On Saturday August 18th- hundreds of protesters gathered in front of the main entrance gates of Marineland in Niagara Falls, Ontario. At stake was the ethical treatment of animals used for performances and entertainment. Over the past three years there have been increased reports by the media regarding the attacking of trainers by killer whales and other performing animals.
Messages on protest signs were simple, bold and clear. photos:The Silo/Mith Media
Many researchers believe that this sort of behavior is inevitable because killer whales are adversely affected by forcible confinement and pavlovian conditioning and that in turn has many questioning whether theme parks such as Marineland and Seaworld are capitalizing on animal cruelty. It’s not a new topic- zoo’s and circuses are not strangers to demonstration and protest and the relationship between humans and animals is a theme often employed by conscientious artists.
[Warning- the following video contains disturbing images. Viewer discretion is advised CP]
Segment from Umwelt (2010) exhibition catalogue- Jarrod Barker’s installation at the Norfolk Arts Centre explored the connectedness or non-connectedness (ie: the umwelt) of humans and animals. image:courtesy of the artist
Marineland denied our request (along with the Toronto Star’s request) for an interview and requested that the media respect “private [their] property”. That sort of reaction makes it difficult to investigate a story of this magnitude- and many questions remain unanswered. For example, earlier this year an infant beluga whale was attacked repeatedly by two adult belugas until it was killed. Media leaks reveal that the baby whale may have been ill and that the other animals acted out of fear since they may have detected signs of a contagious disease.
image: The Silo
Although no date has been set, The Ontario Society for the Prevention of Cruelty to Animals is planning on bringing independent Sea Mammal experts and Marine Biologists into Marineland for an inspection according to an online report at www.thestar.comCP
Artist Jarrod Barker, was recently invited to take part in MUCA-Roma’s Ala Afuera project. Based in the Roma district of Mexico City, MUCA is a University Museum of science and art. What made this project doubly exciting was the opportunity to show case a part of Barker’s home internationally.
The curators asked for a submission of 3 images and accompanying explanatory write-ups that “from your perspective, show a form of relationship between humans and the rest of nature.” This topic aka- Umwelt is not foreign to Barker who installed an exhibition of that name in 2010 at the Norfolk (nee Lynnwood) Arts Center in Simcoe,Ontario.
Long Point Seal Tamer Concept- J. Barker Location: Long Point, Norfolk County, Ontario, Canada Long Point is a world biosphere. I know this because the United Nations has told me so. But for several months of the year Long Point is transformed. Under certain winter conditions, Long Point looks less like a marshy, swampy bird watchers paradise and more like an arctic shore. At least on the South West side. When I visit Long Point during these times, I react to the environmental changes. I see things differently. I feel things differently. A sun bleached tree stump becomes a seal. A marsh reed becomes a baton. A flint pebble becomes a ball. Natural transformation through the changes of the seasons is a holistic experience.
After the selection process, if successful- one of the artist submitted images and write-ups was selected for transformation into a postcard and incorporated with the other artist submissions. The goal was for the Ala Afuera team to mail out the postcards to other international Museums of art and science and Contemporary Art institutions as a connective gesture to highlight MUCA and the work of the artists involved in this project and to bring awareness to our human/nature relationships.
“The objective of the project Allá Afuera (Out There) is to gather a mosaic of images that represent ways of understanding the relationship we humans have with the rest of nature. From bucolic or passionate points of view to other more threatening myths and taboos, amazement, fear, the absurd, and maybe even indifference. We do not intend to cover all possibilities, but through images as a direct reading form, show that there are multiple ways of looking at this Bond.
Three times a year we will present a collection of postcards, with 18 images each, gathered in a biombo format. After two years we will complete the edition of six collections, with a total of 108 ways of understanding, 108 points of view, and 108 forms of defining our relationship with what is out there. “
Ala Afuera which translated mean’s “Out there” began mailing out the works a few weeks ago. For the Silo, Stephanie Bordega.
For more information and to request postcards please contact-
Allá Afuera (Out there) project Gonzalo Ortega and Jeronimo Hagerman
MUCA ROMA MUSEUM (University museum of science and art, Roma district, Mexico City) allaafueramucaroma@gmail.com
KATUSHA VOLUME ONE: EDGE OF DARKNESS, the first of a three volume graphic novel series by historical graphic novelist Wayne Vansant, is now available exclusively in digital format from digital publishing imprint Grand Design Communications.
The painting Kateryna by the Ukrainian poet and painter Taras Shevchenko (1814-1861)influenced Katusha. Kateryna tells the story of a Ukrainian country girl who is seduced and abandoned by a Russian cavalry officer.
KATUSHA is a coming-of-age story set in the Eastern Front of World War II, following the life of a Ukrainian farm girl Ekaterina Tymoshenko, nicknamed Katusha, starting with the invasion of the Soviet Union by Nazi Germany in 1941. The three-volume graphic novel, which when finished will total 540 pages, follows her journey from farm girl to partisan fighter to tank commander in the Red Army, along the way participating in the Battles of Stalingrad and Berlin, among others.
During the second world war, hundreds of thousands of Soviet women served in the Red Army as pilots, snipers, tank drivers and other essential roles. Although KATUSHA is a work of fiction, Vansant based his story on interviews he conducted with living veterans in Ukraine and extensive research. He will return for another trip this fall, to conduct more interviews and do research on locations.
Lviv, Ukraine, 26 October 2010 – Canadian Prime Minister Stephen Harper is joined by Ukrainian officials as he pays tribute to Ukrainian poet, artist, and humanist Taras Shevchenko.
KATUSHA VOLUME ONE: EDGE OF DARKNESS, the first of three volumes, is out now exclusively in digital format for iPhone, iPad, Android, and in-browser reading. It is available in two formats – as six separate chapters priced at $.99usd each and as a single one hundred eighty page edition priced at $4.99usd, and can be purchased through iVerse’s ComicsPlus app and from Grand Design’s electronic storefront on iVerse’s website.
