THURSDAY JULY 18, 2013

AfternoonHost program: visit of Fogo Island

FRIDAY JULY 19, 2013

10 AMPrelude

Presentation by Todd Saunders (Architect, Saunders Architecture; Bergen) Seven years of making the studios and the Inn: design, construction, and processLocation: Fogo Island Inn, Banquet Room

The Fogo Island Inn, designed by award-winning architect Todd Saunders, opened to the public in May 2013. Setting new standards for sustainable design and in harmony with its rural surroundings, the Inn embraces 400 years of the Island’s history, its local culture — from !ishery to craftsmanship — with the aim of creating a self-sustaining economy bolstered by the arts and tourism. The project has been devel-oped by, for, and with the local communities, who have played an active and vital role in its conception and ongoing development. The Fogo Island Inn is a community-based project, a cultural and intellectual hub where tradition and innovation meet.

11 AMTour of the studios

3 PMWelcome by Zita Cobb (Co-Founder, Shorefast Foundation and Fogo Island Arts; Fogo Island) & Nicolaus Scha!hausen (Director, Kunsthalle Wien, and Advisor Fogo Island Arts and Shorefast Foundation; Vienna)Location: Fogo Island Inn, Banquet Room

3:30 PM Introduction by Amira Gad (Associate Curator, Witte de With Center for Contemporary Art; Rotterdam)& Gareth Long (Artist; London/Vienna)

4 PMDialogues Prologue: The IslandKeynote lecture by Tom McDonough (Associate Professor and Chair, Art History, BinghamtonUniversity; Toronto)Respondent: Monika Szewczyk (Visual Arts Program Curator, Logan Center for the Arts; Chicago)Location: Fogo Island Inn, Banquet Room

Extraterritorial:From Utopia to Tax Haven, How Island Logic Has Shaped Culture and SocietyIslands are not only determinate natural locales on our maps; for almost half a millennium, they have pro-

P R O G R A M

F O G O I S L A N D D I A L O G U E S : B E L O N G I N G T O A P L A C EJuly 19, 20, and 21 — 2013

vided us with models for rethinking culture and society. Spurred by the fantastic tales that accompanied early modern mercantile exploration of the Atlantic, European thinkers began to develop a distinct island logic beginning in the early sixteenth century. With Thomas More’s philosophical novel Utopia, thephysical isolation of the island emerged as a powerful site for social experimentation; from the 1500s through the Enlightenment, progressive thought turned to the cartographic margins to imagine other modes of being. But all that changed in the late eighteenth century, when the island was transformed from a place for dreaming alternative worlds to a very real space of carceral organization: the delimited geography of the island provided the ideal setting for the total institutions of modernity, the segregated spaces of the hospital, the fort, or the prison. Utopian experimentation gave way to the physical reor-ganization of society. Today that disciplinary model is itself being superseded by new forms of island logic, from the tax haven to Guantanamo. This talk o"ers a tour of !ive hundred years of islands that have shaped our understanding of the world.

SATURDAY JULY 20, 2013

10 AM The Great Fogo Island Punt RaceLocation: Joe Batt’s Arm (if weather allows)

The Great Fogo Island Punt Race Steering Committee is organizing the sixth annual Great Fogo Island Punt Race. The Great Fogo Island Punt Race to There and Back is a demanding and exciting challenge with crews racing across a total distance of approximately 7 miles of open ocean.

1:45 PMWelcome: Daily Introduction2 PMDialogues I: The Commodi!ication of the Authentic

Presentation by Dieter Roelstraete (Senior Curator, MCA; Chicago)

