Events

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

The day before I flew to Shanghai, Hurricane Katrina went through Kingston and took out our backyard umbrella. I didn’t hear about the devastation in New Orleans until I was in Shanghai. I thought it was just your average August hurricane.

There were a lot of great things about life in Shanghai:

-no tipping
-no sales tax
-cheap taxis
-available, affordable Cuban cigars
-a knock-off market where you could buy all the brands: Louis Vuitton, Rolex, Gucci, Ralph Lauren, Cartier, Tag Heuer, Mont Blanc, etc. – all fake, of course, but who can tell?

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

The day before I flew to Shanghai, Hurricane Katrina went through Kingston and took out our backyard umbrella. I didn’t hear about the devastation in New Orleans until I was in Shanghai. I thought it was just your average August hurricane.

There were a lot of great things about life in Shanghai:

-no tipping
-no sales tax
-cheap taxis
-available, affordable Cuban cigars
-a knock-off market where you could buy all the brands: Louis Vuitton, Rolex, Gucci, Ralph Lauren, Cartier, Tag Heuer, Mont Blanc, etc. – all fake, of course, but who can tell?

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

The day before I flew to Shanghai, Hurricane Katrina went through Kingston and took out our backyard umbrella. I didn’t hear about the devastation in New Orleans until I was in Shanghai. I thought it was just your average August hurricane.

There were a lot of great things about life in Shanghai:

-no tipping
-no sales tax
-cheap taxis
-available, affordable Cuban cigars
-a knock-off market where you could buy all the brands: Louis Vuitton, Rolex, Gucci, Ralph Lauren, Cartier, Tag Heuer, Mont Blanc, etc. – all fake, of course, but who can tell?

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

The day before I flew to Shanghai, Hurricane Katrina went through Kingston and took out our backyard umbrella. I didn’t hear about the devastation in New Orleans until I was in Shanghai. I thought it was just your average August hurricane.

There were a lot of great things about life in Shanghai:

-no tipping
-no sales tax
-cheap taxis
-available, affordable Cuban cigars
-a knock-off market where you could buy all the brands: Louis Vuitton, Rolex, Gucci, Ralph Lauren, Cartier, Tag Heuer, Mont Blanc, etc. – all fake, of course, but who can tell?

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

The day before I flew to Shanghai, Hurricane Katrina went through Kingston and took out our backyard umbrella. I didn’t hear about the devastation in New Orleans until I was in Shanghai. I thought it was just your average August hurricane.

There were a lot of great things about life in Shanghai:

-no tipping
-no sales tax
-cheap taxis
-available, affordable Cuban cigars
-a knock-off market where you could buy all the brands: Louis Vuitton, Rolex, Gucci, Ralph Lauren, Cartier, Tag Heuer, Mont Blanc, etc. – all fake, of course, but who can tell?

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

The day before I flew to Shanghai, Hurricane Katrina went through Kingston and took out our backyard umbrella. I didn’t hear about the devastation in New Orleans until I was in Shanghai. I thought it was just your average August hurricane.

There were a lot of great things about life in Shanghai:

-no tipping
-no sales tax
-cheap taxis
-available, affordable Cuban cigars
-a knock-off market where you could buy all the brands: Louis Vuitton, Rolex, Gucci, Ralph Lauren, Cartier, Tag Heuer, Mont Blanc, etc. – all fake, of course, but who can tell?

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

NMW Backyard Shed Screenings Presents:

An Evening of Retro Future Sex!

Featuring Barbarella and Final Programme (aka The Last Days of Man on Earth)

Sunday July 8, 2007
31 Bay Street (around the back)
9:00 pm

Bring your lawn chairs or blankets and come join us for a retro summer backyard drive-in movie. First of a series of four screenings to take place this summer, this is an event you won't want to miss!

Also, keep an eye out for future retro screenings, including an evening of Vampires, Beach Party Flicks, and Musicals.

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

Information about upcoming meeting
When: Tuesday July 10th 2007 @ 8pm
Where: Modern Fuel Artist-Run Centre
Whom: Open to all Modern Fuel Members

Background

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

THEN + THEN AGAIN
Practices within an artist-run culture 1969-2005

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

Following Susan Sontag’s “Notes on Camp” (1964), the exhibition Post-Camp tentatively establishes connections between the work of Shelly Bahl and Ben Darrah, and proposes that they be considered in terms of the sensibility “Post-Camp.”

On July 26, Irina Skvortsova and Troy Leaman will present a hand-picked selection of Russian Cartoons -- ranging from propaganda to popular entertainment to censored art animation.

Starts at 7:30pm sharp
Popcorn for sale!
Admission by Donation

All proceeds will be donated to The Artel.

Cameo Cinema - A screening series where people introduce and present films of interest.

Official Website: http://cameocinema.allcapslock.com/