A native of Marbleton, Georgia, writer/artist Wayne Vansant has created many historical graphic novels – both fiction and non-fiction – in a career spanning more than twenty five years. His non-fiction graphic novel about the Allied invasion of Europe in World War II, NORMANDY, were be published in September by Zenith Press.
His recent collaboration with writer Dwight Jon Zimmerman, THE HAMMER AND THE ANVIL (2012), a graphic novel about Abraham Lincoln, Frederick Douglass, and the end of slavery in America was published by Hill and Wang, and Vansant was the primary artist for Marvel’s The ‘Nam for more than five years.
His other non-fiction graphic novels on military history include DAYS OF DARKNESS, ANTIETAM: THE FIERY TRIAL (with the United States National Park Service), BLOCKADE: THE CIVIL WAR AT SEA, and THE VIETNAM WAR: A GRAPHIC HISTORY.
Toronto – GPO leader Mike Schreiner is calling on the McGuinty
governmentto dedicate1% of the transportation infrastructure budget
to cycling and another 1% for pedestrians. Sustainable infrastructure
is a sound investment that will help people choose healthy
transportation options.
[The song featured is by Mercury and was supposedly inspired by his observing a leg of Tour de France. It starts with a chorus unaccompanied by instruments. The chorus is followed by two verses connected with a bridge, both followed by a chorus. Around the middle of the song there is a solo played with numerous bicycle bells. During the live performances, it was often played by the audience who specially brought the bells for this purpose. The song has a very unusual chord progression with numerous modulations, a change of meter (from 4/4 to 3/4) in the bridge, and the multitracked vocal and guitar harmonies.
The video for the song became scandalously famous for featuring 65 naked women, all professional models, racing at Wimbledon Greyhound Stadium. It was filmed by Dennis de Vallance. The group rented the stadium and several dozen bikes for one day for filming the scene; however, when the renting company became aware of the way their bikes were used, they requested the group to purchase all the bicycle seats. The original video uses special effects to hide the nudity.
“Bicycle Race “é um single da banda de rock inglesa QUEEN. Foi lançado em 1978, no álbum JAZZ e escrito pelo vocalista da Queen FREDDIE MERCURY. Ela foi lançada como um duplo lado-A única juntamente com a canção” Fat Bottomed Girls “. A canção é notável por seu vídeo com uma corrida de bicicleta com mulheres nuas em Wimbledon Stadium, que foi editado ou mesmo proibido em vários países. A canção tem uma progressão de acordes muito incomum com modulações diversas, uma mudança de metro (de 4 / 4-6 / 8) na ponte, e os vocais multipista e harmonias de guitarra.
A canção foi escrita por MERCURY e foi supostamente inspirado por sua observação de uma perna do Tour de France. Ela começa com um coro acompanhados por instrumentos. O coro é seguido por dois versos conectado com uma ponte, ambos seguido por um coro. Ao meio da música há um solo com sinos de bicicleta numerosos. Durante as apresentações ao vivo, muitas vezes era tocado pelo público, que levavam os sinos especialmente para esta finalidade.
O vídeo para a canção tornou-se famoso por escandalosamente com 65 mulheres nuas, todas as modelos profissionais, competindo em Wimbledon Greyhound Stadium. Foi filmado por Dennis de Vallance. O grupo alugou o estádio e várias dezenas de bicicletas durante um dia para filmar a cena,. Porém, quando a empresa que alugou tomou conhecimento da forma como as suas bicicletas foram usados, eles pediram ao grupo para adquirir todos os assentos das bicicletas, o vídeo original usa efeitos especiais para esconder a nudez. Courtesy of http://www.youtube.com/user/lcsRamone CP ]
“If Premier McGuinty can find $1 billion dollars to build his
‘people’s highway,’ why can’t he find a few million dollars to make
streets safe for people?” asks Schreiner.
Today marks the launch of Bike Month in the City of Toronto. Cycling
plays an important role in the health of our citizens, strengthening
our local economies and our general quality of life.
Quebec spends $200 million on cycling infrastructure and earns $135
million each year from bicycle tourism alone. The US dedicates 1.6% of
its transportation budget for states to invest in cycling
infrastructure. Ontario has no dedicated funding to support cycling or
pedestrian infrastructure.
“Ontario needs infrastructure if we are serious about making our
streets and roads safe,” says Schreiner. “A small investment to
support cycling will reap big rewards — combating gridlock, reducing
health care costs and supporting local businesses.”
Two Danish studies showed that when 1% of car drivers switched to
riding bicycles, health care costs were reduced by 1%. Copenhagen
saves $300 per person per year on health costs because almost 80
percent of its population bikes regularly. Cycling and walking
projects create 11-14 jobs per $1 million spent, compared to just
seven jobs created per $1 million spent on highway projects. These and
other studies show that Ontario cannot afford not to invest in cycling
infrastructure.
The GPO’s 1% percent solution would create two funds for
municipalities to access the dollars they need for cycling and
pedestrian infrastructure. By doing so, Ontario would finally
recognize that cycling and walking are important forms of
transportation for growing numbers of Ontarians.
“We need a Complete Streets Act in Ontario to ensure that our streets
are safe for all users: cars, trucks, bikes, pedestrians, wheeled
mobility devices, and transit users” says Trinity-Spadina candidate
and GPO critic for transportation Tim Grant.
Canadian crooner Ori Dagan (well at least half of him)
Ori Dagan (twitter @oridaganjazz) seems to me like a man on a mission. With a rich baritone voice, he has tried to craft a jazz album that is both hip and playful, and, at the same time, a genuine jazz album, complete with standards and heavyweight musicians, and some original tracks as well. Dagan’s album, Less than Three, is a tasty stew of standards and originals with a classic Hebrew song thrown into the mix, and one from his own pen: Nu Az Ma, a call for peace of truly universal dimensions.
