Submit to The Third Annual Portable Festival of Portable Art

Call for Submissions (pdf)
Institute Parachute is seeking submissions for the Third Annual Portable Festival of Portable Art, to take place 27 June 2009 at the Centennial Pavilion on Sir Winston Churchill Square.
The Portable Festival of Portable Art is a one-day festival invented in 2007 as an experimental means of exhibition meant to challenge the relationship between art-making and exhibition. For the first time, the guerilla festival is to be included in the larger institutional context of the Works Art & Design Festival.
The basis for the festival is an art exhibition without gallery walls and with an inverted curatorial structure. It is an experiment on the effects of gallery space and institutions on art production, and in part a criticism of Edmonton’s current shortage of organization, professionalism, and ambition among young artists. The ephemeral appearance of the festival highlights this point: it is impossible to know if it is real or not unless you participate.
Surprise contributions at the event itself are encouraged, but to be officially included on the bill of events, or for an art consultation, please contact Institute Parachute with a brief description of your project by 31 May. Participating artists will be expected to personally present their work as part of the interactive nature of the festival, although submissions by post from abroad will be accepted with appropriate documentation and instructions for presentation.
Submit your puppet shows, collapsible or flying objects, balloon sculpture, time machines, science experiments, dramatic play, speeches, research presentations, robots, magic tricks, concept bands, bicycles, etc. to:

Attn: Josée Aubin Ouellette
instituteparachute@yahoo.ca
#410, 9662 101A Avenue
Edmonton, Alberta, Canada
T5H 0A7
www.instituteparachute.ca

PS: There will be cake.

In Vue Weekly: Attila Richard Lukacs / Polaroids

Originally from Vue Weekly, 19 March 2009
Attila Richard Lukacs / Polaroids / Michael Morris
Reviewed by Adam Waldron-Blain

Lukacs’ paintings are delicately balanced between logical unity and a jarring sense of the unreal, and each one contains several layers of reality that we understand separately as we experience the work, starting with Lukacs’ most clearly visible artifice in his paint and in nonsensical or non-naturalistic elements in the paintings, as he invokes a flock of flamingoes or floating text in “Camouflage.” The central figures of the paintings are where most of this complexity lies, as we are forced to reconcile the presentation of these figures, which exist between the heroic nude and the salacious, perhaps pornographic photograph, with our ideas of what the subcultural aesthetic they carry with them represents, as well as what the are doing.
Beyond this play of sex and violence, explicit or implicit depending on the painting, the Polaroids present another tense level of fiction. Separating the figures from their unreal surroundings and isolating them, their sense of exaggerated, muscly masculinity is changed significantly. In the paintings, despite their performances, the figures often seem curiously unaware of themselves, as to permit too much self-reflection would be to endanger their value as either fascists or pin-ups, by allowing just a touch of what is perceived as a femininity into their sealed-off, painted realities. Instead, their situations and actions seem routine, despite their nudity and sometimes absurdity, and Lukacs leaves his subjects with their grim facial expressions which are themselves a part of their uniform, a kind of posture of hardness and authenticity.

Read the full article at vueweekly.com