Transart Faculty Nicolás Dumit Estévez in Symposium on Decolonial Aesthetics

Toronto, Canada
10, 11, 12 October 2013
@ University of Toronto, Hart House (7 Hart House Circle)
Special issue of FUSE Magazine – September 2013
The Symposium on Decolonial Aesthetics From The Americas will host diverse artists and scholars of the Americas and the Caribbean. Featuring papers, workshops and performances, the symposium will provide an unparalleled opportunity to engage the diversity of contemporary aesthetic practices informed by decolonial thought.  A special issue of FUSE Magazine, to be published in September 2013, will serve as a reader.
Decolonial aesthetics acknowledges and subverts the presence of colonial power and control in the realm of the senses. A decolonial option refers to a theoretical, practical or methodological choice geared toward de-linking aesthetics, at the epistemic level, from the discourse of colonialism that is embedded in modernity itself. It is an alternative approach that challenges the hegemony of modern/colonial aesthetics. By sharing their research and creative practices, symposium participants will develop and explore the decolonial option within the context of art practices in the Americas.
Organized by e-fagia organization in collaboration with FUSE Magazine, and Justina M. Barnicke Gallery / Hart House.
Gallery partnership: Unpack Studio (11 Willison Square)
Sponsored by Canada Council for the Arts
Keynote presentations are free and open to the public.

::Keynote Lecture: Dr. Walter MIGNOLO / Duke University
7pm Thursday October 10th @ Music Room, Hart House (7 Hart House Circle)
            This presentation will delineate four emerging trajectories or options in the artistic domain today that deviate from the original path that defined and characterized the concept of “art” and its relations to other spheres of life (economy, authority, gender, sexuality, knowledge, “race”) since the Eighteenth Century. These trajectories are: 1.- art and market values; 2.- altermodernity; 3. dewesternizing art and the museum; 4.- decolonizing art and the museum. Each of these trajectories define themselves through its own sets of discourses, categories, concepts, institutions, magazines, web pages, sponsors etc. The “original path”, (that is the philosophical discourse that in the eighteenth century couples aesthetics with taste and differentiated itself from poetics and catharsis) was in reality nothing more than an option that appeared to have succeeded in making us believe, for a while, that it was the only game in town.
            I will preface the four emerging trajectories by outlining how “aesthetics” became a philosophical discourse responsible not only for establishing a certain criteria that (still) regulates “taste” but also for classifying different populations around the world who, according to Kant’s conceptualization, were not apt to sense and understand the beautiful and the sublime. All “civilizing missions” after him were built on such beliefs. These constructed parameters, the sense of the beautiful and the sublime as well the invention of “art” as a philosophical category, and its articulation within a broader philosophical aesthetics, were all components of a point of departure and a respective set of intentions that created a peculiar category: “Similar but different.” The oxymoron “similar but different” is intentional. It is a consequence of the imperial and colonial epistemic, aesthetic, religious and ontological difference invented by Western theology, secular philosophy and science.
            Walter D. Mignolo is the William H. Wannamaker Distinguished Professor, and Director of the Center for Global Studies and the Humanities at Duke University. He has been working for the past 25 years on the formation and transformation of the modern/colonial world system and on the idea of Western Civilization. Among his major works are: The Darker Side of The Renaissance: Literacy, Territoriality and Colonization 1995, which received the Katherine Singer Kovacs Prize from the Modern Languages Association of America in 1996 (the book is being translated into Chinese and it is in his second edition). Local histories/Global Designs: Coloniality, Subaltern Knoweldge and Border Thinking, (2000), was translated into Spanish and Portuguese and is being translated into Korean, and it is going into its second edition. The Idea of Latin America, 2005, received the Frantz Fanon Award from the Caribbean Philosophical Association in 2006. It was translated into Spanish and Korean, and it is being translated into Italian. His most recent book, The Darker Side of Western Modernity: Global Futures, Decolonial Options was just released in December of 2011. With Madina Tlostanova he co-authored Learning to Unlearn. Decolonial Reflections from Eurasia and the Americas (2012), He holds a Associated Research Position at the Universidad Andina Simon Bolivar in Quito; has co-organized with Rolando Vazquez the Summer Schools on “coloniality and decoloniality” at the Roosevelt Academy of the University of Utrecht at Middleburgh, The Netherlands. Has an extensive work as co-editor of books and editor journals. He is member of numerous international advisory boards, including the advisory board of the Hong Kong Advanced Institute for Cross Disciplinary Studies.::Keynote Performance: Rebecca BELMORE
7pm Saturday, October 12th @ Unpack Studio (11 Willison Square)