Ori Dagan (still from performance) image: www.thesilo.ca
After an opener of Madonna’s Lucky Star (yep, THAT Madonna CP ), which reminded my friend Sophie of a 60’s beat poetry track, with minimalistic base and percussion and funky vocals, Dagan moves to his mother tongue with Eretz Zavat Halav, a Hebrew song featuring the magnificent Jane Bunnett on soprano sax. Bunnett is a true jazz superstar, a multiple Juno award winner and multiple Grammy nominated musician and bandleader who has worked combining Cuban music with new and avant-garde jazz. There was a house down the street from me in west-end Toronto where people told me Jane Bunnett had moved. I used to hear her sax emanating out into the street from a third-story window. It was truly wonderful.
[If there’s any doubt about Ori’s capabilities as a live-on-the-spot performer this youtube video should alleviate. CP]
The material on Dagan’s CD is eclectic. I’ve already mentioned the Madonna cover. There’s also a totally scat version of Lady Gaga’s Bad Romance that is exceedingly fun and features some great scatting too. Not everybody can do that you know. And he throws in some very sensitive renditions of Elton John/Bernie Taupin (This is your Song) and Lloyd Webber/Rice (I’d Be Surprisingly Good for You), to demonstrate a surprising range that can cover modern hits to a cutting, up-tempo Sweet Georgia Brown to round off the album.
This is a very dexterous record featuring a range of styles, and Dagan’s voice is rich, and according to my friend Sophie, sexy. She’d go see him “in a minute.” –CD
Johanna Skibsrud’s Giller Prize winning novel, The Sentimentalists, is a journey that sometimes takes place between the lines. Skibsrud’s unnamed narrator takes the reader across time as she tries to reconnect with her troubled past and with her father, which has always been shrouded in secret.
From the beginning, the reader knows little about the narrator. Skibsrud weaves details from the past as she navigates the narrator through a trip back to Casablanca (save yourself some Mapquesting- this is a fictional town CP), Ontario, her hometown. Sparked by recent heartbreak, the narrator travels to Casablanca to spend time with her father in the twilight of his life.
Novels often have multiple cover styles- this one reflects the ‘hidden, not quite visible’ character of the narrator.
In what seems like an attempt to distract herself from her own problems, she devotes herself to finding out some truths about her father’s life before he slips away….forever. The reader never knows much about the narrator. This will be a test for those who like to know about the person who is telling the story. Never named, the narrator releases little information about herself, but a clear and exhaustive picture is painted of her father, Napolean.
[One of the best Woody Allen films- uses an imaginary-advice-giving-fedora-wearing character straight out of Casablanca as a narrative device CP]
Lyrically written, this novel can be a frustrating read at some points. It is full of beautiful passages and poetic imagery. However, at times, the reader may find themselves somewhat lost in the fog of the past and present blending together.
“Lost in the fog of the present and the past….” Lost in the fog – Mount Washington (NH, USA) photo:traveldudes.org
A haunting and promising debut, The Sentimentalists leaves the reader with something to think about. Although difficult at times, it is definitely worth sticking with until the end.
Johanna Skibsrud’s second release is a series of short stories called This Will be Difficult to Explain and Other Stories. For the Silo, Sarah Purdy.
In 1968 Simon Kotsch got into the army surplus business. It was good to him, but in ways you might not expect. Something began to happen to Simon as he sorted through his bounty of obsolete engine parts and electrical fittings: he noticed that he found the pieces beautiful. An excitement took hold of him. And then he went to work, drilling and cutting and fitting metal components together to make new things. Beautiful things. He felt “caught up,” he says simply. So began a love affair with military-industrial cast-offs that continues to this day. This was the birth of a sculptor and of a mecha artist.Let us throw aside, officially and forever, the artifice of journalistic objectivity.
I like this guy’s passion and I like his work. When we visited Kotsch’s Victoria St. Studio in Simcoe, Ontario we were greeted with warm smiles that never went away. Taking joy from your work is one thing, but when you combine joy with the sensibility of a true artist who respects, even loves his materials, the results can be magical.Some of Kotsch’s sculptures look like they could have come from the mind of Jules Verne—grand, monumental machines whose functions border on the mysterious, infused with Kotsch’s concern for symmetry and his acute sense of balance, proportion, and pattern. Others have a strong vertical momentum, like castles or rockets with many levels. But not everything has a sci-fi feel.
Kotsch uses the heft and gravity of larger pieces to create powerful and interesting earthbound sculpture. His ability to recognize, or create, striking patterns makes some of his metal works quite decorative to my eye—and that in no way infringes on their status as works of art.
Kotsch says he “savours the natural colour” of each item, whether it’s aluminum, copper, brass or porcelain (used as insulation in old electrical systems). You will not find much (any) painting here. You will also not find much welding. This, by his own admission, is because he’s not very good at it, and mediocre welding would make a sculpture look awful. He cuts and drills to make pieces fit. One technique he has developed is to take slices out of solid machine parts with a band saw, revealing patterns of copper wire within, like opening a geode.
An example of influence: years of working with Army surplus ephemera have inspired Simon’s forms
Simon Kotsch takes obsolete machinery—all of his extensive catalogue of parts predate metric—and turns it into stimulating works of art. We spent about an hour with him, and I left both excited and energized. I, too, had been “caught up.” This is one of the miracles of art for me: through active engagement with an artist’s work a kind of interface occurs between creator and appreciator, mediated through the work itself. I certainly appreciated the skill and imagination of Simon Kotsch, but I think I caught a bit of his love as well. For the Silo, Chris Dowber.