If last year’s Documenta 13 and this year’s Venice Biennale can be considered dependable barometers for gauging the emotional air pressure in today’s cultural climate (they can), one would have to say that the pathos of authenticity is one of the present culture’s dominant passions. An overwhelmingly irony-free a"air, the latter event in particular was hailed by some within the art world as the exhibition that had !inally succeeded in restoring their tried-and-tested faith in art — and it apparently did so primarily by showing work produced by artists presumed to operate “outside” of, or at least in the very margins of, that selfsame art world. Real art, seemed to be the implication or insinuation here: authentic, sincere, truthful — art from the heart. Some incurable cynics among the biennial’s core audience were quick to suspect that a heartless economic logic must be undergirding this assault of well-intentioned weirdness, noble savagery and sel!less amateurism; this cynicism conjured the ghoulish specter of an art market venturing ever deeper and deeper in the previously virginal thickets of authenticity. Yet the cynic’s easily shared indignation raises a number of important questions concerning the “politics of authenticity,” some of which will be explored in more detail during this presentation. Does the dream of authenticity really require the cynic’s patronizing attempt at protecting it from the forces of commodi!ication? Can the authentic even be commodi!ied? Shouldn’t the notion of the authentic by its very de!inition (at least) be expected to be commodi!ication-resistant? And what do the “return of the real,” “the resurgence of the real,” and the “lust for real life,” — to paraphrase only a handful of titles and subtitles of books published in the last two decades (i.e. those that saw both the unprecedented expansion of the art market and the boundless virtualization of so many aspects of our everyday life) — have to do with notions of marginality and outsideness? Where, in all of this, does Fogo Island lie?

Presentation by Erika Balsom (Lecturer in Film Studies at King’s College; London)

At the end of the nineteenth century, amidst immense socio-economic transformations and the advent of new technologies of image reproduction, authenticity became a key concern and criterion of value. Today, we are living in a parallel historical moment: neoliberal economics and the introduction of digital

F O G O I S L A N D D I A L O G U E S | July 19, 20, and 21 — 2013

technologies of reproduction have provoked anxiety regarding where the boundary between theauthentic and the inauthentic might lie. This crisis manifests itself above all as an intense desire for authentic objects and experiences, often located in the domains of food, art, and tourism. This talk will o"er some remarks on the contemporary fetish for the authentic through an examination the politics of authenticity as elaborated roughly one hundred years ago. In particular, it will draw attention to the con-tradictory character of authenticity: on the one hand, it can o"er a critique of the fungibility of consumer culture; but on the other, it can function as a way of dissimulating a relationship to capital by cloaking a yearning for the rare, expensive, and exclusive in spiritual, Romantic terms.

2:30 PMConversation between Dieter Roelstraete and Erika BalsomModerator: Rosemary HeatherLocation: Fogo Island Inn, Banquet Room

3:30 PMDialogues II: Residencies in Remote Places

Conversation between Judy Radul (Artist; Vancouver/Berlin) and Lívia Páldi (Director, BAC#Baltic ArtCenter; Visby)Moderator: Jack Stanley (Director of Programs, Fogo Island Arts; Fogo Island)Respondent: Tobias Spichtig (Artist; Zurich)Location: Fogo Island Inn, Banquet Room

Under the RadarLívia Páldi and Judy Radul engage in a conversation examining the working methods and approaches they are taking for a project currently being developed with the Baltic Art Center. The Baltic Art Center is located in the town of Visby, a Medieval Hanseatic trading town, on the island of Gotland, Sweden. BAC is currently focusing on issues connected to the multi-disciplinary !ield of visual culture research and historical and theoretical questions around visibility and the politics of knowledge.

This conversation brings together artistic and curatorial practices that address these issues, andcritically re!lect on how social, political and intellectual histories are being constructed. Radul and Páldi will attempt to open a !ield of possibilities on the part of the curator, to craft a response on the part of the artist, and to reframe ideas and opportunities from both perspectives. Above all, they are interested in questions of methodology, particularly in response to the speci!ics of location. Therefore, their discus-sion will consider the implications of a “!ield work” approach, the politics surrounding site-responsive-ness, and thematics of defence, defensiveness and the natural environment.

5:00 PMDialogues Interlude: The InsularPresentation by Lars Müller Respondent: Fabrizio GallantiLocation: Fogo Island Inn Banquet Room

Insular Insight: An observation on intention and realityThe notion of the island remains as a metaphor for the longing for a counter world, for a new beginning: it has come to symbolize our utopian vision of a better world.

On a number of occasions between 2009 and 2010, Lars Müller had the opportunity to visit an archipelago in the Seto Inland Sea in the south of Japan. World War II had left the islands bleak and deserted until about twenty years ago when a philanthropic foundation chose the site as a location where an oasis from the frenzy of urban life could be created. Stemming from this experience, Müller’s talk draws parallels between this Naoshima project and the Fogo Island initiative while also pointing out the signi!icant di"erences.

