Showing posts with label Toronto women. Show all posts
Showing posts with label Toronto women. Show all posts

Friday, August 20, 2010


Sojourner-Truth Parsons's work considers the intersection of magic, acculturation, feelings and sexuality. With references to both folk art tradition and witchcraft, her work straddles the tenuous line between make-believe and healing in confronting histories that feel borrowed, but are, in fact, inherited. Her works address a simultaneous identification with and desire for the other, with a familiar, but out-of-reach sense of ritual, spiritualism and community. Working with readily available materials such as cardboard, white glue and scrap leather, Parsons's sculptures, performances and photographs cast deliberately fraught narratives marked by specters of belief and magical intensity.


Sojourner-Truth

Sunday, January 3, 2010

Robot Ponies

This post would have been better timed for Dec 24... No worries this song is great every day of the year! A Utopian toy that 'fucking does it all' weaves beautifully through the minimalistic cadence of the strumming kalimba only to deliver dark messages of obsolescent technology and hungry consumers... Aww but at the heart of this song is the wonderful and oh so fanciful world of Laura Barret's dystopian imagination which only adds depth and political commentary to the video's haunting microfiche narrative... oh so lovely!

Wednesday, November 25, 2009

FAT CHANCE! An Interactive Workshop on Fat Activism





This weekend at Ladyfest!
Sunday November 29th
2:30-3:30

Join Chelsey Lichtawoman (formerly of The Fat Femme Mafia) on a short cityscape that will focus on fat bodies and (taking up) space. We will learn about what Fat Activism is, and the easiest ways to take part in it. The workshop will take place in stores and along Bloor St. near Bay (starting in American Apparel and making our way to H & M), and will also examine where fat people can shop, how spaces are constructed to be inaccessible, and who is invited to be a part of retail culture and why. Meet at the Tranzac 15 min before workshop time.

Please contact Chelsey beforehand with mobility concerns/other questions at chelsey.lichtman@gmail.com
Limited to 15 people.

PLEASE FORWARD WIIIIDDDDEEELLLLYYYY

Tuesday, November 24, 2009

Former Sex Worker Goes to Osgoode Hall



This is the front page article of the Toronto star today. I was thrilled to see this article featuring a sex worker, but one thing that makes me nervous is the post-feminist ideology of any woman can do any thing. How true is this for women immigrating here? or bodies of color? Also the semantics and debate used to discuss sex work versus prostitution is getting tiresome. Hang up those antiquated morals Canada and realize this is the oldest profession in the world. These women need to be protected and respected! ( if you want to view this debate in action check out the comments about this article on the star's website. )
..........................................................................................................
Osgoode Hall Law School professor Alan Young paces leisurely. Standing before his Criminal Law I class, he begins to discuss a 1954 murder case.

"Here's a guy who's impotent," he says. "He goes to a prostitute ..."

"Sex worker."

Young stops. Dozens of eyes dart quizzically from laptop keyboards to the source of the brazen interruption.

Even at diverse York University, the woman in the front row is a curious sight. She takes notes on an unlined piece of white paper. Her arms are tattooed. Her brown hair is streaked pink. And her bespectacled gaze is firm.

In private, she will confess that Osgoode scares her, that she doesn't know if she belongs, that she doubts she is the intellectual equal of her classmates – who "look like law school students and talk like law school students and have the background a law school student should have."

Here, staring impassively at Young from a distance of two metres, she appears to be daring an eminent lawyer to argue with her over semantics.

Young, the civil libertarian behind a constitutional challenge of Canada's prostitution laws, instead offers a smile. "I knew you were going to do that, actually," he says. "It's about the only time I actually say 'prostitute.' Anyway, let's stop politicizing now."

But this is not politics. This is personal. Young knows full well.

Before Wendy Babcock was one of his students, she was one of his witnesses.

Hooker with a heart of gold. It charms. It sells. And Babcock is now selling herself again.

Not her body. Her intellect, her work ethic, her tenacity as an advocate, her desire to rectify injustices. She is selling herself as an investment in Canada's future.

Osgoode will cost $18,000 a year. Babcock was homeless as recently as September. She needs a benefactor or two. A fundraiser Sunday night at Goodhandy's, the Church St. "pansexual playground," raised about $1,500.

Babcock, an effervescent and articulate 30-year-old with a propensity for big hugs and an earnest desire to run for political office within the next decade, could make the Pretty Woman-meets-Legally Blonde movie pitch with ease.

She tells her story, perhaps perplexingly, with her perpetual smile intact. A defence mechanism, she explains. "I never wanted to show anyone pain," she says, "so I tried to show them normality."

Raised in an Etobicoke family she says was abusive, Babcock left home as a preteen, and entered the Children's Aid system at 13 or 14.

At 15, she says she began trading sex for the money she needed to pretend to be a "normal kid." With the cash she earned from the man who took her virginity, she paid for her high school semi-formal dress.

She dropped out at 16. She slept on the street and in shelters. Because the only respectable jobs available to her offered longer hours for less pay, she kept returning to sex work.

She quit in 2003, when her friend Lien Pham was murdered by a client. The world, she realized, did not much care about the lives of sex workers. She did. So she founded the Bad Date Coalition, a group that produces a monthly pamphlet with information about abusive clients, and runs an abuse hotline.

