In Toronto’s Don Valley a Public Art Project Exploring Work, Shelter and Sanctuary – 在多伦多的唐山谷,一个公共艺术项目探索工作、庇护所和庇护所。

City Report - 20 Jul 2018

In Toronto’s Don Valley a Public Art Project Exploring Work, Shelter and Sanctuary

Every night they dissembled the shed; every morning they built it anew

By David Balzer

Toronto’s Don Valley is a lush, hybrid ecosystem in the city’s east end. It cradles the Don River and now runs underneath the winding expanse of the Don Valley Parkway, its concrete, parallel artery. There is a path – an abandoned railway – many have followed to the Don from Toronto’s ultra-rich Rosedale neighbourhood: Milkman’s Lane, so named because of the delivery people who once traversed this path back and forth from the Valley, formerly a bustling industrial area with factories and farms. Currently, Milkman’s Lane leads to Evergreen Brick Works, a retrofitted brick factory and surrounding environs where curator Kari Cwynar has been programming innovative, temporary public art for the past year. This route and destination contain significant class, race and ecological tensions: histories of colonial displacement and resource extraction, pollution, neglect, so-called invasive species and squatters, including those with addiction and mental-health issues, whose alternative society has, for years, resisted Toronto’s WASPy frigidity and increasingly impossible expense.

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In Toronto’s Don Valley a Public Art Project Exploring Work, Shelter and Sanctuary - 在多伦多的唐山谷,一个公共艺术项目探索工作、庇护所和庇护所。

 Gareth Long, Travels with Two Donkeys in the Valley, 2018, performance documentation. Courtesy: the artist; photograph: Don Long

In June, Cwynar programmed artist Gareth Long’s performance Travels with Two Donkeys in the Valley (2018). Not dissimilar to ‘Milkman’s Lane,’ the name and nature of Long’s project are deceptively twee, pastoral. For four consecutive weekends, Long took two adorable, Instagrammable, miniature donkeys named Marci and Gemini (the former sporting a dapper, shag haircut) on a short walk up and down the Lower Don River Trail, leaving them to rest in a provisional shed designed by Long with the assistance of architect Christian Kliegel. Kliegel and Long’s construction is based on a modular schoolhouse designed by French architect Jean Prouvé, who devised demountable structures as a low-cost response to his country’s housing shortage after World War II. Every night for the duration of the performance, Long and students from the University of Toronto dissembled the shed. Every morning, they built it anew.

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In Toronto’s Don Valley a Public Art Project Exploring Work, Shelter and Sanctuary - 在多伦多的唐山谷,一个公共艺术项目探索工作、庇护所和庇护所。

 Gareth Long, Travels with Two Donkeys in the Valley, 2018, performance documentation. Courtesy: the artist; photograph: Frances Loeffler

Though in keeping with Long’s interest in the philosophies and absurdities of modernist industrial design (a previous work, Bouvard and Pécuchet’s Invented Desk for Copying (2007–ongoing), materializes a desk from Gustav Flaubert’s last, unfinished novel about two feckless, pretentious copy clerks), Long and Kliegel’s construction, and deconstruction, was born of necessity. No new structures can legally remain in the Don overnight. According to a March 2018 report by Global News, the City of Toronto eliminated 313 encampments from ravines and parks last year, its justification a bylaw against overnight camping in these areas. Long’s donkey shelter also rests underneath the Bloor Street Viaduct, a Toronto landmark as charged and fraught as the Don Valley. Constructed in 1918, the large bridge integrated the eastern part of the city, but was also the site for almost 500 deaths by suicide until 2003, when a barrier was built, remarkably called ‘The Luminous Veil’. (Before the Veil, the Viaduct was second only to the Golden Gate Bridge as a global site for suicides.) Michael Ondaatje’s 1987 novel In the Skin of a Lion acknowledges the bridge as a towering site of death, not only of those suffering from mental-health issues but also of those workers who initially lost their lives in its construction.

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In Toronto’s Don Valley a Public Art Project Exploring Work, Shelter and Sanctuary - 在多伦多的唐山谷,一个公共艺术项目探索工作、庇护所和庇护所。

 Gareth Long, Travels with Two Donkeys in the Valley, 2018, performance documentation. Courtesy: the artist; photograph: Claire Harvie

As traditional symbols of labour, dispossession and mis-ascribed stupidity, the donkeys, on loan from the nearby Donkey Sanctuary of Canada, thus activate and represent the Don poignantly, and in a manner that is hardly cute. Indeed, standing near the donkeys’ shelter with a direct view of the Viaduct overhead, the site feels like a graveyard. Long received facilitating help from the Donkey Sanctuary, and so one could pick up donkey literature at the site of the performance, with information on ‘common donkey illnesses’ and donkey needs, among them: ‘Your donkey needs company! Try to keep at least two donkeys together’; or, ‘Each donkey needs half an acre of grazing space’. It is worth noting that, as ancient labourers, the prototypical animal-slave, donkeys have rarely been afforded either of these things.