6 PMClosed workshops

F O G O I S L A N D D I A L O G U E S | July 19, 20, and 21 — 2013

7 PMPresentation & summary of the workshops

SUNDAY JULY 21, 2013

Morning ActivityRecreational Fishery (4 boats reserved)

2:15 PMWelcome: Introductory Remarks

2:30 PMDialogues III: Gentri!ication of an Island

Presentation by Simon Rees (Curator, MAK$Austrian Museum of Applied Arts; Vienna)

Oedipal DriftDiscovery, wonder and travel have been set at the heart of literature since the Homeric age. Oedipus was one such peripatetic whose drifting may have saved him from a Delphic prophesy of patricide and maternal incest. Homecoming damned him. Such an ambivalence was later tested by Descartes in his Discourse on Method (1639) in which he describes the supplementary understanding of history and one’s own culture (and self) a"orded by travel and knowing something of the manners of di"erent nations: warning that too much travel a"ects an alienation from one’s culture and self. With reference to Greek tragedy, Descartes, and the writing of Joseph Conrad, Janet Frame, Hugh Kenner, Michael Ondjaate, and Orhan Pamuk, which touch upon alienation, belonging, islands, nationhood, sel!hood and seafaring, Simon Rees’ presentation is a picaresque analysis of consciousness developed somewhere else.

Conversation between Simon Rees (Curator, MAK$Austrian Museum of Applied Arts; Vienna) and Zita Cobb (Co-Founder, Shorefast Foundation and Fogo Island Arts; Fogo Island)Respondent: Paul Dean (Geologist; St. John’s)Location: Banquet Room

4:30 PMDialogues IV: How do we take the Island o" the Island?

Conversation between Kitty Scott and Monika Szewczyk Moderated by Nicolaus Scha!hausenRespondent: Piero Golia

This conversation instigates a wrap-up round-table conversation summing up the three days of Dialogues, which will be followed by a think-tank-like format engaging all of the invited Fogo Island Dialogues speak-ers and audience alike. For this !inal public moment, Kitty Scott and Monika Szewczyk are tasked to help us think further about how one can talk about the speci!icities of Fogo Island while outside of the place, and how — or if — the issues and discussions raised are relevant in other contexts. They will also explore strategies for grafting these ideas onto other locales, and for continuing the conversation for the future iterations of the Fogo Island Dialogues. The aim is to encourage the participants and attendees to keep the dialogue going; the conversations had over the previous three days do not have to conclude with the end of this event.

6 PMClosed workshops

7 PMPresentation & summary of the workshops

F O G O I S L A N D D I A L O G U E S | July 19, 20, and 21 — 2013

BIOGRAPHIES

Erika Balsom is lecturer in Film Studies at King’s College, London. Her research is broadly concerned with the intersection of moving image art and the transformations of cinema after digitization. She is the author of Exhibiting Cinema in Contemporary Art (Amsterdam University Press, 2013), which confronts the changing contours of what we call “cinema” after digitization through an examination of uses of the moving image and references to !ilm history in art since 1990. She has also published in venues such as Afterall, Moving Image Review and Art Journal (MIRAJ), and Screen. She is currently at work on a book manuscript that will interrogate the implications of the new forms of image distribution and circulation made possible by digitization, particularly as they have been adopted and re!lected upon in artists moving image.

Paul Dean (Geologist; St. John’s) was born, raised and studied in the geology and landscape of Newfoundland and Labrador. As a professional geologist, Dean has already had a diverse career in research, mineral exploration, public service and public education. He is the former Executive Director of the Johnson Geo Centre, a world-class interpretation centre focusing on the geological evolution of Newfoundland and Labrador. In his twenty-!ive years of public service, Dean served as the Assistant Deputy Minister of Mines and the Deputy Minister of Environment and Conservation. Dean is constantly engaged in exploring the links between geology, landscape and culture. He is equally at ease with his friends and colleagues in the geological community, as with his many friends in the !ields of art, culture and entertainment. He is also a storywriter, a storyteller and an advocate for traditional music and dance. His stories have been published in the Newfoundland Quarterly and The March Hare Anthology. He is currently involved with Shorefast Foundation in establishing a Geologist-in-Residence program for Fogo and Change Islands. He is also working with Adventure Canada as a geologist, providing adventure cruise excursions in Newfoundland and Labrador.

