Leaky Gardens

June 25 ,  5:00 pm

All times are listed in Eastern Daylight Time (EDT)

Vanessa Dion Fletcher, Eve Tagny, Yza Nouiga

Self Assessment
Masking
Wheelchair

 

“Leaky Gardens” considers the uncontainability of edges and borders alongside the work of three artists who currently reside in so-called Canada. 
 


Screen-recorded on her computer, Eve Tagny’s documentary-style film Of Roses [how to embody the layers of time] Fragments of a bibliography delves into the historical, political, social, and symbolic context of roses as well as the geopolitical consequences of the rose market. Images, videos, recordings, and texts are presented as primary sources to build a multi-vocal model of the world of these flowers, from the garden to the home. 

 

While Eve problematizes the rose garden popularized by settlers on Turtle Island, Yza Nouiga considers in Jardins Paradise who has access to gardens and what a garden for the people, particularly those of the Arab diaspora, might look like. Yza prompts the question: In what ways might a garden enforce and designate class, access, and ability, and define who has the right to leisure? 

 

In both of these cases, the garden is conceived of as something in service—to a body, a community, a politic, an ideology… However, in Writing Landscape Vanessa Dion Fletcher plays with the ways the landscape is written onto the body and suggests that the body may in turn write with, as opposed to on, the landscape. Vanessa traverses coast lines and rock edges wearing handmade copper shoes. Land marks the plated footwear, which is then inked, printed onto paper, and now shared alongside the videos through the print's inclusion in this catalogue. In a way, the marks made by the land become landmarks in and of themselves; the intaglio print then becomes an effigy to the possibility of being in right relationship with the land. 

 

The films presented in “Leaky Gardens” begin to address the complexity of gardens and all that might pass through them. The porosity of the garden will be further explored in the 2023 Images Festival in a compilation program entitled “Leakier Gardens”.

 

— This program is part of the suite ok to rest curated by Jaclyn Quaresma.

Writing Landscape

Vanessa Dion Fletcher
CANADA | 2010 | DIGITAL | 4 MIN 
NO DIALOGUE

 

This work began in my mouth with my voice and moved down to my feet, and the earth. Writing Landscape is a series of images that were created between my body and the land. The finished product consists of three parts. A series of copper plates that were marked up when I wore them on my feet walking over the land, a series of prints that were produced from the copper plates, and this video of my performance of walking. Together, these images constitute an exploration of the relationship between my identity as an indigenous woman and Turtle Island. My project took place in three locations: Toronto, Ontario; Thamesville, Ontario; and Pangnirtung, Nunavut. I chose these locations specifically for their historical and contemporary significance.

Of Roses [how to embody layers of time] Fragments of a Bibliography

Eve Tagny
CANADA | 2021 | DIGITAL | 65 MIN 
ENGLISH/FRENCH

 

Through the history and symbol of the rose, Tagny probes our desire to possess, control and commercialize nature. A coveted flower central to a vast global industry, the rose simultaneously embodies the ideas of power, desire, femininity but also that of hybridity. Cultivated for the most part in Ecuador and Kenya, the roses that are found on the European and North American markets become symbols of migration, as the journey travelled by the flowers echoes those of displaced and labouring bodies. Retracing the domestication of nature as so many layers of sediment in a garden, Of Roses [how to embody the layers of time] dwells on the ways in which post-colonial structures manifest today. The work brings to the surface buried histories and knowledge, drawing attention to the complexities of the flower industry as well as to the spirituality and commitment wrapped up in the care showered upon a flower.

Jardins Paradise

Yza Nouiga
CANADA | 2021 | DIGITAL | 5 MIN
NO DIALOGUE

 

Jardins Paradise ironically diverts the image of the garden as the embodiment of some paradisiacal Eden. It highlights the civic inventiveness of communities stigmatized by a lack of greenery in their neighborhood as well as the contribution of ethnocultural diversity to the urban landscape.

  • Yza Nouiga is a French Moroccan scriptwriter and director based in Montreal. Born and raised in Morocco, she has been living in Canada for the last decade.Through a hint of humor and self-derision she explores several themes such as identities, dual nationality, and homecoming. She works in fiction as well as non-fiction stories.

  • Vanessa Dion Fletcher is a Lenape and Potawatomi neurodiverse Artist. Her family is from Eelūnaapèewii Lahkèewiitt (displaced from Lenapehoking) and European settlers. She employs porcupine quills, Wampum belts, and menstrual blood, to reveal the complexities of what defines a body physically and culturally.

  • Eve Tagny is a Tiohtià:ke/Montreal-based artist. Her practice considers gardens and disrupted landscapes as mutable sites of personal and collective memory — inscribed in dynamics of power, colonial histories and their legacies. Weaving lens-based mediums, installation, text and performance, she explores spiritual and embodied expressions of grief and resiliency, in correlation with nature’s rhythms, cycles and materiality. Tagny has a BFA in Film Production from Concordia University and a Certificate in Journalism from University of Montreal. Recent exhibitions include Musée de Joliette, Momenta Biennale, Musée d’art contemporain de Montréal and Centre Clark, Montreal; Cooper Cole, Gallery 44, and Franz Kaka, Toronto. She is the recipient of the Mfon grant (2018), the Plein Sud Bursary (2020) and has been shortlisted for the CAP Prize (2018), the Burtynsky Photobook Grant (2018) and the OAAG Award (2020).

Co-presented with

  • Les éditions Esse

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Images Festival would like to acknowledge

The land on which we gather and organize is the territory of the Anishinaabe, the Chippewa, the Haudenosaunee, the Huron-Wendat, and the Mississaugas of the Credit First Nation. Today, the meeting place of Toronto is home to many Indigenous peoples.

A territorial acknowledgement can demonstrate a coming to awareness, and provoke thought and reflection, all of which are essential in beginning to establish reciprocal relations. This acknowledgement should not function as closure, resignation, or acceptance of the structural conditions of settler colonialism that remain in effect today. The Images Festival will continue to ask what it means for us to keep open a spirit of sustained inquiry into the complexities of our context.