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Lorna Mills and Sally McKay
Digital Media Tree this blog's archive OVVLvverk Lorna Mills: Artworks / Persona Volare / contact Sally McKay: GIFS / cv and contact |
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 Thicket: The Peaceable Kingdom (La vie des bêtes) By Sally McKay and Von Bark A window installation at Fly Gallery, 1172 Queen St. West, Toronto Best viewed after dark, any evening until May 26, 2011 Thicket: The Peaceable Kingdom is the latest installation in our ongoing Thicket series. In Thicket 1: The Voyage (Harbourfront Centre, 2006) an intrepid crew of kitty cat protagonists (fabricated by Jean McKay) abandoned ship in a fiery space battle, leaving only their captain to man the rabbit robot space craft. In Thicket 2: Stranded (Fly Gallery, 2007), we joined our heroic captain, crash landed on an uncanny desert planet inhabited by mechanical owls and watched over by animal constellations. Newton in the Peaceable Kingdom (Harbourfront Centre, 2008) was a Thicket side project in which the dreams of animal species became entangled with the human science of perception. For Thicket: The Peaceable Kingdom we look back in time on an unspecified date millions of years in the future. Human beings have become extinct. Other species have evolved — the Fox's Fascination, Turdis Turdis, Ed the Horse, Coelacanth, Axolotl and Hallucigenia. Every once in a while observers come by, keeping a casual eye on things to make sure that it doesn't happen again. We wish to extend our sincere thanks to Fly Gallery for their present and past support of the ongoing Thicket series. |
 Emma Borg, “If mirror neurons are the answer what was the question?,” in Journal of Consciousness Studies, vol. 14, no. 8 (August 2007) p.8 |
 Homi Bhabha, “Of Mimicry and Man: The Ambivalence of Colonial Discourse,” in October, Vol. 28, Discipleship: A Special Issue on Psychoanalysis, (Spring 1984) p.129 |
 Moxey, Keith, “Visual Studies and the Iconic Turn,” in Journal of Visual Culture, vol.7, no.2 (2008) p.131-32 |
 Anselm Franke, In Memory: Omer Fast, Sabine Schaschl, ed., (Berlin: The Green Box, Kunst Editionen, 2009) p.85 Bruno Latour, “What Is Iconoclash? Or Is There a World Beyond the Image Wars?” in 2002: Iconoclash. Beyond the Image Wars in Science, Religion and Art, Bruno Latour and Peter Weibel, eds.,: (MIT Press and ZKM Karlsruhe, Germany, 2002) |
Things happening soon in London, Ontario... Ken Bass, Fugue (video still), 2004-2010 ANIMAL Lois Andison, Kenn Bass, Dagmar Dahle, Tom Dean, Rebecca Diederichs, Arnaud Maggs, John McEwen, Lyndal Osborne, Su Rynard, An Whitlock Guest Curator: Corinna Ghaznavi Museum London April 23 to July 10, 2011 Opening Reception: Thursday, April 21, 2011 at 8:00 pm I'm looking forward to this show full of smart artists organised by a smart curator. Also, Corinna very generously invited me to make a contribution to the catalogue, based on some of my own research. I wrote a short essay about relations between humans and non-human animals in the context of neuroscience. I really enjoyed writing it and I'm excited to see what other people contributed. Leah Sandals recently posted about another show in London, Clark McDougall's Destination Places which is on at the McIntosh Gallery until May 14. Two shows for the price of one manageable road trip! Note: If you happen to be in London on Saturday April 30, drop by the Landon Library (167 Wortley Road) at 2:30 pm for the 5th annual Diorama Extravaganza. Von Bark and I are guest jurists again this year. |
 Bruno Latour, We Have Never Been Modern, translated by Catherine Porter (Cambridge, Mass.: Harvard University Press, 1993) p.18 Bruno Latour interview with Paul Kennedy, CBC Radio's Ideas: How to Think About Science, Episode Five |
 Rosalind Krauss, The Optical Unconscious, (Cambridge, MASS & London: The MIT Press, 1998, c.1993), p.124 Susan Buck-Morss, "Aesthetics and Anaesthetics: Walter Benjamin's Artwork Essay Reconsidered," in October, no. 62 (Fall 1992) p.12 |
 Warren S. Brown, interview with Ginger Campbell, Brain Science Podcast #62 |
 Steven Brown and Ellen Dissanayake, "The Arts are More than Aesthetics: Neuroaesthetics as Narrow Aesthetics" in Neuroaesthetics, Martin Skov and Oshin Vartanian, eds., (Amityville, New York: Baywood Publishing Company, Inc., 2009) p.54 Georges Didi-Huberman, Confronting Images: Questioning the Ends of a Certain History of Art, John Goodman, trans., (University Park, PA: The Pennsylvania State University Press, 2005), p.16 |
 Marcel Duchamp, quoted by Rosalind Krauss in The Optical Unconscious, (Cambridge, MASS & London: The MIT Press, 1998, c.1993)p.111 |
 Karen Barad, “Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter,” in Signs: Journal of Women in Culture and Society, vol. 28, no. 3 (2003) p.801 Merlin Donald, “Imitation and Mimesis,” in Perspectives on Imitation, From Neuroscience to Social Science, Vol. 2, Susan Hurley and Nick Chater eds. (Cambridge: MIT Press, 2005) p. 291 |
 Gregory Bateson, Mind and Nature, 1979 |
 Karen Barad, “Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter,” in Signs: Journal of Women in Culture and Society, vol. 28, no. 3 (2003) p.823 Donna Haraway, “Modest_Witness@Second_Millenium” in The Haraway Reader (London & New York: Routledge, 2004) p.246 |
Phil Manzanera, guitarist:
Frontera (Robert Wyatt, vocals)
Tomorrow Never Knows (Brian Eno, vocals)
Like a Hurricane (Bryan Ferry, vocals)