Incredibly rare “Owl type” Silver Drachm (opposite face with Jerusalem lily) image:courtesy Heritage Auctions
The first silver shekel struck in Jerusalem by Jewish forces rebelling against Roman oppression in the first century CE, one of only two specimens known, brought a world record price of $1,105,375 at Heritage Auctions on March 8 as part of the auction of The Shoshana Collection of Ancient Coins of Judea. The coin sold to an anonymous overseas collector. Overall, this auction realized over $7.6 million, with the whole of the collection, consisting of more than 2200 coins in total, expected to realize more than $10 million in multiple auctions this year.
“This Year 1 silver shekel, struck shortly after the Jewish War began in May of 66 CE, is an incredible piece of history,” said Cris Bierrenbach, Executive Vice President of Heritage Auctions. “This is literally one of the very first coins the Jewish rebels struck after the ousted the Romans from Jerusalem, sending shockwaves through the empire. That history, as evidenced by the spirited bidding and the superb price realized, obviously continues to resonate today, more than 2,000 years later.”
The Shoshana Collection, assembled over the course of four decades by an American collector, is the greatest assembly of ancient coins related to the foundation of ancient Israel ever offered, spanning more than 11 centuries.
Other highlights from the collection include an incredibly rare gold aureus as Caesar (69-79 CE), struck at an Eastern mint in 69 CE, likely Tyre, anticipating the subjugation of Judaea, which the Romans achieved with the fall of Jerusalem in 70 CE, which brought $956,000, while one of only two known surviving silver quarter-shekels of Year 1 (May 66-March 67 CE) in existence brought $896,250.
A few of the additional highlights included:
Jewish War (66 – 70 AD). AR half shekel. Year 4. Hendin 1365. TJC 209. AJC 262,25. Samuels 980 (this coin). Extremely Fine. One of six recorded specimens. Realized: $358,500.
Vespasian (69 – 79 AD). AE sestertius. AD 71 Rome. Hendin 1500b. RIC 71,161. BMC 543. Impressive Good Extremely Fine. Realized: $262,900.
Jewish War (66 – 70 AD). AR shekel. Year 5. Hendin 1370. TJC 215. AJC 263,31. Samuels 94 (this coin). Very Fine. Ex: Nelson Bunker Hunt. Realized: $262,900.
Jewish War (66 – 70 AD). Year 5. Hendin 1370. TJC 215. AJC II 263,31. Brand 3. Bromberg II, 309 Good Very Fine. Realized: $179,250.
Divus Vespasian (69 – 79 AD). AV aureus. Struck by Titus, AD 80-81, Rome. Hendin 1581. RIC 230,363. Cohen 143. BN 89. Superb. Realized: $131,450.
Aelia Capitolina (Jerusalem, renamed by Hadrian) Collection, 164 coins. Realized: $107,550.
Titus as Caesar (79 – 81 AD). AV aureus. AD 72-73 Rome. Hendin 1469. RIC 84, 370. BMC 520. BN 73. About Extremely Fine. Realized: $101,575.
Vespasian (69 – 79 AD). AE sestertius. AD 71 Rome. Hendin 1500b. RIC 71,161. BMC 543. Samuels 146 (this coin). Extremely Fine. Realized: $95,600.
Bar Kokhba Revolt (132 – 135 AD). AR sela. First year (132/133 AD). Mildenberg 125,4.1 (this coin). Hendin 1373. TJC 218c (this coin). AJC 264,1c (this coin). Samuels 98 (this coin). Superb. Realized: $89,625.
Bar Kokhba Revolt (132 – 135 AD). AR sela. First year (132/133 AD). Mildenberg 124,3.5 (this coin). Hendin 1373. TJC 218 (these dies). AJC 264,1 (these dies). Samuels 97 (this coin). Superb. Realized: $89,625.
Auction of US coins continues on New York and over the Internet at www.HA.com/Coins through Sunday, March 11.
Seldom Seen Selections: One of the finest known 1795 Eagles
The famous 1795 American gold ‘eagle’ coin
The ten dollar gold pieces, given the name “eagle,” were the largest gold coins produced by the first U.S. Mint from 1795 through 1804. Like all early gold coins (and many early silver coins), these pieces did not carry an actual denomination as part of the design.
The 1795 BD1 is considered the first variety coined for the year, therefore it is the first eagle minted by the United States! There are more of them surviving today than all other 1795 varieties combined, and it is actually one of the five most common die varieties of the entire series from 1795 to 1804, a fact that would probably surprise most collectors. Quite a few examples survive in Mint State grades, giving collectors a reasonable chance of obtaining a high-quality example of the Small Eagle reverse design.
Many of the Mint State pieces have prooflike fields, including the coin we are featuring in our upcoming 2012 April 18-22 US Coins & Platinum Night CSNS Signature Auction. Although the fields are not deeply mirrored, they are clearly reflective. The surfaces are exceptional with only a few scattered abrasions. Faint adjustment marks are evident at the center obverse and on some of the obverse dentils. All design elements on both sides are sharply struck, suggesting to some the possibility that this may have been some type of presentation piece. This example is a relatively early die state of the variety, with faint obverse die cracks but no evidence of reverse cracks. Despite the existence of several Mint State pieces, this example is one of the most attractive we have handled.
A curious situation exists for both early half eagles and early eagles. For both denominations there were multiple varieties dated 1795 and only a single variety dated 1796, despite mintages that suggest this is illogical. During the course of 1795, just 2,795 eagles were minted from September 22 through November 27. In 1796, the Mint produced 6,934 eagles from January 9 through December 22. If we take these annual production totals at face value, an average of 560 coins per die marriage were struck in 1795 while a single die marriage produced all 6,934 coins in 1796. Clearly there is something wrong, unless many of the coins produced in 1796 were from dies dated 1795, and we can be certain that this was the case. According to the Guide Book, the 1795 mintage totaled 5,583 coins and the 1796 mintage totaled 4,146 coins, but even those figures are suspect, suggesting a survival rate of 10% for 1795 eagles and only 4% for 1796 eagles. This discussion illustrates the challenge that numismatists have today when attempting to reconstruct the events of the earliest years at the Philadelphia Mint. There were no records of mintages for individual die varieties, and any attempt to make such estimates today is plagued with problems.