She found a job as a harm reduction worker with Street Health, where she earned a reputation as a tireless advocate for and counsellor to her former colleagues.

Taking an OSAP loan that she is still paying back, Babcock earned a sterling academic average at George Brown College.

She received a Public Health Champion Award from the City of Toronto. And she earned entrance into prestigious Osgoode, one of only 10 or so students in her class of 290 accepted without the years of university usually required.

With her degree, she wants to work on behalf of the marginalized and ignored to amend a justice system she sees as just only for the comfortable majority.

continue reading this and the flagrant comments on the Star's website.

Wednesday, November 18, 2009

under the magic of the disco ball




I have known the lovely Stacey B ( co-founder of Airheart ) for sometime, but it wasn't until I gave her the keys to my old apartment that i actually got a chance to listen to her recordings, which I'm gonna call space-dusted disco tunes! Her song writing is filled with a trip-hop infused vibrancy of beats, grooves, luscious harmonies and fat dub bass lines. Airheart's Portishead meets Goldfrapp sound, creates a performance with a raw honesty of dance inducing melodies!

NXNE recently reviewed them:"Stacey Be’s jazzy smooth vocals remind me of a combination of Esthero and Reverie Sound Review. However, combined with Mason Bach’s groovy and laid back beats, Airheart are able to bring something a little different to the table. The EP’s title track, “Mr. Lonely”, is the strongest song on the EP, combining playful and flirtatious vocals with an insanely catchy and hooky beat"

You will love it, i promise!

They're playing the Ladyfest launch party You should be there!
Download/listen to their single Mr.Lonely
Airheart

Tuesday, November 17, 2009

New Zine!!




I just found this new awesome zine called Steel Bananas run by a smart lady and awesome collective trying to bridge academic theory and culture.

Check out this fun interview by the Torontoist:

Hatched by Steel Bananas, a collective dedicated to exploring critical theory in real-life art and culture, GULCH is themed around the idea of the rhizome. (For those Torontoist readers who have never suffered or savoured a romp through this field of critical theory, the rhizome is an image that Gilles Deleuze and FĂ©lix Guatarri borrow from biology to describe a way of thinking that values multiplicity, disjunction, and non-hierarchical development. Don’t be afraid to hit a little Wikipedia on this one.) And if you thought your second-year poststructuralist theory class would never take wing in the real world, GULCH aims to make you think again. Steel Bananas practises what amounts to a sort of guerrilla academia, mingling heady with hip.

To its credit, GULCH takes its rhizomatic stance through to its logical conclusion. This means inconstant page numbering, text atop water-marked text, and a layout that constantly shifts direction. Ok, we get it: multiple points of view, non-hierarchical, disjunctive. The dedication to the project is admirable, but the effect is dizzying, and it makes the content look, dare we say, a little like a zine.

Still, the folks behind Steel Bananas—and many of the contributors that they’ve selected for GULCH—are people to watch out for: these are some whip-smart people, and they can throw down both a rhizome and a rhyme.

To find out more, Torontoist caught up with Karen Correia Da Silva, one of the Co-Editors of GULCH and the mastermind behind Steel Bananas.

Torontoist: Where did the Steel Bananas Project originate?

Karen Correia Da Silva: I started up the zine about a year ago. I only had four writers and was coding it by hand and doing it all myself, and then it just ballooned from there. We’ve had a lot of great artists involved. It’s this collaborative effort: all of these artists in Toronto are throwing events together and supporting one another. That’s what it’s founded on. Being a young artist in Toronto you often don’t know exactly where to go or what kind of places can really cater to the art that you’re doing. You don’t know how to get yourself out there. It felt like it was a good thing to do to foster a sense of community in the Toronto art scene. There are so many pockets of the artistic community in Toronto that don’t really talk to one another.

Steel Bananas brings academic ideas to a non-academic setting. How do you negotiate the tension between those two worlds?

The academic aspect of the zine is that we keep things critical at all times. We’re not just going out and partying; we have things to say, we believe that the art we make is meaningful, that it’s something that should be talked about in an academic way. We want to talk as artists and as people who understand art, and we want to talk about it on a critical plane without having to necessarily align ourselves in any way or affiliate ourselves with certain institutions.

continue reading this on the Torontoist

a space that doesn’t dictate meanings but can be experienced openly by the viewer.





“The human body is equipped with physical senses through which one can experience many of the effects associated with mass. One can visually observe an object to determine its size, lift it to feel its weight, and push it to feel the force of its inertial resistance to changing motion. These human experiences are all part of our modern understanding of mass, but none completely epitomizes the abstract concept of mass. The abstract concept did not come from a specific type of human experience. Rather, it came from a synthesis of many different types of human experience.”

Previously (August 09) installed in the Magic Pony window space is locale Toronto artist Melissa Fisher. Her piece explores the notions of mass and how people perceive it. Using minimalist techniques Fisher hopes to create a space that doesn’t dictate meanings but can experienced openly by the viewer. As you circle the piece the apparent mass begins to change, from three distinct vantage points the installation changes from a white void, to grid and then to single parallel lines almost existing in two dimension.

“All in all, “White Mass Perspective Test” is a test, an experiment. What the viewer finds within it to see is not necessarily inherent of the piece but mostly themselves.” –Melissa Fisher