Join us Monday February 6th at 7pm for our Annual General Meeting. We are going to meet at the Khyber to welcome a new year of programming art and music. We hope to see you at the meeting and that you will stick around afterward to schmooze.

It is also a great time to renew or become a new member!

NAP EYES will be releasing the physical form of the four song tape found here www.napeyes.bandcamp.com, which also includes four songs from QUIVERS are disintegrating, death to the traitors, will you EVER see these bad boys EVER again? www.quivers.bandcamp.com, help them mourn with OLD AND WEIRD love valentines day. and cake walks. www.oldandweird.bandcamp.com, love is in the hair at the last quivers show for real probably. Bye Lyle.
NAP EYES CASSETTE RELEASE (SPLIT WITH QUIVERS) & KHYBER RESIDENT MUSICIANS OLD N WEIRD
~*~*~*~*~*~*~*~*

Valentines Day Cake Walk, Feb 14, 2012

THE KHYBER VALENTINES DAY
CAKE WALK – KHYBER FUNDRAISER
LOVE PHOTO BOOTH
KISSING BOOTH
350 RED AND WHITE BALLOONS
FREE CANDY AND A MAGIC SHOW

This exhibition will look at a new series of work by Montreal based artist Stacy Lundeen entitled Left Wing Tics, it will explore the notion of political and personal ideology through the invention of a secular icon – the left wing. This work will explore the idea that good works and intentions are frequently remolded as pathetic, and that failure often reflects a nobility, or vice versa.

Stacy Lundeen, words on Left Wing Tics
interview by Chris Lloyd

CL- This is an interview between Chris Lloyd, former director of the Khyber, a decade ago now, and Stacy Lundeen take two (first interview recorded was accidentally not recorded). Your show at the Khyber is called Left Wing Tics, I thought your title conjured up images of Mile End hipsters and insects.
SL- Was it bed bugs?
CL- Yeah I really took it literally, Mile End hipsters with bed bugs. Set me straight, what does “left wing tics” mean?
SL- I guess what I had been thinking about was this idea of a socialist tendency, or the left wing as being perceived and equated with a bodily malfunction or disorder that happens in spite of yourself, that it could be compared to something regrettable, when in actuality I think of it as being one of the most enviable and commendable things about human nature, it was this idea of the body revolting against itself through social empathy.
CL- I like that the title joins two things. I sympathize because I think of the left wing as being the more sympathetic and humanistic and that maybe one who is more conservative sees it as more of an aberration, equating government as this imposition on us, and believing more in the triumph of the individual, while the left wing envisions taxes to be more of a safety net or a network that can assist those who are less fortunate and everyone contributes according to their means.
SL- I think that people who are “left wing” are able to empathize, and place themselves in another’s position, and care about it, a transfer of emotional understanding through the body, in an organic way. I wanted to bring the work close to the body, close to the individual, relating it to a tic.
CL- You know I kind of have this tic when I’m tired or have been staying up too late. It happened a lot when I was the director of the Khyber, I slept less and drank more.
SL- How long were you at the Khyber?
CL- Well, lets see… I joined the board in ’99 after I graduated, and started as interim director in 2001, I became director because I think no one really wanted to work for what the salary was at the time, which was like 10 bucks. (Over the sound of Chris’s year-old daughter, Rose, crying)
SL- You know this reminds me of a work you and I and Rose collaborated on recently, which will be in the show.
CL- Called the Indoctrination of a Small Child.
SL- A Portrait of the artist attempting the indoctrination of a small
CL- Well she’s kind of a rebel and a daredevil, so you know…
SL- I Guess only time will tell.
CL- So the work in your show does really reference the body, and by extension the body politic, these left wing tics are materialized in the cellophane and representations of deformed bodies. Are they representations of something that is striving towards an ideal that is flawed, is that a close reading?
SL- I think what I’m going for is a representation of the body that is not ideal, using specific materials, that have utilitarian properties, like cellophane, tin foil, silicone calking and spray foam, materials that are not normally associated with art or preciousness and value. I mix them with other objects and that charges them with allegorical associations. Lately I have been extending the images beyond the actual photographs into the frames so that you have a three-dimensional understanding of the materials within the photograph.
CL- When I was renovating my apartment I would often blast a whole can of insulation foam into the walls, it’s so old that there isn’t anything behind the wood lathe, no insulation, so I’d do it just to get something behind there. That’s fun stuff to use.
SL- I love seeing what an entire container of material looks like, so I’ll use a whole tube of construction caulking or spray-foam in one shot. I love shooting off a whole can of whipped cream, or shaving foam, or cheese out of a can. It’s not often you get to see the entire contents of something, we’re very incremental.
CL- When I was at NSCAD there were probably a lot of students that were working on those kinds of projects that were about that process of realizing and making it literal, this is what it looks like when it’s in a can, this is what it looks like out of a can… Are you doing an artist talk at NSCAD?
SL- Yes, I’m hoping to do one in collaboration with our friend, and former NSCAD graduate Jon Knowles as a kind of performance. He’ll be in town working on one of his own projects while the show is up. I’ve been Halifax a few times and to the Khyber. I think its one of the coolest artist-run centers I’ve seen, just a really interesting space. I heard that it was under your watch as director that many of the improvements to the building happened.
CL- Well yeah, when I was there I looked into some of the lease agreements we had with the city and found that they were actually responsible for a certain amount of up-keep per year. That’s one of the reasons we were able to have plywood in the walls of the gallery. It was also around that time that we renovated and removed the 4 foot high wainscoting from the spaces too. It was largely through the help of volunteers and supporters that we managed to get that initiative done. A lot of carrying 12-foot sheets of dry wall up the stairs.
SL- You and I are no strangers to carrying material up the stairs, we do a lot of that at DHC art (the gallery Stacy and Chris both work for). For the current exhibition we had to carry those twelve hundred pound crates up the stairs. Speaking of which, we have to work in the morning. Then you’re off to the Maritime’s for your vacation and to get tattoo work done. Drive safe and stay out of trouble.
CL- Yeah you too, good luck with the show.