Amira Gad (Egyptian/French) lives and works in Rotterdam, the Netherlands. She is Associate Curator at Witte de With Center for Contemporary Art (Rotterdam, the Netherlands), where she has worked since 2009. She received a Masters in Contemporary Art from Sotheby’s Institute of Art, London and an honors Bachelor of Liberal Arts & Sciences from the University College Utrecht. In 2012, Gad was appointed curator for the Collectors of Contemporary Art (C.o.C.A.) commission. Curated projects include I am for an art criticism that, a 2-day symposium presented at Witte de With and at the Stedelijk Museum Amsterdam; Short Big Drama (with Nicolaus Scha!hausen), a solo exhibition of Angela Bulloch at Witte de With. Prior to joining Witte de With, Gad worked at the Ecomusée de la Pêche et du Lac in Thonon-les-Bains (France) where she worked in the department of Culture & Heritage (Patrimoine et Culture). Gad has been involved in the production and the editor of several publications on contemporary art including Source Book 10: Angela Bulloch (2012); the artist book Rotterdam — Sensitive Times (2013) by Lidwien van de Ven; and contributed to a number of publications including the critical reader by artist Mario Pfeifer A Formal Film in Nine Episodes, Prologue & Epilogue (2013); Source Book 8: Edith Dekyndt (2010). She is also editor of Witte de With’s newly launched online platform WdW Review (wdwreview.org) and a Correspondent Editor for Ibraaz (www.ibraaz.org), an online publishing forum dedicated to contemporary visual culture in the Middle-East & North Africa.

Fabrizio Gallanti (Genoa). Architect. Currently Associate Director Programs at the Canadian Centre for Architecture, Montreal, Canada. A founding member of the architects’ collective gruppo A12 (1993#2004), was fellow and president of the jury of Akademie Schloss Solitude in Stuttgart (2002#2006). He has taught design and theory of architecture at the Ponti!icia Universidad Católica and the Universidad Diego Portales in Santiago de Chile (2002#2006) and the Politecnico di Milano (2008#2010). Architecture editor at Abitare magazine and web-site (2007#2011). He has written for A + U, Abitare, Clog, Domus and San Rocco. Along with Francisca Insulza founded the design and research studio !ig-projects. He runs the blog Framing Ark, http://framingark.blogspot.ca

Piero Golia (Italy) is an artist living and working in Los Angeles, California. His work has been shown in major galleries and museums in Europe and United States and featured in numerous exhibitions including the Italian Pavilion of the 55th Venice Biennale; Gold Standards at P.S.1 in New York, The Artist’s Museum at the Museum of Contemporary Art in Los Angeles and Uncertain States of America – American Art in the 3rd Millennium which toured galleries in 7 countries including the Serpentine Gallery in London and Bard College in New York. In 2004 his feature !ilm Killer Shrimps was selected for the Venice Film Festival and in 2005, he co-founded the Mountain School of Arts, an educational institution that has become an important point on the cultural map of the city of Los Angeles. In 2010 he was one of the !inalists at Premio Italia at Museo MaXXi in Rome and Double Tumble (or the Awesome Twins) was presented at the Stedeljik Museum in Amsterdam. In 2011 his !irst solo exhibition in Los Angeles opened at Gagosian Gallery.

Rosemary Heather writes about art, the moving image and digital culture for numerous publications, artist monographs and related projects internationally, including The National Post (Toronto), Canadian Art (Toronto), Border Crossings (Winnipeg), Art Papers (Atlanta), Flash Art (Milan), www.experimentalconversations.com (Cork), CACTUS (Toronto), Hunter and Cook (Toronto), www.apengine.org (London, UK), Von Hundert (Berlin), Daddy (Los Angeles), Neue Review (Berlin), The Senses and Society (Oxford), Art News (New York), BE (Berlin), and tema celeste (Milan), among others. Her ongoing project The Real and How to Find It interviews artists about the subject of The Real. Recent interviewees include Ken Lum, Kerry Tribe, Hito Steyerl, Phil Collins and Candace Breitz. A co-author of the collectively

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written novel Philip (Project Arts Centre, Dublin, 2006), exhibitions she has curated include: Screen and Décor (Justina M Barnicke Gallery, Toronto; SAAG, Lethbridge, 2013); Ron Giii: Hegel’s Salt Man (Doris McCarthy Gallery, Toronto; Art Gallery of Carlton University, Ottawa, 2006#07); Serial Killers: Elements of Painting Multiplied by Six Artists (Christopher Cutts, Toronto; Platform, London, UK); and I Beg to Di"er (Milch, London, UK). From 2003#2009, Rosemary Heather was the editor of C Magazine (Toronto). Since November 2013 she has been Director of Publishing and Communications for Fogo Island Arts. An online archive of her writing can be found at: rosemheather.com.