In Early U.S. Gold Coin Varieties, John Dannreuther provides estimated mintages for every variety and for the number of survivors for each variety. The only thing we know for sure is the number of die marriages known from 1795 through 1804 (32) and the total mintage for that period (132,714 coins including 122 pieces reserved for assay). By using the midpoint of Dannreuther’s survival estimates, we can also establish an approximate survival rate for the series of 2.5%. Is this enough information to establish original “mintage figures” for each variety or even for each coinage date?
Mark Van Winkle has spent considerable effort over several years attempting to correlate mintage figures with individual varieties, and now feels that it is impossible. There are at least two variables that cannot accurately be determined. First, the exact emission sequence needs to be determined (including both die marriages and remarriages). In a series like the early eagles, the emission sequence alone is enough to give a numismatist nightmares. Once the emission order is known, an accurate estimate of the survivors must be established for each variety and remarriage, and this is nearly an impossibility. Finally, differing survival rates from one coinage date to the next must be pinpointed, a seemingly impossible task. CP for Heritage Auctions Dallas, Texas www.ha.com
Supplemental– The Numismatic Network of Canada for those interested in studying and collecting Canadian coins, tokens, paper money and related numismatic materials http://www.nunet.ca/
AYR, Ontario — In 2011 when AyrSpace held Canada’s only one hundred-woman art show for the
100th anniversary of International Women’s Day https://www.thesilo.ca/international-women-join-forces-through-art/ , the men took note. The idea of the painting exhibition “Men in Business 2012” was born.
“The idea came to me to encourage the hidden talents among us,” said John Redfern, a Customs
Brokerage executive at The Farrow Group just north of Ayr. Redfern helped realize last year’s effort.
“Jill said to me in an email -15 men would be a perfect number for an exhibition,” referring to Jill Yuzwa, Gallerist at AyrSpace, gallery of visual and functional art. And in similar style to the year prior, a call for collaborators went out through social networks. Men from all economic sectors were encouraged to respond – whether their works be an extension of their day to day or their alter-artistic ego.
Cosmonaut painting (far left) by Jarrod Barker.
And they did respond: a Vancouver architect, a celebrated Canadian documentary film maker, a custom furniture craftsman, educators and leaders of education, independent businessmen, lawyers and a specialized medical technician. The artworks are as varied as the gentlemen themselves. And coincidentally there are 15 collaborators. North Dumfries Mayor Rob Deutschmann will be on hand to welcome the collaborators and open the event on Friday February 3, 2012. “Men in Business 2012” will run through Sunday February 26, 2012.
The exhibition is dedicated to Ayr resident Stephen Gross who is currently undergoing cancer treatment. Mr. Gross is perhaps best known in the Region of Waterloo for his excellent work at the Kitchener Downtown Community Health Centre.
The 15 collaborators of Men in Business 2012 invite the community and collectors to this exhibition and have initiated that partial proceeds of their artworks be allocated to NewmanBoysTrustFund.ca in fond memory of Katherine (Bunny) Newman the Gallerist’s cousin. AyrSpace, gallery of visual and functional art, is located at 44 Stanley Street in downtown Ayr. The gallery opened in October 2008 as a socially innovative collaborative and now represents a range of Canadian artists. www.ayrspace.ca For the Silo, Jill Yuzwa.
Media contact:
Jill Yuzwa
AyrSpace
519.632.9030
art@ayrspace.ca
It’s worth saying again: One of the prettiest villages in Ontario is Elora. It’s so nice very time I visit this village of 5, 500 I want to move here. A lot of people have done just that. Elora is a place that grows on you from the minute you arrive. Over dinner at a local favourite eatery, The Shepherd’s PubI struck up a conversation with Nadine McEwen and Stan Winegard who told me they moved here about two and a half years ago from Timmons. Stan said, “It’s a real pretty place and a very welcoming community with an active artistic community. Since Nadine is a sculptor, it fits perfectly into our life style”. Even the owners of this authentic British pub had moved to Elora from Guelph just a few months ago. Throughout the weekend I bumped into others who made the move. Well now, let me think more about this moving thing.
Known for its unique limestone architecture, Elora was founded in 1832 by Captain William Gilkison, a British officer recently returned from India.
Shopping
Elora is an artists’ community specializing in handcrafted and one-of-kind items. The two main streets to stroll are Mills and Metcalfe.
One stand out worth finding on Mill Street, near The Shepherd’s Pub, is The Village Olive Grove (it was the free olive oil tastings sign outside the store that first caught my eye). I met one of the owners, David Medeiros (He’s from Toronto). Medeiros believes their shop is the only one in Canada selling exceptional olive oils and vinegars from around the world. A few other shops that caught my eye were; Sante’s it’s a natural grocery store with organic and fair-trade foods and gifts. A Weed Bit Natural features hemp products and organic clothing. Jammed Lovely is filled with unique one of a kind gift items. Sweet Trash has clothing and accessories from the 1920’s and onwards. At Grand Gourmet KitchenwareI had to have some of the items explained to me as to what they were. You can tell how much time I spend in the kitchen.
The Village Olive Grove occassionally has free olive oil tastings.
Culinary Walking Tour
If you arrive on a Saturday sign up at the Village Olive Grove for the $10.00 walking tour between 1 and 3 pm. During the tour, you’ll sample specially created dishes from eight restaurants while learning about the history and architecture of the area.
