MIA FEUER: RECENT PROJECTS, INVESTIGATIONS + TOTEMS OF THE ANTHROPOCENE

We are excited to welcome Mia Feuer as our next speaker in the series. Mia is Assistant Professor of Sculpture and Associate Professor of Fine Arts at the California College of the Arts and will be discussing her recent work and investigations in relation to ‘totems of the anthropocene’. Check out more of Mia’s artistic work here.

Friday, October 30, 2015; 12-1 PM
Arts-Based Research Studio (Education North 4-104)
Free and Open to All!

Mia Feuer in her petroleum skating rink at the Corcoran Gallery of Art. Photo: Darrow Montgomery/Washington City Paper (Photo from http://landscapearchitecturemagazine.org/2013/11/01/trashing-up-north/)
Mia Feuer in her petroleum skating rink at the Corcoran Gallery of Art. Photo: Darrow Montgomery/Washington City Paper. (Photo Source: http://landscapearchitecturemagazine.org/2013/11/01/trashing-up-north/)

BIO // MIA FEUER

Born in Winnipeg, Manitoba, Canada, Mia received her BFA from the University of Manitoba in 2004 and her MFA in 2009 from the Department of Sculpture + Extended Media at Virginia Commonwealth University.  Mia has received numerous travel, research, production and creation grants from the Manitoba Arts Council;  the Winnipeg Arts Council; The Canada Council for the Arts and The Lila Acheson Readers Digest Foundation.  In 2007, with the support of The Winnipeg Arts Council, she traveled to Palestine to facilitate sculptural research and workshops in the West Bank with Palestinian children.  Since then, Mia received several fellowships including: Vermont Studio Center; Seven Below Arts Initiative, The Mid Atlantic Foundation for the Arts, The Millay Colony, The Macdowell Colony; The Bemis Center for Contemporary Art and Sculpture Space.  Mia Feuer was a 2011 District of Columbia Center for the Arts and Humanities fellow as well as won the 2011 Trawick Prize and in 2012  received the prestigious Joseph S. Stauffer Prize from the Canada Council for the Arts.  She conducted sculptural research in Egypt during the 2011 Revolution and in 2012 and 2013, Mia gained unprecedented access to the Alberta Tar Sands of Fort McMurray to conduct Sculptural research. In 2013, Mia participated in an Arts and Science expedition to the Arctic Circle and in 2014, she was a visiting artist at The Banff Centre during the thematic residency titled: Making. Solo Exhibitions include FLUXspace, Philadelphia, PA, Transformer Gallery, Washington DC, Arlington Arts Center, Arlington, VA, The Firehouse Gallery, Burlington, VT, The Atlanta Contemporary Arts Center, Atlanta, GA, CONNERSMITH Gallery, Washington, DC, Goodyear Gallery in Carslile, PA, RAW: Gallery of Architecture and Design, Winnipeg, Manitoba, The Corcoran Museum in Washington, DC and  University of Mary Washington Gallery in Fredericksburg VA. Mia created and curated The free Flooded Lecture Series which took place on the Anacostia River in fall 2014 in Washington DC.  Recently, Mia has been conducting Sculptural research in the devastated bayous of the Gulf Coast and is currently developing projects with federally unrecognized Indigenous Pointe au Chien and Isle de Jean Charles communities.  Recent exhibitions include Synthetic Seasons at  The Esker Foundation in Calgary, Alberta  and Mesh  at Locust Projects in Miami FL..  Mia was  artist in residence at the Va Space Residency in Isfahan, Iran this passed July and will be artist in residence at The Gulkistan Residency in Laugarvatni, Iceland in 2016.  Future Exhibitions include Champagne Life at The Saatchi Gallery in London, UK and will represent Locust Projects this December at NADA, Miami.  Mia lives and works in Oakland, CA where she is an Assistant Professor of Sculpture  at California College of the Arts.  

Advertisements

“Anthropocene Cinema” with Selmin Kara

Join us Friday, October 9, 2015 for the next instalment of ‘The Future in Question’ Speaker Series with Selmin Kara from the Ontario College of Art and Design.

“Anthropocene Cinema”

Alfonso Cuarón’s sci-fi thriller Gravity (2013) introduced to the big screen a quintessentially 21st-century villain: space debris. The spectacle of high-velocity 3D detritus raging past terror-struck, puny-looking astronauts stranded in space turned the Earth’s orbit into not only a site of horror but also a wasteland of hyperobjects, with discarded electronics and satellite parts threatening everything that lies in the path of their ballistic whirl. In the same year, techno-industrial waste made another center-stage appearance in South Korean filmmaker Bong Joon-Ho’s international sci-fi film Snowpiercer (2013), this time as an anarchic agent of revolution. Snowpiercer depicts the class struggles among the survivors of an accidental ice age triggered by a human experiment aimed at counteracting global warming, but which left the remnants of humanity confined to the claustrophobic space of a train ceaselessly circling the globe. The cruelty of the technofixes put in effect in order to maintain the carefully bio-engineered mini-ecosystem on board the train eventually lead to a revolt. The revolutionary cause calls for extreme measures, thus prompting one of the main characters to fashion a bomb out of the highly addictive and also highly combustible drug Kronol, which is made of industrial waste. The bomb annihilates (almost) everyone aboard the train – which is to say: nearly all of humanity.

In her talk, Selmin Kara uses these two films’ fantasies of waste as an entry point to talk about the emerging Anthropocene imaginary in cinema. More specifically, she argues that we can now speak of a cinema of the anthropocene, which is as much a product of new filmic technologies in post-cinema as the conditions of global capitalism that have sped up the catastrophic impacts of human geo-engineering.

Still image from Alfonso Cuarón’s sci-fi thriller Gravity (2013).
Still image from Alfonso Cuarón’s sci-fi thriller Gravity (2013).

Bio: Selmin Kara is an Assistant Professor of Film and New Media at OCAD University. She has critical interests in digital aesthetics and tropes related to the anthropocene and extinction in cinema as well as the use of sound and new technologies in contemporary documentary. Selmin is the co-editor of Contemporary Documentary and her work has also appeared and is forthcoming in Studies in Documentary FilmPoiesis, the Oxford Handbook of Sound and Image in Digital Media, Music and Sound in Nonfiction Film, Post-Cinema, and The Philosophy of Documentary Film.

Selmin Kara
Selmin Kara