Stacy Lundeen is an artist, art handler and technician in Montreal. Left Wing Tics opens during the evening of Nocturne at
the Khyber on October 15th. Chris Lloyd is an artist and the chief technician at DHC art in Montreal.

Catalog available for $20 (plus s/h)

Opening reception: Sept 2nd at 7pm – Runs through Sept 29th.

In 2010, the Centre for Art Tapes piloted its first Local Curatorial Residency for local emerging curators specializing in media arts. In this program the Centre supports curators as they uncover the intricacies of building a media arts exhibition.The result of this residency will be see…n in the inaugural exhibition curated by Suzanne Caines and Claire Hodge titled Lies That Tell The truth, an exhibition scheduled to take place at the Khyber Institute for the Contemporary Arts between 15 July 2011 and 14 August 2011.

Lies That Tell The Truth gathers works from 6 artists using various reenactment strategies as the basis for their artwork. The artists are: Adad Hannah (Montreal), Johanna Householder and b.h. Yael (Toronto), Yam Lau (Toronto), Alison Kobayashi (Toronto), Jeanne Ju (Halifax), and Aoife Collins (Ireland).

Over the course of time, some events are viewed as significant enough to be memorialized. These moments in history are often re-enacted by actors who deliberately endeavor to be loyal to the minutest details of the events they perform. The artists in this exhibition constantly negotiate how closely aligned to the original their work will be. Making these choices, the artist becomes a curator of sorts, a curator of their own reenactment. The question remains, what is the relationship between the artistic gesture and the original upon which it is based? Even if an artist chooses not to include an aspect of the original, is it still there? Is it necessary for a visible trace to remain in order for its presence to be felt?

Please join us for the opening of Lies that Tell the truth at 7:00p.m. Friday, July 15, 2011 in the Khyber Ballroom (1588 Barrington St.).

The Centre for Art Tapes invites Local Emerging Curators to apply to the second Local Curatorial Residency program, applications will be launched at exhibition opening.

The installation Le mot traduit le bruit des contingences passées [“The Word Reflects the Noise of Past Contingencies”] is based mostly on sonic concerns. Although its form and the elements used in it all point toward what should be a video installation, the work actually highlights the main feature of sound: its evanescence. Sound exists only in an instantaneous temporality. Through an attempt at playfully piecing back together a vanished sound event, the installation sets a series of ambiguous relationships between sounds and pictures, past time and present time, unique perspective and mobile perspective. Surveillance cameras and monitors – the guards of our relationship to the present time and our fantasies of omniscience and ubiquity – spy the inanimate shards of one of their own, heavily fallen from the ceiling, taking with it the sound of a past event. Inescapably, time dissipates the clamour of the noisiest events… Lacerated matter – the sole clue of the event’s violence – contains in itself the trace of a noisy transformation of matter. Through multiple perspectives on the remains of this incident, the work makes sound reappear. The sound is not reproduced; it is suggested, implied; it is written. So the installation transforms sound into picture, pictures into word, and word into sound. Therefore, the work addresses a number of issues in relation to temporality and mobility, through a series of cognitive games and back-and-forths between moving images, real time, sound, multiple perspectives, and a
single perspective. Are we in the presence of a sound work, despite the physical absence of sound?