One of the prettiest villages in Ontario-
Holiday Happenings
-Santa Claus Parade, Saturday, November 26 and Parade of Lights begin at 6pm.There’s another parade in nearby Fergus on December 3rd at 1:30 pm.
-Starlight Shopping November 24-25 until 9pm.
-Elora Centre for the Arts Show and Sale, December 8-22.
-The annual Elora Festivals Singers’ Christmas Concert series in December is an annual rite of winter.
The Elora Gorge
Here’s the gorge part. Elora is located on the Grand River where the Elora Gorge begins. The gorge has a waterfall that forms behind the Elora Innand continues for 4 kilometres. The Elora Inn is currently closed for renovations. In the middle of the falls is the, “Tooth of Time”. This is a huge rock that has become the symbol of the village of Elora.
The Elora gorge on the Grand River has a waterfall that forms behind the Elora Inn and continues for 4kms.
Where to Stay
I picked the Tynavon Bed and Breakfast (Tynavon means House by-the-River in Scots Gaelic) to be home for the weekend. This quaint circa 1856 home at 84 Mill Street is a short walk from downtown. It has a gracious verandah overlooking the Grand River. Expect to pay around $125.00 a night for one of the best sleeps you’ll ever have and a scrumptious breakfast. (Silo Direct Link to Tynavon Bed and Breakfastor 1-866-334-3305).
Welcoming gate post- the Tynavon B and B
Here’s the goat part.
When you force yourself to leave Elora take a 10 minute trip on Highway 6 north to Arthur, Ontario. That’s where you’ll find River’s Edge Goat Dairy.(Silo Direct Link to Goat Milk Products Website or 1-800-209-7330) at 8102 Wellington Road 109, Arthur. If you have children with you they’ll love it. Chances are you’ll find owners Katie Kormet or Will Makxam tending to their herd of 120 mature does. The farm produces, with hard work, milk as well as cheese, yogurt and even soap.
Will told me- “We are a small goat dairy, and we process all of our own milk but we also raise the male goats for meat. In general, we tell our frequent customers, if our chain is down, come on in we are open. However, if our chain is up, we are unavailable but not necessarily closed or away. Not only are we artisan cheese makers, we are farmstead cheese makers. Not many farmers who do it all. We feed and milk our animals and make cheese on the farm. We are a provincially licensed dairy plant, like all other commercial dairy plants in the province. Our advantage: we use the freshest milk and process it into milk yogurt or cheese sooner than our competitors.
Visitors are welcome to visit the farm (no charge) and you might see the goats being milked. River’s Edge Goat Dairy hours of operation vary. Katie said, “Call us ahead of time to see if we’ll be home”.
Definition of art is very difficult to pin down. As an oil painter I look at art one way. An actor would think of it another way. But really the definition doesn’t matter all that much. Art surrounds us wherever we are, if only we choose to see it. Sometimes though, we need to be reminded of that.
When I entered the concentration camp at Terezin in the Czech Republic that November day, the last thing I thought I would see was art. I didn’t know that the children who lived there drew pictures, coloured them, and even wrote poems. But there they were. The paintings and words hung up on the museum wall. The wall was at least 50 feet high. They had miraculously survived Terezin, even when the children themselves had not. I stood in front of that wall for a long time, hesitant to leave. Afraid that maybe I would need reminding again once I was back home.
Fast forward a year and Terezin has touched my life again. Hana’s Suitcase, which is set in Terezin, is being presented by Theatre Norfolk and COMPASS Theatre Productions, in partnership with W. Ross MacDonald School for the Blind, and I had the opportunity to meet the cast and talk about my experiences at Terezin. I also had the opportunity to watch renowned actor and director Lee MacDougall guide the cast of talented local and emerging actors through the paces of this emotional, heart wrenching play which took me right back to that wall.
Silo Behind the Scenes: Rehearsal of Hanna's Suitcase
In this play child actors play some of the main characters. Hana was sent to Terezin when she was 11. This play is being performed for over 1200 students in Grades 4-12; Children teaching children and because this play is for everyone; children teaching adults. It speaks to hatred and intolerance. It also speaks to hope and beauty. It’s amazing how children are able to see both at the same time. I wonder when we, as adults, forget how to do that.
I hope that you will take the time to see Hana’s Suitcase and be reminded of all the things that you should never forget while watching art at its finest.
Hana’s Suitcase, adapted by Emil Sher based on the book by Karen Levine, is being presented at W. Ross MacDonald Auditorium Dec. 2nd, 3rd & 4th. Tickets are on
sale at Scotia Bank, Lynden Road, and at the Lighthouse Festival Theatre. For more info and to purchase tickets visit Silo Direct Link to Theatre Norfolk Website
A metallic silver bullet, 300+ km/h roaring blur on the Autobahn. 6th gear, 355+ HP, 3.8L-6cylinder, variable timing at full advance, breathing in through a K&N filter system and exhaling out of a Fabspeed Max-Flo exhaust. Automatically adjusting shock absorbers stiffening as you pass and corner. Porsche’s PSM stability control system controlling the power to the wheels, keeping you on the road as you throttle and shift. Signature auto adjusting spoiler in the up position. If you need to stop in a hurry, having full confidence in Porsche’s best-in-the-biz 4 channel ABS and huge cross drilled rotors.
These are the type of thoughts I get just looking at this beefy, wide stanced, Carrera S (911). As sleek as it is fast, these cars actually keep a “Low Emissions Vehicle” status, and family car class fuel economy. (This is a pretty cool way to be green if you ask me!)
These cars really pay homage to the saying, “If it ain’t broke, don’t fix it!” in the sense that they (Porsche) have used a lot of the same body lines, and same rear-engine design, in the 911’s over 40 years of production. Being of rear-engine design though, makes these cars hard to master driving, truly making the driver conform to it.
