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Version Sub Rip

This project draws from both the social and physical landscapes of the Maillardville neighbourhood to address the political and cultural forces shaping it, such as its French Canadian history and its industrial past. Version Sub Rip notably investigates the role of language as a delineating boundary both within the physical world and in psychological space. Through an architectural installation, props and optical illusions, the exhibition reconfigures the scale and perspective of markers of place, destabilizing mechanisms through which space is named and represented. Version Sub Rip takes place in Maillardville, on the traditional and unceded territory of Indigenous Coast Salish Peoples, such as the Kwikwetlem, a traditionally hən̓q̓əmin̓əm̓-speaking First Nation.

Version Sub Rip
Maillardville Cultural Appreciation Society
Coquitlam, BC, Canada
July 2016
Curated by Zebulon Zang

Vacant Value


Folkestone, UK

MICRO-RESIDENCY 3: Erica Scourti and Sydney Hart

June 2011

More information on the LOW&HIGH website:

MICRO-RESIDENCY 3: Sydney Hart and Erica Scourti – Vacant Value/ Report

The week long joint micro-residency addresses Utopias of a ‘return to nature’ (inspired by anarcho-primitivist and Rousseauist discourses), culture as a tool of administration and development, idealised contexts for artistic development, the role of language in dividing existing spaces and imagining new ones, the tension between instructions and suggestions to apprehend a landscape, building by undoing, the compression and paring down of language (e.g. with ‘hash tags’ and ‘sticky language’) and the construction of an authentic experience.

Sydney Hart’s and Erica Scourti’s collaborative micro-residency at LOW&HIGH involves sharing the studio space for a week with each other and sharing their ideas with the audience. The public can get to know the artists and follow the development of their work by attending the residency’s initial and culminating presentations. The first explores places/landscapes/sites that have shaped Sydney’s and Erica’s identity as artists, while the latter focuses on the outcome of the artists’ stay in Folkestone.

MICRO-RESIDENCY 3: Sydney Hart and Erica Scourti – Vacant Value / Day 1, Event 1


Untitled (Plural Anterior)

The Crying Room

157 East Cordova Street, Vancouver BC, V6A 1K7

November 2014

Untitled (Plural Anterior) is composed of a collection of prints each with reproduced, hand-drawn marks. These marks were found in various stores selling pens and pencils in Vancouver, and were made on shelves, cases, and store infrastructure illicitly, typically by visitors testing a product. At a minute scale, every one of these gestures defaces and vandalises the store, while paradoxically benefitting it and fulfilling its aims, as the marks are not ends in themselves (like graffiti) but the means to gage the viability of a product. Untitled (Plural Anterior) translates these anonymous marks into digitally-manipulated photographs and prints assembled in a kind of taxonomic collection. The halfheartedly consumerist doodle, the absent-minded product test is here brought to light in a completely different setting. The project highlights the private contexts that lead to these covert tests by transferring the marks from commercial interior spaces to reassemble them uniformly outside, for public view. Untitled (Plural Anterior) changes the aesthetic and spatial coordinates of these marks, and in the process raises questions about individual agency in the socially-oriented provisions of commercial infrastructure. How can cultural forms contest institutional dictates when their production and character are deeply inscribed within the interests of those dictates? Are we less likely to condemn a commercial enterprise if we are writing with a pen it manufactured and sold to us? My mural project is meant to embrace contingencies and accidents at the Crying Room site, and to a certain extent, keep pre-existing and accumulated marks, as well as general wear and tear.


Some Illuminations

Some Illuminations takes advantage in its content and aesthetic of the simplest devices of theatricality and artifice. Inspired by the passing shadows described in Plato’s Simile of the Cave, a hand shadow character tries to come to terms with its own illusory nature.

Post at Turning

Post at Turning

Mackintosh-Corry Hall, Queen’s University at Kingston
March-April 2017
Curated by Q4F

In an article from 1973 in The Queen’s Journal, a few months before the opening of
Mackintosh-Corry Hall, a head of the user’s committee stated that a central theme for the
design of the complex was to facilitate “vertical and lateral communication.” A “student street” on the second floor promised “meeting” and “happening” places, including a stage in a large room. [1]

How do university walls accommodate the full potential of such “vertical and lateral
communication”? As people navigate the university campus, the line between personal
directions and the influence of the institution can easily become blurred. If, however, we focus on understanding place in aesthetic ways, can this trouble institutional paths, or create new ones? Theorist Gayatri Chakravorty Spivak has argued for rethinking higher education, specifically Humanities programmes in North America, as sites for the uncoercive re-arrangement of desires. She holds that the act of reading, in this context, takes a prominent role, not as the propagation of knowledge, but as the “displacement of belief onto the terrain of the imagination.” [2]

Post at Turning addresses how institutions prompt precise ways of navigating place, through which the eye is guided by, but not limited to, what the institution chooses to reveal or obscure. This project features texts inspired by Spivak’s An Aesthetic Education in the Era of Globalization (2013), at B176 Mackintosh-Corry Hall, and sporadically, across campus.

[1] Peter Stokes, Secretary of the building’s Users Committee, quoted in Raj Anand, The Queen’s Journal. Friday, January 12, 1973, p3.
[2] Spivak, Gayatri Chakravorty. An Aesthetic Education in the Era of Globalization. Cambridge: Harvard University Press, 2013

Boccioni Calling All

In 1997 the French navy ceased using morse code. The last message in this dying language was the following, emitted over the Altlantic: “Calling all. This is our last cry before our eternal silence.” Using a painting by the Italian futurist Umberto Boccioni, this ultimate morse code message was translated into a moving image form that explores the gap between absolutes, utopias and the limits of archaic technologies.

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