<div dir="ltr"><div class="gmail_default" style="font-family:verdana,sans-serif;font-size:small;color:#000066"><div class="gmail-adn gmail-ads"><div class="gmail-gs"><div class="gmail-"><div id="gmail-:go" class="gmail-ii gmail-gt"><div id="gmail-:gp" class="gmail-a3s gmail-aiL"><div dir="ltr"><div class="gmail_default" style="font-family:verdana,sans-serif;font-size:small;color:rgb(0,0,102)"><p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt"><span style="font-family:times new roman,serif"><span style="font-size:14pt;color:black">Dear Friends and Colleagues,<br></span></span></p><p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt"><span style="font-family:times new roman,serif"><span style="font-size:14pt;color:black"><br></span></span></p><p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt"><span style="font-family:times new roman,serif"><span style="font-size:14pt;color:black">Though still caught in the afterlife of Zoé
Whitley’s “<i>Possessions” </i>at <i>Frieze-London</i>, it seems that I’m about to
show a project in the other London <span></span>-- > London, Ontario. <span></span></span></span></p><span style="font-family:times new roman,serif">
</span><p class="MsoNormal" style="margin:12pt 0cm;font-size:12pt;font-family:"Calibri",sans-serif"><span style="font-size:14pt;font-family:"Verdana",sans-serif;color:rgb(0,0,102)"><span style="font-family:times new roman,serif">A two-channel version of <i>String Games:Improvisations for
Inter-City Video (Montréal-Toronto) 1974, </i>is being installed for the opening
later this week of <b><i>Computational Arts in Canada</i>, 1967-1974 </b>at the
McIntosh Gallery, the oldest university art gallery in Canada.</span><b><span></span></b></span></p>
<p style="margin:12pt 0cm;font-size:12pt"><span style="font-family:times new roman,serif"><span style="font-size:14pt">Curated by<b>
Adam Lauder </b>and <b>Mark Hayward, </b>the exhibition will run from November
5th to December 12th, 2020, and the catalogue is at press. <span> </span>Appointments to visit the
exhibition can be booked online at <a href="https://mcintoshgallery.setmore.com/" style="color:blue;text-decoration:underline" target="_blank">https://mcintoshgallery.setmore.com/</a> <span>and admission is free.</span><span></span></span></span></p><span style="font-family:times new roman,serif">
</span><p class="MsoNormal" style="margin:12pt 0cm;font-size:12pt;font-family:"Calibri",sans-serif"><span style="font-family:times new roman,serif"><span style="font-size:14pt">Sadly,
McIntosh Gallery is not wheelchair accessible. <span> </span>Since I depend on a walker, this<strong><span style="font-weight:normal"> </span></strong>means we’re
unlikely to meet there.<span> </span>Nevertheless, it
promises to be a wide-ranging exhibition of considerable interest and well
worth a visit.<span> </span>Inquiries are welcome at: <span></span><a href="mailto:mcintoshgallery@uwo.ca" style="color:blue;text-decoration:underline" target="_blank"><span style="color:rgb(42,42,42)">mcintoshgallery@uwo.ca</span></a><br></span></span></p><p class="MsoNormal" style="margin:12pt 0cm;font-size:12pt;font-family:"Calibri",sans-serif"><span style="font-family:times new roman,serif"><span style="font-size:14pt"></span></span><span style="font-size:14pt;font-family:"Georgia",serif"><span></span></span></p>
<p style="margin:12pt 0cm;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-family:verdana,sans-serif"><font size="4"><strong><span>McIntosh
Gallery</span></strong><strong> </strong>/ <b>1151 Richmond Street N.</b> /<span> <b>London, </b></span><b>ON,</b></font></span><span style="font-family:"Georgia",serif"><span style="font-family:verdana,sans-serif"><font size="4"> <b>N6A 3K7</b></font></span><span></span></span></p>
<p style="margin:12pt 0cm 0.05pt;font-size:12pt;font-family:"Times New Roman",serif"><span style="font-family:"Georgia",serif"><span> </span></span></p><span style="font-family:"Georgia",serif">From the curators’ statement:<span> </span><span></span></span>
<p style="margin:0.05pt 0cm;font-size:12pt;font-family:"Times New Roman",serif"><b><span style="font-size:16pt;font-family:"Georgia",serif">Computational Arts in Canada 1967-1974</span></b><span style="font-family:"Georgia",serif"><br></span></p><p style="margin:0.05pt 0cm"><span style="font-family:times new roman,serif"><font size="2">The first historical survey of Canada’s