By constantly improving on something that has worked since day one, Porsche has kept the focus where it really counts, on the suspension and drive-line.
Marshall Thompson, owner of Thompson Chiropractic (Simcoe and Waterford) and this sweet car, says that he was really drawn to this particular model for a few reasons:
1) He really wanted the signature Porsche model, the 911.
2) He really liked that in 2006 they went back to the traditional 911, oval headlight shape (Porsche had gone away from this for a few years, using a headlight similar to their Boxster model)
3) The wide body style of the ’06 Carrera S and the impressive much improved interior. This car touting a very stylish and ergonomic, leather interior, navi-system, uber sporty gauge package, and Bose 13 speaker sound system. Unheard of in older 911’s as they were more like a streetable race car than a luxury car.
Don’t be fooled by its good looks though. This 911 is just as wicked as its predecessors. This one apparently easily breaking the 250km/h in 5th gear with a full 6th gear still at the ready.
You might catch this car in the Simcoe or Waterford areas but only on sunny days. Good luck actually catching up to this one. Robb Price is a regular automotive writer for The Silo and owns and operates WC Kustoms in Windham Centre.
[Much like the 911, the seminal electronic band Kraftwerk innovated and pushed the boundaries of form and function. Recommended listening for Porsche owners when you’re ripping through gears CP] Update- Silo Direct Link 2012 911 Porsche makes North American Debut
How can we honestly say that today’s rain and overcast skies influenced our choice for today’s 90’s flashback…umm, urr, we can’t. But this throwback track from R.E.M. rocks. Pack your umbrella for the next few days and if you’ve got room on your ipod (we’re guessing you do, and if you don’t drop us a line explaining why not) , add this song to your playlist. It just might be a cure-all for the turn in the weather. Now where did i put my can of orange Crush?
CP
The Bishop’s Man by Canadian author Linden MacIntyre offers a deep and compelling story of one man’s struggle for atonement. The book revolves around a very controversial and current topic, the sexual abuse of children by Catholic Priests. However, this fictional work is much more than a critique on a current situation; it is a journey and dialogue on themes of loneliness, isolation, redemption and spirituality. This novel follows the characters from MacIntyre’s earlier work, The Long Stretch.
MacIntyre begins his story in the present day, sometime in the 1990s, in southern Cape Breton Island. From the beginning, the reader is taken on a journey through the eyes of Father Duncan MacAskill, a priest known as the Exorcist. Father MacAskill, who grew up in this area, is sent for a break from his regular duties, troubleshooting and cleaning up messes made by priests that threaten to embarrass the Catholic Church. Father MacAskill sees this trip home as less of a homecoming and more of a time of spiritual discovery through current events and reflection. MacIntyre weaves present day with the past as he unwinds Father MacAskil’s complicated and somewhat remorseful past.
Father MacAskill is very good at what he does—making troublesome priests disappear by sending them to far off parishes or rehabilitation in Ontario. Upon his return to Creiginish on southern Cape Breton Island, he befriends a young, 19-year-old Danny MacKay from whose father he purchases a boat. Danny’s character is troubled and before Father MacAskill can really reach him and understand the root of his trouble, he commits suicide. This is especially difficult to take in for Father MacAskill when rumours start to swirl that a relationship with a troublesome priest, Brendan Bell, who was sent away from Newfoundland to Craiginish by MacAskill, may have lead to the ruin of Danny MacKay. Upon this revelation, MacIntyre’s story starts to divulge into the past as Father MacAskill tries to sort through his current situation and his spirituality.
The absorbing narrative takes the reader through his missionary work in Honduras in the 1970s, where he has sent to forget what he saw as a young priest between a well respected priest and a young person. The Honduras narrative is threaded between the present day and other reflections. MacIntyre does this seamlessly throughout the novel. Father MacAskill’s stint as dean at St. Francis Xavier is also explored. It is while he is dean at the university he becomes the Bishop’s right hand man and is set out to extinguish potential fires in various churches across Canada. Through all the weaving and reflection, Father MacAskill sorts through his own demons, his past and his family’s problematic and mysterious history.
Although this fictional work discusses a very current and disturbing subject, the sexual abuse of children is never directly addressed or explained in the eyes of Father MacAskill. It serves as a constant undertone to the actions and thoughts of the main character. Linden MacIntyre’s narrative, through the eyes of a troubled priest, provides the reader with a rare insight into the inner workings of the priest hood and the powerful Catholic Church and its place in Canadian culture. For the Silo, Sarah Purdy.
During the Federal elections [circa 2011 Ed], it became clear that the Canadian public interest in an arts and cultural policy had declined since 2008, in fact the majority responded that this policy was unimportant to them in comparison to other policies. This leads me to question the degree of concerns Canadians do have with other policies. Perhaps the overall concerns are too great to allow a focus on more fun or abstract facets of their Canadian lifestyle such as arts and culture, or it may simply be that Canadians overall would rather engage with more mainstream topics.
It is interesting yet disconcerting to see that it is mainly the younger population, ages 18-30, that are the least interested in the arts and culture policy. If the younger generation doesn’t fuel the arts and keep them flourishing who will? In their (or our) defense though, little awareness about the policy and its impact is made known. Personally, I had never heard of an arts and cultural policy before reading the article critiquing the different Government parties’ role in the policy as discussed in The Arts Advocate publication.
The policy involves the government allotted a specific percentage of taxes that go towards varying sectors within the arts, for example advantages for artists or funding for different organizations. Each federal party has their different views on appropriate expenditure in the arts and culture sector, and specifically our Conservatives’ main commitment is to the children’s artistic activity tax credit, support to the Royal Conservatory of Music for a national examination program, and support to the Canadian Periodical Fund (Used to subsidize newspapers not including The Silo. Check the info box found on the bottom of page 2 in most papers to see if you are subsidizing their bottom line- CP).
