Inuit Artist Creative Residency
- Inuit Artist Creative Residency 2021-22
- Inuit Artist Creative Residency 2020
- Inuit Artist Creative Residency 2016
- Residency Recipients 2022-23
- Scholarship & Fellowship Residency Recipients 2021-22
- Scholarship & Fellowship Residency Recipients 2020-21
- Scholarship & Fellowship Residency Recipients 2019-20
- Scholarship & Fellowship Residency Recipients 2018-19
Visiting Artist Residencies
Visiting Artists 2016-2017
Daniel Barrow is a Winnipeg-born, Montreal-based artist who works in video, film, print-making and drawing, but is best known for his use of antiquated technologies, his “registered projection” installations, and his narrative overhead projection performances. Barrow describes his performance method as a process of, “creating and adapting comic narratives to manual forms of animation by projecting, layering and manipulating drawings on overhead projectors”.
Barrow has exhibited widely in Canada and abroad. He has performed at The Walker Art Center (Minneapolis), PS1 Contemporary Art Center (New York), The Museum of Contemporary Art (Los Angeles), Internationale Kurzfilmtage Oberhausen(2014), The Portland Institute for Contemporary Art’s TBA festival (2009/2013), and the British Film Institute’s London Film Festival (2010). Barrow is the winner of the 2010 Sobey Art Award as well as the recipient of the 2013 Glenfiddich Artist in Residence Prize.
practice – an archeology of the present – is location-based, and is in dialogue with diverse cultural communities. He investigates tactics of representation and enlists the tools of installation, print media, and the methods of anthropology to explore various forms of collecting, interpreting, and display. In this way, his projects aim to build alternative structures to incorporate the multiple stories, simultaneous experiences, and shared fictions that make our lives so unwieldy. The result is often a collaborative work which counterbalances how dominant institutions speak about our lives: a counter-museum, new additions to an existing archive, or a buried history made visible.
His current research is focused on how to materialize the invisible within the museum: the shape inside of our digital trashcans, fragments of gossip overheard, and the stooping body expressing ‘overwhelm-ment’ which must find a rightful place beside our masks, tools, and manuscripts. His residency will centre around the creation of language-based works culled from the headlines of newspapers in Toronto published by specific cultural communities. In Toronto where “diversity” is used as a currency to construct the global city, what insights do these sources offer when their voices are elevated through several material techniques?
work focuses on understanding problems, with an awareness that the work of the artist lies in revealing false problems rather than solving real ones. Through his process he latches onto a piece of material, or a historical factoid, or the cultural baggage of an object, or a quirk of language, and becomes fascinated – obsessed until is reveals the mortal banality of its associations. Those associations – networks of the human intellectual emotional investment, vulgarly known as “meaning” – then find expression in reconfigurations of light, text, space, sound, and matter.
His residency project will centre around a quirk of history. 1492, a year practically synonymous with colonial expansionism, is the same year that the Arches paper company was founded in France. Arches paper, since, have been a much-coveted artist’s supply, a way of letting that most bourgeois-democratic of materials (printing paper) connote the luxury and opulence of European imperial-ecclesiastical power; paper more generally ties itself to colonial power as the map that charts the territory, and the constant “proof” of ownership.
practice explores questions of visibility, especially in relation to systems of power, language, and technology. Working across the mediums of video, sound, and print, her work investigates relationships between politics and aesthetics, specific histories and contemporary experience, the space of the museum and the street. Her recent research has investigated different modes of encoded communication, camouflage, and subterfuge in the context of early 20th century military technologies, women’s suffrage, and avant-garde movements in culture. From this research, she has been excavating notable patterns and auditory cues, film footage, and writing systems a century old, and examining places where they overlap.
Mining the intersecting histories of military technology, feminism, and the cultural avant-garde, she is interested in patterns that appear to overlap between very different fields. For example, the bold, asymmetrical patterns in Cubist painting were so similar to those found in dazzle camouflage that Picasso famously claimed to have invented it himself. During this time of immense political unrest and sweeping change, anxiety about shifting societal roles and the growing emancipation of women was registered – aesthetically – on the surfaces od things: on fabric patterns, on the printed page, on painted canvas. Ritter’s work during her residency will be to create a series of silkscreen prints based on these intersecting histories; prints that function as artworks as well as templates for fabric patterns.