Meet the emerging curators of as they present selected domestic objects from 杏吧原创鈥檚 newly acquired industrial design collection. Put in dialogue with Johan Voordouw鈥檚 New Image of Home exhibition, the designed object is the focal point for this curatorial discussion of our entanglement with the things we use in our everyday lives. Join us to learn more about the fascinating lives of these objects, which form a part of Canada鈥檚 industrial design history from 1945 to the present.

For additional information or to register, please contact:

Meredith Boerchers at meredith.boerchers@carleton.ca

This group exhibition features photographs by Canadian artists Lorraine Gilbert and Stephen Livick and American artist John Pfahl, selected from CUAG鈥檚 collection by the student curatorial team enrolled in a CURA 5001 graduate seminar. The photographs explore and prompt reflection on the extent and continuing impacts of humans on the landscape. Curated by: A. Ashraf, T. Bruinsma, M. Bryan, A. Buessecker, E. Hill-Smith, A. Kim, J. Laframboise, K. Lydiatt, E. Stewart and G. Stovel.

Runs from May 21 – August 25, 2019 at CUAG, St. Patrick’s Building, 杏吧原创 University

Opening event: Tuesday, 21 May from 5:00 p.m. to 7:00 p.m. with opening remarks at 6:00 p.m. (with ASL interpretation).

Access Notification:听The St. Patrick’s Building elevator will be upgraded from May through July. Visitors needing to use the elevator between the gallery’s first and second floors can use the elevator in the Stormont-Dundas Residence.听

For event poster see here.

Abstract: Macaskill鈥檚 presentation circles and cycles around the insufficiently known genocide committed against the Herero nation in German Southwest Africa, locus of the first death camp in twentieth-century history. It celebrates the artistic response to that disaster by internationally renowned South African artist William Kentridge, who memorializes the catastrophe in “Black Box / Chambre Noire” (2005), a beautifully and sympathetically nuanced multimedia reaction to this genocidal atrocity. Glimpsing rhinoceri now and then along its also intermedial trajectory (voice, image, music, text, genealogy too), the presentation pauses鈥攚ith a sideways glance at the Shoah鈥攐ver some difficulties confronting memorial commemoration in lapidary practice.

Co-Sponsored by:
Canada Research Chair in Rhetoric and Ethics
Institute of African Studies
Institute for Comparative Studies in Literature, Art, and Culture

As Sky writes, 鈥渨e maintain the notion of Radical Visibility, a movement based on claiming our bodies and, through the use of bright colors, exuberant fabrics, and innovative designs, highlighting the parts of us that society typically shuns. Through Radical Visibility, we refuse to assimilate and can create a Queer and Disabled dress reform movement.鈥�

You can find the poster here and the facebook event here:

This event is free and all are welcome!

See Poster

This paper is an introduction to the making of marriage as legal and social form in an emerging colonial-capitalist system of reproduction across race in nineteenth century Natal, a small British colony on the Southeast African coast.听African, Indian and European customary practices of marriage became the focus of regulation, and of reformist discourse, under British colonial rule. The processes by which missionaries, settlers, state legislators and bureaucrats engaged these practices reflected the moral regulation inherent in state formation. Generally speaking, it was through the valorization of particular gendered relationships and social roles amidst the contingencies of colonial administration in this nineteenth century moment that the colonial state established differential patterns of gendered expectation for Africans, Indians and White settlers. Each group was marked by colonialism, but also by the hold of historically specific forms of patriarchy. All were enmeshed in emerging capitalist relations in which new ascriptions of race positioned them differently, making possible different outcomes for the development of marriage and family forms. By setting the contemporaneous regulation of different forms of marriage practices alongside each other, it is possible to view the differing historical and legal forms of gendered social order coming into being in this colony by the turn of the twentieth century for each of these colonial groups. In each case, the sedimentation of marriage regimes in the law was inflected by pre-existing forms of power which were appropriated and transformed by the colonial state鈥檚 legal institutions in conversation with its differently-constituted legal subjects.

