5 Minutes for Business
The TPP is a proposed trade agreement between several Pacific Rim countries, including Canada. The TPP seeks to lower trade barriers, establish a common framework for intellectual property, enforce standards for labour law and environmental law, and establish an investor-state dispute settlement mechanism. The Peterson Institute for International Economics estimates that by 2025, the TPP could boost Canadian incomes by an additional $10 billion per year and raise global incomes by $295 billion per year. The full article looks at the benefits of joining the Trans-Pacific Partnership and can be found here.
Premier Darrel Pasloski has issued new mandate letters to his ministers and departments that set out a long-term vision for Yukon's future. The full article can be found here.
Premier sets direction to ministers to end of term
Tr'ondëk Hwëch'in and the Government of Yukon are pleased to announce the finalization of the Tr'ondëk Hwëch'in Traditional Territory Regional Economic Development Plan following a signing ceremony in Dawson City. Full article here.
Tr'ondëk Hwëch'in Regional Economic Development Plan finalized
Odd Gallery: The Natural & The Manufactured
The Natural & The Manufactured is a unique thematic project jointly organized by the ODD Gallery and the Artist in Residence Program at the Klondike Institute of Art & Culture. Conceived in 2005 as a speculative research and presentation forum, the N&M looks to the myriad ways in which we both influence and are influenced by our natural and constructed environments.
Project website and archive: naturalmanufactured.com
August 13 - September 18, 2015
KEVIN MURPHY | ONE INCH MORE OR LESS
In 1955, the Quaker Oats Company launched the Klondike Big Inch Land Co. promotion. Accompanying boxes of puffed cereal, consumers received elaborate and apparently official deeds to one square inch of land subdivided from a plot outside of Dawson City. Slogans such as “Get Free Gold Rush Land Today!” were wildly successful in capturing children’s imaginations and encouraging cereal sales. 21 million deeds were drawn up and rapidly claimed in a strange echo of the earlier rush. More valuable than other cereal prizes, many of these deeds were saved through the years. However they were never intended to have any real property value. Quaker had considered the cost of so many land titles unfeasible, and none were ever registered. So the land was real land, but was never truly intended to exist anywhere except as an idea in the consumer's mind.
Revisiting this bizarre property and settlement microcosm, Murphy has collected some of these deeds and located each corresponding one-inch land parcel using survey plans and GPS. Using the physical deeds themselves as the material for tiny paper sculptures, he has built camps, homesteads, claims, and the various other built objects and environments of this second imaginary Gold Rush. Photographed on their respective lots, the scale of the resulting landscapes is confused, allowing the sculptures to become models for larger potential sites. The exhibited project is a complementary paradox: the imagined space of the deed finally made real by its location and documentation, and the real space of the land made imaginary- transformed into model, picture, and landscape.
COLIN LYONS | T
Colin Lyons' large-scale installation, Time Machine for Abandoned Futures, will be installed at the top of the Midnight Dome. Built with plexiglas, aluminum, and chemicals, this shelter adopts a design similar to Earthship architecture, but rather than environmental sustainability as its guiding principle, this bubbling chemical structure comes closer to the absurd inefficiency of many of our modern industrial pursuits. Powering this machine is a massive, roof-top battery, in which etching plates and etching acid power an electrolytic cleaning process to remove the rust from scavenged artifacts. Once cleaned, Lyons meticulously etches the markings left by decades of rust and erosion, forming a kind of topographical map. The result is a glistening surface that memorializes the artifact’s entire lifespan.
Overlooking the dredge tailings, this machine presents a kind of prototype for the preservation of degradation. As it stands now, our most sincere attempts to preserve this era are often counterproductive, a further erasure or gentrifying of these objects and spaces, resulting in a kind of nostalgic industrial utopia. With this project, Lyons attempts to reintroduce the evidence of time, erosion and labour into the restoration process: the act of polishing bringing a sharpened awareness to the work that was once performed with these tools.
DR. CURTIS COLLINS | MANUFACTURED NOT NATURAL
Lecture & Post Exhibition Text
This discussion will examine KIAC’s The Natural & The Manufactured projects over the past three years, with a focus on how participating artists have delimited the environment according to places that are rarely indicative of nature and almost always affected via artificial means.