Institutions by Artists
The national organization of artist-run centres, ARCA, as well as Filip and British Columbia’s Pacific Association of Artist Run Centres are planning a big conference in Vancouver this October:
At the Convention a world congress of artists, curators, critics, and academics will deliberate, explore, and advance the common interests of artist-run centres, collectives, and cultures, creating a catalyst for new as well as divergent assessments and perspectives on artist-run cultures today. Using experimental formats, performative frameworks, and participatory vehicles, the three day series of events is designed to challenge and generate new thinking about artist-run culture globally, examining their urban and rural, fixed and mobile, local and virtual dimensions among others. Inspired by the many artists wrestling creatively with building, using, shaping, and deploying institutions by artists, we will explore economies of exchange and knowledge; institutional time and space; material and virtual intimacies among other critical interrogations.
Throughout the Institutions by Artists week, Vancouver artist-run centres will present special projects that link to the themes of the Convention. From internet art pioneers, to grassroots cinema collectives, to media pirates and institutional revisionists, this week-long series of events and activities will invite the public to meet visiting artists, and to examine the many phenomena impacting and defining artist-run culture globally. Experimental tactics include re-enactments of key histories from the annals of artist-run culture, radical forms of distribution, the re-purposing of data and systems for new outcomes, as well as DIY models of education in an in-depth exploration of the innovation, critical thinking, and irreverent spirit of artist-run initiatives.
Sound interesting? Registration is open now at arcpost.ca.
Today the Canada Council announced this year’s winners of the Governor General’s Awards in Visual and Media arts, including artist Margaret Dragu, a friend of the gallery who showed here in October 2011 as well as at several installments of Visualeyez over the last decade.
Dragu said the Governer General’s Award is the first prize she has ever won for her unusual work and “a huge honour.” She described her art as rooted in the body.
Read the story at CBC.ca or find out more at canadacouncil.ca.
Diving back into our (un)biased comparative analysis of Washington DC and Ottawa, I present to you the second and final chapter. Whose self-presentation reveals a mightier political identity and more progressive national values? Answering such a question requires that we first look at….
4) Representation of Leadership

I’m reminded of something Naomi Klein recently suggested, that, “we aren’t taught the history of social movements- we’re taught the history of great men.” This is very much the case on the National Mall, where Lincoln, Jefferson and FDR are all encapsulated in their separate, walled enclosures where they alone are credited with turning the course of history. Depressingly, the only memorials for collective action are those of war.
Canada at first seems to follow this model. Most of the statues placed around Parliament Hill are of dead white politicians, elevated and stern in expression. However, I think this reading is subverted somewhat by the circumambulatory positioning of all the statues facing the back of the Hill. Rather than presiding over their own mausoleum to history, Canada’s statues of great men seem to be moving collectively towards the central block of Parliament, entering into a larger structure of democratic government. I like that the statues stand together rather than apart and seem to invite acknowledgement instead of idealization.
Points: A half point to Canada, since I’m not entirely sure this alignment was intentional.
USA 0 Canada 2
5) Civic Design