Eric Desmarais

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PALIMPSEST ISSUE/03: THE WORKERS INSTALLING A WORK

Palimpsest Magazine is an unbound anthology of multiples. Each issue consists of original work in print, audio, video, and mixed media. Palimpsest is an alternative medium for artists and writers to disseminate their ideas, celebrating the tactility of the object in favour of the flattening effect of traditional print and screen-based media. Palimpsest exists as a traveling exhibition and experiential object.

The upcoming installment of Palimpsest Magazine will take the form of an exhibition at the Khyber from June 9th to June 30th in Halifax, NS, as well as an accompanying publication. We are soliciting submissions of any nature: video works, audio works, print, text, performance, sculpture, etc, for either the exhibition or publication (or both).
We are interested in soliciting personal and critical reflections on the following: transference; the exchange of data and information; the degradation or protraction of the value of information; process; language and time; connectedness and distance; work and proximity; the distance between the initial and the conclusive; and, finally, the residue of these exchanges.

p a l i m p s e s t

Issue 08 features:

Jeff Wall interview by Brad Phillips
Robert Bateman interview by Aaron Carpenter
Tyler Brett interview by Tony Romano
Ron Giii by Rosemary Heather
David Cordero by Emily Jones

Projects by:

Mark DeLong
Rebecca Belmore
Emily Vey Duke and Cooper Battersby
Kelly Mark
Joshua Jensen-Nagle
Matthew Shields

ARTISTS INCLUDED IN THE EXHIBITION:

JAY ISSAC | MAURA DOYLE | JESSICA EATON | PAUL BUTLER | AARON CARPENTER | BRAD PHILLIPS | TONY ROMANO | DAVID ARMSTRONG SIX | MARK DELONG | ANDERS OINONEN | CLAIRE GREENSHAW | ANDRE ETHIER

A grouping of solo exhibitions featuring: Maggie Boyd, William Vandermeulen, Allyce Holden, Annalise Prodor, Rian Davidson, Luke Norrad, Daniel Higham and Danika Vandersteen.

The actions of an individual or group at a particular time constitutes the work.

Friday- 6-9 Neil Lapierre, Andrew Mcleran, Andrew Maize, Zach Gough, Michael Fernandes & Noah Derek Logan, Neil Lapierre (Via Skype),Andrew Mazerolle

Saturday-6-9 Caberet Style performances Featuring Craig Leonard, Mr. Bossy Pants, Lisa Lipton with Jess Lewis, Victoria Parker and Laura Peek, Cassie Packham and Gary Markle, Hamburgerlar, David Albert

Sunday-6-9 Durational performances animating various rooms in the Khyber, such as the stairwells, turret and khyber club bar. Artist include Matthew Carswell, Valerie Salez, Aimee Brown, William Vandermeulen, and Carly Butler with Nate and Sam.

This series has been organized and curated by Noah Derek Logan

Admittance by donation / proceeds to the Khyber

An exhibition of documents, artifacts, and ephemera.

ARTISTS INCLUDE: Bruce Barber, Matthew Carswell, Ali Nickerson, Carey Jernigan + Sera Senakovicz, Victoria Manzer, Joanna Pike, Alex Cooney, Emma Senft, Andrew Mclaren, Ella Tetrault, Jess Alley, Steven Macdougall, Ryan T. Dunn, Fionnuala Reynolds, Cassie packham, Liam logan, Carly Butler, Jeremy Macdonald, Patrick Burgomaster, Rian Davidson, Nathan Patterson, Enrique Ferreol, Emily Mckearney, Tara Macdougall, Andrew Mazerolle, Elise Goldstein, Andy Munro, Kim Morgan, Daniel Joyce, David Cullen, Miriam Moren, Andrew Maize, Nate Jones, Craig Leonard, Lauren Levine, Charles Fogarty, Noah Derek Logan and Audrey Hurd.

Photos from the opening: Here