rich contributions to first-generation computer art, <i>Computational Arts in
Canada 1967-1974</i> assembles an impressive array of animated films, videos,
plotter drawings, digital paintings, computer-generated silk-screen prints, and
interactive teletype printouts capturing the remarkable diversity of activity
during this period of creative ferment and technical innovation. The exhibition
shines a light on ground-breaking computer visualizations as well as
language-based experiments by Greg Curnoe and the Vancouver-based conceptual
enterprise N.E. Thing Co. Ltd. <span> </span><span> </span>Curnoe’s <i>Computer Journals</i> and the work
of experimental filmmaker (and Western University emeritus professor) Alexander
Keewatin (“Kee”) Dewdney firmly anchor broader histories in a London, Ontario
context by highlighting the interdisciplinary collaborations between artists
and researchers facilitated by Western’s Department of Computer Science under
the visionary leadership of former chair John Hart. <i>Computational Arts in
Canada</i> also illuminates the achievements of women artists in this
historically male-dominated field, including Suzanne Duquet—a long-time UQÀM
professor of painting who made repeated visits to Western as an
artist-in-residence—and the multidisciplinary Web art innovator Vera Frenkel.</font></span></p><p style="margin:0.05pt 0cm"><br></p>
<p style="margin:0.05pt 0cm;font-size:12pt"><span style="font-family:times new roman,serif">Rarely exhibited, foundational
computer drawings by former University of Toronto computer science professor
Leslie Mezei and French artist Roger Vilder (active in Montréal during the
1960s and 1970s) showcase the formal dazzle, occasional humour and even
eroticism that resulted from artists’ earliest experiments in computer
graphics. Their work also draws attention to artists’ embeddedness within
global networks of research and creative collaboration. This opening onto the
world is brought into arresting visibility by <em style="box-sizing:border-box;text-underline-position:under;text-decoration-color:rgb(243,111,34)">Art Ex Machina</em>, a suite of
computer-generated silk-screen prints by an international roster of artists,
including Frieder Nake and Hiroshi Kawano, published by Montréal artist and
gallerist Gilles Gheerbrant in 1972. Based on animations that she programmed
during extended summertime stints with Western’s Department of Computer Science
in the early 1970s, Duquet’s computer paintings translate machine logics into a
highly personal vision. Documents drawn from Duquet’s archive record every step
in her creative process—from program to painting—offering rare insights into
the materiality of early digital art.<span></span></span></p><span style="font-family:times new roman,serif">
</span><p style="margin:0.05pt 0cm;font-size:12pt"><span style="font-family:times new roman,serif"> </span></p><font size="2">
</font><p style="margin:0.05pt 0cm;box-sizing:border-box;text-underline-position:under;line-height:2rem;text-decoration-color:rgb(243,111,34);font-size:12pt;font-family:"Times New Roman",serif"><span style="font-family:"Georgia",serif"><font size="2">Not
limited to works generated by computer, <em style="box-sizing:border-box;text-underline-position:under;text-decoration-color:rgb(243,111,34)"><span style="font-family:"Georgia",serif">Computational Arts in Canada</span></em>
features artists who engaged with computation in an expanded sense. Although
predating his tenure with Western’s Department of Computer Science, Dewdney’s <em style="box-sizing:border-box;text-underline-position:under;text-decoration-color:rgb(243,111,34)"><span style="font-family:"Georgia",serif">The Maltese Cross Movement</span></em>
(1967) narrates the technics of machine visualization. Frenkel’s pioneering
series of teleconferencing performances, <em style="box-sizing:border-box;text-underline-position:under;text-decoration-color:rgb(243,111,34)"><span style="font-family:"Georgia",serif">String Games: Improvisations for Inter-City
Video</span></em> (1974), straddles materiality and metaphor in enacting a
computational frame, one that clears a path for our contemporary world of
social media and planetary connectivity.</font><span></span></span></p>
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