Xi’an Art Museum in China from August 10 – September 21. Better still, he’ll be travelling to Xi’an and Beijing to give talks and to meet foreign dignitaries as part of the exhibit.

Stay tuned for more summer plans!

Jackson 2Bears explores the future of tradition

Three things set Jackson 2Bears apart as the 2013/14 Audain Professor of Contemporary Arts of the Pacific Northwest for the Department of Visual Arts. Not only is he the first UVic alumnus and first local artist to hold the position, but he is also the first person reappointed for a second year.

Jackson 2Bears

Jackson 2Bears

Following in the footsteps of such noted Indigenous artists as Rebecca Belmore, Michael Nicol Yahgulanaas and Nicholas Galanin, 2Bears is a Kanien’kehaka (Mohawk) multimedia artist and a frequent face around campus. Having completed both his Masters and PhD here, he taught for both Visual Arts and UVic’s Pacific Centre for Technology and Culture before accepting the Audain position. But he’s kept busy off-campus this past year by participating in solo and group exhibitions such as Ghost Dance: Activism. Resistance. Art. at Toronto’s Ryerson Image Centre, the Beat Nation tour which saw him invited to perform in Montreal and a number of East Coast performances with the Noxious Sector collective, as well as participating in Open Space Gallery’s recent public art symposium Reclaim The Streets.

As with all Audain professors, 2Bears’ year was split between teaching and studio practice. “There were periods where I was really focused on working with students—which was fantastic—but because of the way the position is set up, I found a lot of time for my own work,” he says. “Much of my year was about intense research; I really wanted to use this time to experiment with my own practice. Sometimes at the mid-career level, you find yourself in ruts or overly familiar ways of working; I was conscious of trying to upset that for myself. I wanted to do the research in order to recreate my practice.”

But he was also found himself challenged by his experience teaching the 300-level Audain seminar, which included students working in a variety of mediums: from painting and sculpture to digital media, performance and music. “Working with students at the senior level, it feels less like teacher/student relationships and more like we’re a group of artists working together, helping each other out,” he says. “I found that immensely helpful—especially in an environment where you’re forced to be critical of other peoples’ work all the time in that role, you go home and do that to yourself; it enhances your own practice. You look at your own work, and the voice in your head says, ‘Am I following my own advice here? Have I really thought this through?’”

2Bears in performance

2Bears in performance

Currently working on creating entirely new digital instruments for his Audain exhibition in September 2014 (“I’m adapting an old analogue synthesizer into a video performance machine . . . I want to treat video like sound, so it can warp and move like a synthesizer and music”), 2Bears has also been writing (“I’m also working on some new texts directly related to indigenous philosophy and technologies”) and looking at enhancing community engagement with the Audain position.

“I’ve been building relationships between Visual Arts and First Peoples House, Open Space and the community, but it’s taken a lot of this year just to get that off the ground,” he says. “But it would make me very happy to see that carry on, create more of a sense of community with the Audain position—not just community here on campus but bringing in other artists as well.” Already in the works is a series of mini-residencies with fellow contemporary indigenous artists Maria Hupfield, Sonny Assu and Corey Bulpitt.

All in all, 2Bears is pleased with his first year as an Audain Professor. “Absolutely, it’s been a great year,” says an enthusiastic 2Bears. “It’s been a real challenge working with students—in this environment, it’s very rich, very interdisciplinary, and everybody’s coming at things from different angles and perspectives—but it’s been fantastic.”

Created in 2009 as part of a $2-million gift from B.C. art philanthropist Michael Audain and the Audain Foundation, the Audain professorship brings in mid-career professional artists to both work with students and further their own work.