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Two Days of Access in Contemporary Art

AIM Lab and Centre Clark Present

Hybrid Location: Centre Clark (5455 Ave du Gaspe, #114, Montreal, QC) 
Or Online (link available upon registration) 

Schedule : Workshops | March 27 | 12:00 -3:00 PM 
Vernissage + Artist Talks | March 28 | 5:30–8:00 PM 
Please see Eventbrite for detailed schedule 

Free Registration required via the Eventbrite 

ASL and other access needs available via this accessibility form. We kindly ask you fill it out 8 days prior to the event to ensure that we can accommodate. 

Poster advertising Two Days of Access in Contemporary Art event.

CLARK x AIM Programming
March 27 & 28th 2024 

Wednesday March 27th (Workshop Day) 

12:00pm – 1:00pm | Resource Sharing 

Detailing CLARK and AIM Lab’s collaboration, we will present CLARK’s new access protocol and resources for how other centers can begin approaching access and disability. 

(French Event w English whisper translations) ASL/QSL available on request 

1:30pm- 2:30 pm | Subtitling & Alt-Text Workshop 

Rather than conceiving access as add-on features or matter of code compliance, how can we approach it as an opportunity for creative experimentation? This workshop discusses current discourse in access and disability studies to address the overt and convert ableism in creative spaces. Attendees are invited to bring an object, artwork, or photo for a brief activity. 

(ENG w French whisper translations) ASL/QSL available on request 

Thursday March 28th Vernissage and Artist Talks 

5:30 | Introduction and Drink Service 

6:00 – 6:45 | Panel Presentation 

Rachel Rozanski and Emery Vanderburgh present their work and engage in a discussion about how disability and access shape their creative practice. 

(ENG with French whisper translation) ASL/QSL available on request 

Break for fifteen minutes 

7:00 – 8:00 | Diego & Nicholas Film screening and discussion 

Exploring issues of access through the environmental and social impacts of the DEW Line over Inuit land from Alaska to Greenland, Diego Bravo and Nicholas Innis present sections of their documentary film, “Pitsuktie: The Walker”. The film documents Nicholas’ reconnection with his grandmother, Black-Inuit identity and ancestral land through counter-archival methods, Inuit oral tradition, and land-based education. 

(ENG with French whisper translations) ASL/QSL available on request 

Image description: A lavender gradient background with bold green letters that read “Two Days Of Access in Contemporary Art” March 27th / 28th Free ASL available, In person & Online. In the centre there is a pointy spherical cut out revealing a photo of Nicholas standing in a field of wildflowers.  

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Images from the Two Days of Access in Contemporary Art event held at Centre CLARK.
Image 1 showcases a presentation slide projected onto a white wall. The slide reads “Art et Accessibilité, Accessibility and Art>”.
Image 2 is another view of the projection, this time the slide reads “Accessibly & Art: Art and cultural institutions are important environments where norms are scrutinized and new ideas play out. Access is a process, not a destination.” Jessie is seen sitting at a table in front of the projection holding a microphone.
Image 3 is another view of the presentation, taking from the back of the gallery. Several people can be seen sitting on folding chairs watching the presentation. The slide reads “Accessibility” in bold with a number of images including two ramps, one with a pole in the middle, the universal symbol for disability, and the closed captions symbol.
Image 4 is an installation view of Rachel Rozanski’s artwork Perma which shows permafrost core samples from the Yukon Research Centre.
Image 5 is an installation view of Rachel Rozanski’s artwork Naturalizing the Portlands shows a cormorant nesting site on toxic land in Lake Ontario. Both this and Image 4 were made with a portable scanner from many images stitched together.
Image 6 is an installation view of Emery Vanderburgh’s artwork Floral Fasciation featuring two sculptures of mutates flowers, each on a pedestal. One is a sunflower covered in resin. The other is made of white, 3D-printed resin.
Image 7 is a portrait of Emery standing in front of her artwork The Disabled Body in Motion, a series of 12 videos arranged in a 4 x 3 grid, each featuring rotoscoped choreographies developed with disabled performers, to challenge the historical pathologization of disabled movement. She is smiling alongside one of her models Alicia Pauld sitting in a motorized wheelchair.