With the Conservative party now being back in power, it is hard to say if the policy will see any positive growth. Although I understand and admire Harper’s plan to stabilize and improve the markets in the depths of a global recession, I feel it necessary to include arts and culture as a part of this. Canada has such a unique combination of cultures throughout its provinces and these are the people who create and work at the jobs Harper is trying to develop or advance.
So, should not this rich arts and culture naturally be showcased as it is echoed throughout the Canadian business world Harper is focused on? I believe Canadians on the whole would appreciate more recognition for their creative efforts that make our country special. Yes we need economic growth, but there needs to be a balance in the funding between businesses and the arts in order to make for a balanced country and to account for or showcase the people who inhabit it.
It is positive to note that the 2011 Ontario budget indicated spending at Tourism and Culture would grow $76 million.
The estimates confirm that $47 million of this is to continue support of the Community Cultural Fund (used to support local ‘big crowd’ draws such as last year’s Port Dover Marine Festival- http://www.ocaf.on.ca/en/project.aspx?ProjectUID=985 or 2005’s Norfolk County Fall Festival- http://www.ocaf.on.ca/en/project.aspx?ProjectUID=884 -CP), the small-scale (!) capital program administered by the Ontario Trillium Foundation to support diverse cultural organizations. As well, the Ontario Media Development Corporation will be permanently funded, showcasing the province’s commitment to the film sector of the policy and estimates show an increase of $8 million to $25.8 million. Although the Conservative platform for the policy is the most bleak of the Bloc Quebecois, Liberal, and NDP, perhaps a strengthened economy will help to account for areas our country’s arts and culture are struggling in.
In their platform it is stated that our “Government believes that a vibrant cultural, media, and sporting sector is crucial for our well-being and quality of life,” however many artists and cultural advocates still feel that the re-elected Conservatives will fall short in fulfilling the essential aspects of the policy and hearing the voices of those affected. For the Silo, Jennifer Waslowski.
Machinarium is not a new videogame. But if, like many gamers, you overlooked it when it was released in late 2009, you owe it to yourself to go back and pay it some attention. Machinarium may look simple or perhaps even a touch primitive at first glance, but in reality the game is an inspirational fairy tale set in a wondrous, grimy world of living machines; a touching story of struggle, heroism and robot-love.
One of Machinarium’s most remarkable qualities is the way its tale is woven without a single word—there’s not one instance of speech or text in the entire game. Instead, everything is told visually. Dialog between characters unfolds as brief animations, while plot details are filled in through flashbacks.
Even the physical appearances of the game’s denizens, from the diminutive main character to his ruffian tormentors and the strutting, tin-pot police who, in theory at least, guard over the city, figure prominently in the storytelling process, as the pint-sized underdog struggles against bullies and thugs to be the hero his doe-eyed beloved has always believed him to be.
That may be a lot to read into a game that, bizarre setting aside, is a fairly straightforward point-and-click adventure. From a gameplay standpoint, Machinarium is solid if not particularly noteworthy. But the details of its world most definitely are. Each level and everything in it is entirely hand-drawn, providing a unique and whimsical visual style, while the soundtrack, both musical and ambient, is every bit as impressive—possibly more so. The combined effect is nothing short of extraordinary.
Gamers unfamiliar with the standards of “adventure logic,” in which odd, occasionally arbitrary sequences of actions are required to complete tasks and move things forward, may need a little time to get settled, but veterans of the genre will feel right at home. You will collect objects, you will combine objects, and you will use those objects on other objects to make things happen. But the game mechanics are actually quite simple, because everything is visual and its various regions are fairly tightly compartmentalized. Some of the problems you’ll face are real stumpers, however, and while one hint is available for each of the game’s screens, don’t expect it to do much more than give you a very gentle nudge in the right direction.
But that’s okay. Machinarium is a slow-burning experience that’s best savored rather than merely consumed. It crafts gripping beauty out of an ugly world in a way that elevates it from the merely good to the truly memorable. It’s not for everyone: twitchy Halo junkies probably won’t find too much to like in it. But for anyone in the mood for something a little more thoughtful, or who’d just like to see the videogame medium stretch its legs a little bit, Machinarium is a wonderful, magical game that simply should not be missed. For the Silo, Andy Chalk.
If you’re like me and grew up on a rich diet of 1980’s science fiction films, you should walk (no make that moonwalk) to your nearest video store and ask for MOON. This little gem is an existential journey into the mind of a lonely farmer-astronaut and hits close to home. Sure there’s the usual high contrast and gritty sci-fi production values, but there are also some poignant connections to our rural habitat. Picture a massive, rambling, white combine harvester gathering hay under a full, late fall moon, except that in this case the moon is the earth. A tiny, lonely man is hunched over the controls in an elevated and sealed cockpit. Now remove all semblance of colour, add a few craters and hills, and you get part of what makes this film so familiar and, dare I say, rural.
Growing up here as a boy I imagined that the once plentiful silos and drive-sheds in Norfolk (especially the aluminum ones) were rocket platforms and moon bases. Even the large, four wheeled crop sprayers had a space age look to them. And that is why I felt especially connected to Duncan Jones’ incredibly moving MOON. It pulled me in and felt familiar.
If I had to bet the farm I’d say the production designer looked at both farms and farm machinery while working out the aesthetics of this movie. But more than that, the story pulls at your heartstrings.
Sam (played by the remarkably versatile Sam Rockwell in a breakthrough role) is a lonely astronaut working on the moon, farming the soil for energy until he begins to suffer from extreme isolation- complete with lucid dreams and hallucinations. What follows next is one of the finest surprise plot twists in contemporary cinema.
Satisfying space fiction from son of iconic rocker David Bowie. For the Silo, Jarrod Barker.