Nafisa听Essop Sheik听received her PhD in African History from the University of Michigan in Ann Arbor in 2012. She is Senior Lecturer in the History Department at the University of Johannesburg, and for 2018/19 she is the Cornell Visiting Professor in History at Swarthmore College. She works on gender, law and nineteenth century British colonialism in South Africa.

Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world鈥檚 most influential transgender media producers, and their coming out retroactively put trans* aesthetics at the very center of popular American culture.

C谩el M. Keegan views the Wachowski鈥檚 films as an approach to trans* experience that maps a transgender journey and the promise we might learn 鈥渢o sense beyond the limits of the given world.鈥� Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearrange, and evolve the cinematic exchange with the senses in the same manner that trans* disrupts, rearranges, and evolves discrete genders and sexes.

鈥淭his book is a revelation! With this book on Lana and Lilly Wachowski, we have in our hands the first book to consider the transgender content of the Wachowskis鈥� massively influential cinematic practice. Keegan gives a masterful account of the Wachowskis鈥� world and drops his readers down the rabbit hole of a trans* altered reality. Bon voyage.鈥� 鈥� Jack Halberstam, author of Gaga Feminism: Sex, Gender, and the End of Normal

C谩el Keegan is Assistant Professor of Women, Gender, and Sexuality Studies and Liberal Studies at Grand Valley State University. He has been interviewed on LGBTQ art and cinema by NPR, The Advocate, NBC, Vice, and Slashfilm. Keegan also appears in the VICE Guide to Film episode 鈥淣ew Trans Cinema.鈥�

Aubrey Anable is Assistant Professor of Film Studies at 杏吧原创 University. Her book,听Playing with Feelings, was recently named 鈥淏est First Book鈥� by the Society of Cinema and Media Studies.

Sponsored by 杏吧原创 University鈥檚 School for Studies in Art and Culture, English Department, Institute for Comparative Studies in Literature, Art, and Culture, Pauline Jewett Institute for Women鈥檚 and Gender Studies, the University of Ottawa/杏吧原创 University Joint Chair in Women鈥檚 Studies, and the Transgender Media Portal.

The venue is accessible via elevator. For more info, see:听. Please contact Laura Horak (laura.horak@carleton.ca) about any other accessibility requirements.

More info 听

Both venues are barrier-free and accessible via an elevator. Contact laura.horak@carleton.ca for any other accessibility needs.

Sponsored by 杏吧原创 University鈥檚 School for Studies in Art and Culture (Film Studies), English Department, Institute for Comparative Studies in Literature, Art, and Culture, and Pauline Jewett Institute for Women’s and Gender Studies, as well as the University of Ottawa/杏吧原创 University Joint Chair in Women鈥檚 Studies and the Transgender Media Portal.

A workshop investigating the ethics of transnational and transcultural studies from transdisciplinary perspectives. Participants will be invited in advance to give a brief, 5-minute presentation summarizing an assigned reading (providing a collection of readings to start us thinking through concepts). Presentations will be followed by a period of discussion where we will examine intersections and overlapping questions and concerns.

Information specific to this Friday Table topic will be updated soon.

This discussion will push back against this and many other violent interferences in Indigenous self-governance. Our invited speakers, Summer Twenish () and Ginger Cote () will discuss how to better support and reaffirm the rights of Indigenous nations to protect and preserve their lands.

This session is part of听The Friday Table, a series of weekly Friday afternoon events organized by the Graduate Steering Committee for the Centre for Transnational Cultural Analysis (CTCA) and the Institute for Comparative Studies in Literature, Art and Culture (ICSLAC) at 杏吧原创 University. We aim to bolster the Centre鈥檚 mandate to bring together scholars and students working with transnational approaches to studies in the humanities through regular, informal workshops, roundtables, film screenings, and discussion groups. The Friday Table seeks to foster collegiality and promote student-led research. Events are free and open to all.

This session is also organized in collaboration with the听Indigenous + Diasporic Friendship Festival. The Indigenous + Diasporic Friendship Festival is a bi-yearly event that focuses on the education and celebration of Indigenous cultures in Canada and around the world. Please visit their听听for more information.