Gareth Long lives and works in Vienna, Austria and London, U.K. He holds an honours BA in Visual Studies and Classical Civilizations (2003) from the University of Toronto and a MFA in Sculpture (2007) from Yale University. Long’s work centres on processes of transference, translation and collaboration as a means to question authorship and the mechanisms of cultural and knowledge production. In much of his previous work, he has explored the cross-translation of artistic forms, non-linear narrative tropes and gestures de-stabilizing medium speci!icity. Frequently, these explorations lead to a revised understanding of Modernism as it relates to artistic and literary traditions and the history of design, particularly book publishing. Long has held solo exhibitions at Kate Werble Gallery, New York (2012); Michael Benevento, Los Angeles (2012); Torri, Paris (2011 and 2012); The Southern Alberta Art Gallery, Lethbridge (2011#2012); Oakville Galleries, Oakville (2008#2009); and Leo Kamen Gallery, Toronto (2005 and 2006). His work has been shown at various institutions including Witte de With, Rotterdam (2012); Wiels, Brussels (2011); Casey Kaplan Gallery (2011), MoMA PS1 (2009 and 2010), and Artists Space (2008 and 2009), New York City; Flat Time House, London (2010); Badischer Kunstverein, Karlsruhe (2009); Mercer Union Centre for Contemporary Art, Toronto (2009); and Musée d’Art Contemporain de Montréal, Montreal (2005).

Tom McDonough is Associate Professor and Chair of Art History at Binghamton University, State University of New York, where he teaches the history of the European avant-gardes and modern art and architecture. His most recent book is the anthology The Situationists and the City (2009); other publications include “The Beautiful Language of My Century”: Reinventing the Language of Contestation in Postwar France, 1945#1968 (2007), and the anthologies Guy Debord and the Situationist International: Texts and Documents (2002) and The Invisible Flâneuse? (2006). He has been an editor at Grey Room and publishes art criticism regularly in journals such as Artforum, MAY, and Osmos. He is currently writing Sowing the Wind, a history of the Situationist International, forthcoming from Reaktion Books.

Lars Müller (born in Oslo) has been based in Switzerland since 1963. After an apprenticeship as a graphic designer and some years as a peripatetic student in the United States and Holland, Lars Müller established his design studio in 1982 and started editing and publishing books on typography, design, art, photography, and architecture. In recent years, he has branched out into visually oriented books on social issues, such as human rights and ecology. Lars Müller Publishers, based in Zurich, has produced some 800 titles to date. Lars Müller is a passionate educator and has taught at various universities in Switzerland and in Europe. Since 2009 he has been a guest lecturer at Harvard’s Graduate School of Design. Lars Müller is the current International President of AGI Alliance Graphique Internationale.

Lívia Páldi is the director of BAC — Baltic Art Center, Visby, Sweden. Previously, she worked as curator and chief curator at the Mucsarnok/Kunsthalle Budapest between 2005 and 2011. She has organized numerous exhibitions and edited several exhibition catalogues and was a contributing editor of East Art Map magazine and book organized by the artist collaborative IRWIN in Ljubljana (2002$5). She is currently a doctoral candidate in the Institute for Art Theory and Media Studies at Eötvös Loránd University, Budapest. She was one of the curatorial agents of dOCUMENTA (13).

Judy Radul’s interdisciplinary practice has recently focused on video installation but also includes sculpture, photography, performance and mixed media installations. Her large scale-media installation World Rehearsal Court, (2009) has shown at: the Morris and Helen Belkin Gallery, U.B.C. Vancouver; the Generali Foundation, Vienna; Media City Seoul, Korea and Henie Onstad Art Center in Oslo, Norway. Related to this project she co-edited a book of collected essays and images A Thousand Eyes: Media Technology, Law and Aesthetics, with Marit Paasche, 2011, Sternberg Press, Berlin. The same publication features Radul’s essay Video Chamber, concerning the relation of video, the trial, and aspects of contemporary art. An exhibition of new sculptural work, including the series Object Analysis Spectator Poem was shown at Catriona Je"ries Gallery, Vancouver, in 2012. Radul’s latest work, involves an original computer controlled system for live and prerecorded video. In 2012/2013 Radul participated in a year-long residency in Berlin hosted by the Deutscher Akademischer Austauschdienst (DAAD) program. Judy Radul was born in Lillooet, B.C., she has a B.A. in Fine and Performing Arts from Simon Fraser University and a MFA in Visual and Media Arts from Bard College, New York.

