in attendance - Day 1

Friday, June 22, 2018
Day 1 - June 22nd, 7-9pm

in attendance day 1
Seo Eun Kim, and Faith Patrick & Maxwell Lucas with Koine
June 22nd
Forest City Gallery (258 Richmond Street)

Day 1 of in attendance will feature Seo Eun Kim, and Faith Patrick & Maxwell Lucas with Koine. The performances will take place in the gallery and include interactive components for the audience to be involved. 

The audience will be invited to participate in a broader discussion with the artists during a short Q&A following the performances, moderated by FCG Director Matthew Kyba.

Seo Eun Kim’s Dalgona (Candymaker) combines performance, video, and installation to employ a Korean street candy vendor. The candymaker’s working hands are live streamed to a screen and layered with pre-recorded subtitles on loop. Visitors are invited to attempt to eat the candy without breaking the imprint pressed into the centre.

During non-performance times, recording of the live stream plays on the screen beside the candy station.
The vendor makes ‘dalgonas’, an old-fashioned Korean candy popular among children. This flat honeycomb-like candy is imprinted with a cookie cutter while still malleable. If kids successfully eat the edges leaving the imprinted shape in the middle intact, they win a prize - usually another candy. The
pre-recorded subtitles is in both Korean and English, featuring dialogue between Kim's sister and herself about our old neighbourhood in South Korea.

By making candies for the audience and highlighting the working hands, Kim aim's to explore their cultural narratives that were lost due to immigration.

Faith Patrick & Maxwell Lucas, with Eric Mohr, Christina Willatt, Susanne Murphy, and Paul Frehner will present Hands. Hands is a game piece for musicians. It explores the intersection between aleatoricism, indeterminacy, and improvisation. The card game asks players to interpret poetry in place of traditional musical notation. The game piece is an ongoing project; a convergence of the artists’ cross-disciplinary backgrounds, which include: writing, composition, classical, electronic, and church music.

The composition manifests within the game format; the nature of the game being a contained space for potential action and reaction. The labour of improvisation within the game is a labour of continuing presence - of playing in readiness and listening in readiness via what Barry Truax discusses in his book Acoustic Communication. In the absence of a rehearsed work the individual performer is left to pull from their history of musical knowledge and experience; this knowledge and experience is an amalgam of learned, repeated motions – it is physical. In Hands this results in an act of translation as mediated by the poem. The performer is engaged in a labour of translation which begins with the embodiment of poetry. The process of translation can be thought of as the crossing of thresholds; from poetry to embodied feeling, embodied feeling to physical movement, further mediated by the inherent constraints of the performer's instrument. The labour of performing Hands can be thought of as the fitting together of a puzzle in the absence of the knowledge of its complete picture. 

No RSVP required. The event is free and open to the public. There are gender neutral washrooms on site.