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In Toronto’s Don Valley a Public Art Project Exploring Work, Shelter and Sanctuary - 在多伦多的唐山谷,一个公共艺术项目探索工作、庇护所和庇护所。

Gareth Long, Travels with Two Donkeys in the Valley, 2018, performance documentation. Courtesy: the artist; photograph: Julia Lum

Importantly, the donkey has tended to function as a cultural symbol in relation to its owner. The compassionate donkey owner – a rarity, even a subject of ridicule – possesses a gentleness typically ascribed to the feminine, something of which Long, a straight white man, seems smartly aware. Christ rode into Jerusalem on a donkey to convey that he was not in fact bellicose, but the Prince of Peace. The anomalous intimacy between donkey and human is the source of legendary, feminine-inflected metamorphosis. In Apuleius’s The Golden Ass, the only complete, extant novel from ancient Rome, the protagonist Lucius is transformed into a donkey, and only rescued from this fate when sufficiently humbled by the goddess Isis, into whose cult he is inducted. In A Midsummer Night’s Dream, after a spell cast by her jealous lover Oberon, Titania falls in obsessive and, depending on the production, compellingly erotic thrall to the working-class Bottom, whose head has transformed into that of an ass. Like Titania, Marie (Anne Wiazemsky) in director Robert Bresson’s film Au Hasard Balthazar (1966) puts flowers in her donkey’s hair, her attachment to this beast of burden a tonic to the leering teenage boys who stand in contrast to his abiding, gentle strength. ‘Au Hasard Balthazar is about our anxieties and desires when faced with a living creature who’s completely humble, completely holy and happens to be a donkey’, said Bresson of his film. The same can be said of Long’s intriguing, and fundamentally moral, project.

Main image: Gareth Long, Travels with Two Donkeys in the Valley, 2018, performance documentation. Courtesy: the artist; photograph: Gareth Long

David Balzer

David Balzer is a writer, editor and teacher based in Toronto. He is the author of Curationism: How Curating Took Over the Art World and Everything Else (Coach House/Pluto Press, 2014). Find him @davidkbalzer

City Report
Toronto
Public Art
Gareth Long
Christian Kliegel
David Balzer
Kari Cwynar