            Born in Upsala, Ontario, Rebecca Belmore is an artist currently living in Vancouver, British Columbia. She attended the Ontario College of Art and Design in Toronto and is internationally recognized for her performance and installation art. Since 1987, her multi-disciplinary work has addressed history, place and identity through the media of sculpture, installation, video and performance. Belmore was Canada’s official representative at the 2005 Venice Biennale. Her work has appeared in numerous exhibitions both nationally and internationally including two solo touring exhibitions, The Named and the Unnamed, Morris and Helen Belkin Art Gallery, Vancouver (2002); and33 Pieces, Blackwood Gallery, University of Toronto at Mississauga (2001). Her group exhibitions includeHouseguests, Art Gallery of Ontario (2001); Longing and Belonging: From the Faraway Nearby, SITE Santa Fe, Santa Fe, New Mexico (1995); Land, Spirit, Power, National Gallery of Canada (1992); andCreation or Death: We Will Win,at the Havana Biennial, Havana Cuba (1991).
Each Conversatorio or conversational panels will feature three or four people who will deliver a presentation that will serve to engage the audience in a collective dialogue.Thursday, October 10th

2 – 3:30pm, Music Room, Hart House
:: Panel A – Decoloniality and Art Spaces
Susan Douglas, Pedro Lasch, Dannys Montes de Oca, Wanda Nanibush

4 – 5:30pm, Music Room, Hart House
:: Panel B – Colonial and Decolonial Landscapes
Pat Badani, Ron Benner, Dalida María Benfield, Berlin Reed
Friday, October 11th11:30am – 1pm, Music Room, Hart House
:: Panel C – Transcultural Alignments
Emelie Chhangur, Gita Hashemi, Damien Lee

2 – 3:30pm, Music Room, Hart House
:: Panel D – Performing Politics
Leah Decter & Carla Taunton, Julie Nagam, Miguel Rojas Sotelo
4 – 5:30pm, Music Room, Hart House
:: Panel E – Senses and Affect: Indigenous Epistemologies
Ruby Arngna’naaq, David Garneau, Raul Moarquech Ferrera-Balanquet
7 – 9pm, Music Room, Hart House
:: Panel F – Decolonial Practices
Rebecca Belmore, Walter Mignolo, Paul Vanouse
Saturday, October 12th
11:30 – 1pm, Debates Room, Hart House
::Panel G – Futurity, Utopia
Rinaldo Walcott, Alejandro Campos, Katherine McKittrick
2 – 3:30pm, Debates Room, Hart House
::Panel H -Decolonizing the Local: Canadian Artistic Practice in the context of the Americas
Dot Tuer, Gordon Ingram, Eugenia Kisin
Friday, October 11, 8:30am-11:30am:: Decoloniality and Shifting the Geopolitics of Reasoning
Walter Mignolo, Dalida María Benfield, Miguel Rojas-Sotelo, Raul Moarquech Ferrera-Balanquet – Duke University (Duration: 3 hours)

:: Indigenous/Settler Engagement: Dialogic Conversations on Writing the Land
Mimi Gellman & Barbara Meneley (Duration: 3 hours)
Saturday, October 12, 8:30am-11:30am
:: The Sovereignty of Indigenous Aesthetics
Prof. Dylan A.T. Miner, Michigan State University (Duration: 3 hours)
:: Archives of the Past and Future: Decolonization and Cosmopolitanism
Isabel Alfonso, David Austin, Susan Lord, Dannys Montes de Oca, Zaira Zarza
(Duration: 3 hours)
The worktable is a model that will include several facilitators along with registered audience members in a roundtable setting. Throughout the 3 days of the symposium the worktables will meet to discuss questions relevant to the participants’ practice in relation to the theme of decolonial aesthetics. At the end of the symposium they will be given the opportunity to present a summary of their findings and questions to a larger audience. The worktables provide an opportunity for extended dialogue and research in the context of the symposium. Its intention is to generate questions that can be addressed through future programming and create a long-term conversation.
Worktable A:Contemporary Aesthetic Practices and Decoloniality.
Conveners: Omar Estrada, Jeneen Frei Njootli, Samantha Galarza, Alexandra Majerus, Natalyn Tremblay.

Thursday October 10th 11:30am-1pm, Music Room
Friday October 11th 11:30am – 1pm, North Dining Room
Saturday October 12th 11:30 -1pm, Committees Room
Worktable B:
Indigenous Art, Aesthetics & Decolonial Struggle in the Academy and Beyond.
Conveners: Jarrett Martineau (University of Victoria), Eric Ritskes (University of Toronto), Aman Sium (University of Toronto)
Thursday October 10th, 11:30am – 1pm, North Dining Room
Friday October 11th, 2pm – 3:30pm, North Dining Room
Saturday October 12th, 2pm -3:30 pm, Committees Room
Friday October 11th @ The Tranzac Club (292 Brunswick Avenue)
Doors open 9pm:: Natalyn Tremblay and Samantha Galarza
:: The Wind in the Leaves Collective

:: DJ NoloVes

Jeneen Frei Njootli
October 3 – 26. Reception: October 3, 7 -10pm
Whippersnapper Gallery
594b Dundas St W, Toronto.
Flight 521
Nicolás Dumit Estévez
Saturday October 12th
Debates Room Hallway, Hart House
The Opposite of the Voice-over
Bouchra Khalili
Curated by Barbara Fisher
September 3 – October 27, 2013
Justina M. Barnicke Gallery
Hart House, University of Toronto
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