Washington D.C. is and always has been a bureaucrat’s town. It was built from the ground up with the express purpose of serving as the nation’s capital and as such it bears the hygienic traces of being a planned city. Ordered into quadrants in relation to the Capital Building and neatly labelled alphanumerically, the streets of DC would seem to create a rational space equal to the mathematical elegance of the city’s Neoclassical style. Instead, this veneer of order disguises deep-seated inequalities and wilful blindness toward the elements that resist the ideal. A banal example is the absence of a J street, presumably because the civic designer couldn’t come up with a namesake for that letter.
A more serious issue is the disenfranchisement of DC’s citizens. Officially belonging to no state, residents of DC cannot vote equally in elections and have limited civic funding resources for municipal projects. Compound these issues with high poverty rates in the inner city that are largely divided across racial lines and you can find a lot of frustration brewing in the seat of the nation. Many DC license plates come with the slogan “No Taxation Without Representation” and the city is full of advocacy groups fiercely trying to enact change. However, this doesn’t seem to be a high priority to the government workers who commute from suburbs in Maryland and Virginia. It’s certainly not a side of DC that’s made immediately visible to tourists.
At the same time, these pockets of resistance to the outward order of the city provide a space for unique cultures to grow and dissenting perspectives to be expressed. The city’s non-profit organizations are fully engaged in their communities and I found living on the cusp of the inner city to be a rewarding and enjoyable experience. They also have a vegan bakery there. That counts for a lot.
Ottawa, in contrast, grew organically around the trade highway of the Ottawa river. Originally a timber town, it was designated by the Queen as the capital of the Province of Canada in 1857 due to its proximity to both English and French Canada (and its distance from the American border). Today it’s the top city in Canada in terms of quality of life, it’s fully 1/3 bilingual, and increasingly bike friendly. The winding path of the canals makes for excellent park space, niche cafes, and promenades. It’s not the most straightforward city to navigate, but its surprises are generally good ones.
Points: A point to America for making the best out of a bad situation. A point to Canada for being generally pleasant.
USA 1 Canada 3
6) Care of Wayward Kitties

I don’t recall seeing a single animal out on the National Mall, not even a leashed dog. At Parliament Hill, however, I could catch glimpses of cats darting in and out of the bushes by the river, looking generally devious and resting at the feet of monuments. This is because there’s a Parliament-shaped cat sanctuary where strays can find food and shelter. Not only is this both awesome and novel, I think it’s just as effective as monumental architecture and commemorative statues in presenting our values as a nation. I see, in our regard for the welfare of lost kittens, a comparable commitment to supporting immigration and providing a social safety net for all Canadians. Canada, we are those wayward kitties and I think that’s pretty swell.
Points: Kitties!
USA 1 Canada 4
Conclusions
Holding the experience of Ottawa and DC up in contrast with one another illuminates two distinct attitudes and self-presentations. Neither is entirely coherent, but it would seem that the United States generally has a more idealistic vision of history and its actors, and has a certain agenda to impress its visitors through scale and polish. Canada, conversely, makes space for multiple narratives of history while holding our identity as negotiable rather than enshrined. We could do more in our actions and self-representations to achieve a more equitable and democratic society, but at least we take the perpetual comfort that we aren’t quite American yet.
At this point I’ve realized that all this patriotic chest thumping runs contrary to the paradoxical Canadian ideal of being proudly humble. And yet, I must confess, I am secretly very smug.
One of the oldest methodological strategies in art history has been comparative analysis. You probably remember being in a dark stuffy classroom at one point in your life, under the auspices of a professor armed with a lectern and two duelling slide projectors. Chances are this fed into the exams you had to take. “Compare and contrast slide A vs. slide B” or something like that. It can be a very powerful tool for teasing out contextual, formal and symbolic difference that might otherwise be occluded by looking solely at a singular image. What I have in mind for this piece, however, is a little more irreverent.
You see, sometimes these contrasts are presented to us skillfully by curators and scholars attempting to make you think. Other times we stumble into illuminating parallels by chance, perhaps when free associating by Google image search, or maybe even the chance configuration of a newspaper. In my case I can’t claim to be so dispassionate. I spent last summer working in Washington D.C., which begs comparison with our own capital Ottawa in an antagonistically-minded trilingual “mano-a-main-a-fisticuff” showdown. I’m interested in testing how the visual and cultural landscapes of these respective capitals might illuminate our distinct values and histories. Oh, and there are certainly bragging rights to be earned.

Points will be tallied, barbs will be exchanged, and feelings may possibly be hurt in this two-part competition of capital cities. Whose national architecture, visual culture and iconography will rein supreme? I have developed six (un)highly calibrated and (non)objective tests to determine the victor.
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Friend of Latitude 53 Dana Holst is the Associated Visual Artist for the National Arts Centre’s French Theatre season. That mean’s that her painting “Woebegone”, above via her website, is the central image for their branding this year. More at the NAC and danaholst.com.