Post-Mortem Survey for Making Art Work 2020-21
Thank you for participating in the Making Art Work professional development workshop series co-presented by Modern Fuel Artist-Run Centre, Union Gallery, and Agnes Etherington Art Centre. We are looking for feedback from participants of the program to inform future professional development programs. The survey should take no longer than 10 minutes to complete. Your answers will be anonymous. Thank you for your time!
Off-Site Exhibitions
Echoes: Reimagining Murney Tower
Jill Glatt, Géorgie Gagné, Roberto Santaguida,
Gabriel Menotti, Nancy Douglas, and Monique Martin
Main Gallery at Modern Fuel Artist-Run Centre
April 1st - 30th
Murney Tower Museum
May 17th - August 30th
To the Soundless Gun: A Critical Silence
Curatorial Essay by Marcus Young
The thirty-two-pounder gun sitting at the crown of Murney Tower is a practical and symbolic artefact that echoes the rich military history of Katarokwi-Kingston. Its gun faces the open water, defending Kingston from invasion, but it met no heat of battle.
As Murney Tower celebrates its museum’s 100th anniversary, this exhibition is mounted to revisit the tower’s history–but can the tower tell us more than just conflict? The artworks exhibited reflect on its rich and complex past through critical dialogue about people, experience, and decolonisation.
Six artists reinvigorate the present experience of the tower and how we read its history. Douglas foregrounds the tower-as-sentry, as it has been, and over time has protected more than just military interests; the tower has been fertile ground for the meeting of community, people, and creature. The vibrancy of Douglas’ large-scale collage is highlighted through the intersection of the Crown, its government and military, and the communities whose stories have marked Murney Point.
Menotti reimagines the tower as an instrument, but not of war. His play on the military’s horn to rouse troops has turned into a horn that reverberates the sound of birds and waves. The inverted tower invites spectators to reconsider assumptions about the fortification. Muting its colours, especially its iconic red roof, Menotti centres attention to what one hears around the tower, shifting focus from the hardness of its architecture to the softness of nature’s call.
Santaguida reflects upon a personal letter that narrates for us stories from within the tower’s walls. Time is questioned in this moving installation and how the tower, an imposing force, is swept by the to and fro of time’s own passing. Murney Tower was engineered to stand for power in the past, but whose power shapes its story in the present?
A sincere connectivity is introduced by Gagné and Glatt through their beaded circle, and they pose a resonating question of ‘what could be?’ if the tower had not been built. Murney Tower was erected as a mechanism to ward off unwanted visitors, but in this installation a reciprocal relationship is privileged where the tower and the land are meant to connect, not separate. Like a Wampum Belt’s uninterrupted line of beads and tiles, this artwork reimagines a shared responsibility.
Martin seemingly dismantles the fortification, and we are let in to experience the tower differently. Murney Tower’s red roof is lifted synchronously, reminding us of the time when a roof tile struck a young boy, leading to the museum’s creation. The shifting tiles in Martin’s work connote a movement of meaning, and a movement that oscillates between its past and the values that we, contemporary visitors, imbue it with.
The gun that sits silent on Murney Tower’s crown, an important yet absent object from this exhibition, makes no sounding charge, no roar of violence, yet we hear the echoing waves of memory that is enlivened by art.
Photography by Shanique Peart of The Candid Creative Co.