城市报道-多伦多唐谷20号2018号,一个公共艺术项目,每晚都在探索工作、庇护所和庇护所,他们把棚屋拆散,每天早上David Balzer Tor都重新建造。登登山谷是这个城市东端的一个郁郁葱葱的混合生态系统。它摇动着顿河,现在在奔河峡谷公园蜿蜒的宽阔的土地下奔跑,它是混凝土的、平行的动脉。有一条路——一条废弃的铁路——许多人从多伦多超富豪罗斯代尔街区走到了唐人街:米尔克曼巷,之所以命名,是因为曾经有人从山谷中来回穿行这条小路,以前是一个繁忙的工业区,有工厂。D农场。目前,Malkman的泳道通向常青砖厂,改建的砖厂和周边环境,馆长Kari Cwynar在过去一年里一直在策划创新的、临时的公共艺术。这条路线和目的地包含了显著的阶级、种族和生态紧张:殖民地迁移和资源开采、污染、忽视、所谓入侵物种和寮屋者的历史,包括那些有成瘾和精神健康问题的人,他们的替代社会已经为Y。耳朵,抵制了多伦多可怕的冷漠和越来越不可能的花费。EULY0111.JPG WPA6021602IMG Gareth Long,与两匹驴在山谷中旅行,2018,性能文档。礼貌:艺术家;照片:六月的长时间,CWYNAR程序艺术家Gareth Long的表演与山谷里的两只驴一起旅行(2018)。与“送牛奶人的巷”不同的是,龙的项目的名称和性质是虚假的,牧歌。连续四个周末,龙带了两个可爱的,易逝的,小型驴命名为Marci和双子座(前者运动一个短小的,粗毛理发)在下游唐河小径上下行走,让他们休息在一个临时设计的长棚,在拱门的帮助下。Christian Kliegel。KLIGEL和朗的建筑是基于一个模块化的校舍,由法国建筑师让普鲁夫设计,他设计了可拆卸的建筑作为对二战后国家住房短缺的低成本反应。每晚演出的时间长,多伦多大学的学生们都在打扫棚子。每天早晨,他们都重新建造。IGGJ613JPG WPA6022602IMG Gareth Long,与两匹驴在山谷中旅行,2018,性能文档。礼貌:艺术家;照片:Frances Loeffler与罗恩对现代主义工业设计的哲学和荒谬的兴趣保持一致(以前的作品,鲍瓦德和P·CuCheta发明的复制台(2007正在进行),从古斯塔夫FL实现一张桌子。奥伯特的最后一部未完成的小说《两个无能的、自命不凡的抄写员》、《长篇》和《Kliegel的建筑》和《解构主义》都是由必然性产生的。没有任何新的结构能在夜间合法地留在老挝。根据全球新闻2018年3月的报告,多伦多市去年从峡谷和公园中取消了313个营地,这是一个禁止在这些地区过夜露营的法令。龙的驴舍也坐落在布卢尔街高架桥下面,这是多伦多的一个标志性建筑。这座大桥建于1918,该桥整合了该市东部地区,但在2003年底建造了一道屏障,被称为“发光面纱”,直到2003年底为止,它也是自杀的近500人的遗址。(在面纱之前,高架桥是仅次于金门大桥的全球自杀场所。)Michael Ondaatje的1987部小说《狮子的皮肤》承认这座桥是一个高耸的死亡地点,不仅是那些患有精神健康问题的人,而且是那些工作人员。在他们的建筑中失去了生命。6VI旅行有两个旅行,Gareth Long,WPAP602602IMG,2018,在山谷里旅行两个驴,表演文档。礼貌:艺术家;照片:Claire Harvie作为传统的劳动象征,被剥夺和被误认为愚蠢,驴子,从加拿大附近的驴庇护所借出,从而激活和代表唐的辛辣,并以一种不可爱的方式。事实上,站在驴的住所附近,直接俯瞰高架桥,这个地方感觉就像一个墓地。长期以来,从驴庇护所得到了便利的帮助,因此,人们可以在表演现场拾取驴子文学,并提供“普通驴病”和驴子需要的信息,其中包括:“你的驴子需要公司!”试着至少养两只驴子;或者,‘每只驴子需要半英亩的放牧空间’。值得注意的是,作为古老的劳动者,典型的动物奴隶,驴子很少得到这些东西。JulalaluthGaReth-CARMN.JPG In Toronto’s Don Valley a Public Art Project Exploring Work, Shelter and Sanctuary - 在多伦多的唐山谷,一个公共艺术项目探索工作、庇护所和庇护所。 Gareth Long,与两匹驴在山谷中旅行,2018,性能文档。礼貌:艺术家;照片:Julia Lum,重要的是,驴子倾向于充当与主人相关的文化符号。富有同情心的驴子主人——一个稀有的人,甚至是一个被嘲笑的对象——拥有一种典型地被赋予女性气质的温柔,其中一个长得笔直的白人,看上去很聪明。基督骑着驴骑着马来到耶路撒冷,说他其实不是好战的,而是和平之君。驴与人之间的异常亲密关系是传说中女性变形的根源。Apuleius的《金驴》是罗马古代唯一完整的现存小说,主人公卢修斯变成了驴子,只有在被女神伊西斯充分羞辱的时候,才被救出。在一个仲夏夜之梦中,在她嫉妒的情人奥伯龙施展了一番魔咒之后,泰坦尼克迷迷糊糊地爱上了工人阶级的底层,他的头颅已经变成了一个屁股。Titania,玛丽(Anne Wiazemsky)在导演罗伯特。布列松的电影《Au Hasard Balthazar》(1966)把鲜花放在驴子的头发上,她对这只驮畜的依恋是对那些与他持久、温柔的力量形成鲜明对比的少年男孩的补品。他的电影《布列松》说:“当我们面对一个完全谦卑、完全神圣、恰巧是驴子的生物时,Au Hasard Balthazar就是我们的焦虑和欲望。”同样的道理也可以说是罗恩有趣的,从根本上说是道德的。主要形象:Gareth Long,游历两匹驴子在山谷中,2018,性能文档。礼貌:艺术家;照片:加里斯龙戴维巴尔泽戴维巴尔泽是一个作家,编辑和教师在多伦多。他是策展主义的作者:策展是如何接管艺术世界和其他一切的(Coach Houth/Puto to Press,2014)。找到他“达维克巴泽尔市报告”多伦多公共艺术加里斯长克里斯格尔戴维巴尔泽卡里CWYAR


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