Simon Rees is the head of programming and development at the MAK — Austrian Museum of Applied Arts / Contemporary Art, Vienna, where he has worked since summer–2011. For six years prior to this Rees was the head of exhibitions at the CAC Vilnius in Lithuania. A New Zealander, who was educated between Australia and New Zealand and who has held positions in national institutions in both countries, Rees made the transition to Europe via a curatorial residency at IASPIS, Stockholm (2003#2004). Rees has curated numerous exhibitions internationally and writes regularly for popular press and specialist publications about contemporary art and culture.

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Dieter Roelstraete is Manilow Senior Curator at the Museum of Contemporary art Chicago, where he recently organized Goshka Macuga: Exhibit, A (2012). From 2003 until 2011 he was a curator at the Antwerp Museum of Contemporary Art (MuHKA), where he organized large-scale group exhibitions as well as monographic shows, including Emotion Pictures (2005); Intertidal, a survey show of contemporary art from Vancouver (2005); The Order of Things (2008); Auguste Orts: Correspondence (2010); Liam Gillick and Lawrence Weiner – A Syntax of Dependency (2011); A Rua: The Spirit of Rio de Janeiro (2011); Chantal Akerman: Too Close, Too Far (2012) and the collaborative projects Academy: Learning from Art (2006), The Projection Project (2007), All That Is Solid Melts Into Air (2009), and Kerry James Marshall: Paintings and Other Stu" (2013). In 2005, Roelstraete co-curated Honoré d’O: The Quest in the Belgian pavilion at the 51st Venice Biennale. He has also organized solo exhibitions of work by Roy Arden (Vancouver Art Gallery, 2007), Steven Shearer (De Appel, Amsterdam, 2007), and Zin Taylor (Ursula Blickle Stiftung, Kraichtal, 2011), as well as group shows in galleries and institutions in Belgium and Germany. From 2007 until 2011 he taught at De Appel’s curatorial training program in Amsterdam and at the Piet Zwart Institute in Rotterdam. A former editor of Afterall and co-founder of the journal FR David, Roelstraete has published extensively on contemporary art and related philosophical issues in numerous catalogues and journals including Artforum, e-!lux journal, Frieze, Metropolis M, Mousse Magazine, and Texte zur Kunst. In 2010, his book Richard Long: A Line Made By Walking was published by Afterall Books/The MIT Press, and in 2012 a selection of annotated poems was published by Roma Publications.

Nicolaus Scha!hausen is Director at Kunsthalle Wien since October 2012. From 1995 to 1998 Scha!hausen served as artistic director of Künstlerhaus Stuttgart, and from 1999 to 2005 as director of the Frankfurter Kunstverein. From 2003 to 2005 he was a curator at the Nordic Institute for Contemporary Art in Helsinki (NIFCA). From 2005 to 2007 he was the founding director of the European Kunsthalle, an initiative to establish a new art institution in Cologne. From 2006 to 2012 he headed the Witte de With Center for Contemporary Art in Rotterdam. Nicolaus Scha!hausen was the curator of the German Pavilion for the 52nd and the 53rd Venice Biennale in 2007 and 2009. He was co-curator of the !irst Brussels Biennale in 2008 and co-curator of 2010 Media City Seoul festival. He was curator of the Dutch House at the Expo 2010 in Shanghai, and, among others, also curated exhibitions at the Stedelijk Museum Amsterdam, Lenbachhaus in Munich, National Museum of Art, Architecture and Design in Oslo, and the Contemporary Art Centre (CAC) in Vilnius. Scha!hausen was collection advisor for the FRAC Nord – Pas de Calais, Dunkerque; DekaBank; and Lufthansa AG, Frankfurt. Nicolaus Scha!hausen is also a lecturer at the Higher Institute for Fine Arts in Ghent. In addition to Scha!hausen’s extensive experience in leading institutions and curating exhibitions, he is author and editor of numerous publications on contemporary art. Currently, Scha!hausen is the strategic advisor and co-chair of the board of Fogo Island Arts, an initiative of the Canadian Shorefast Foundation (shorefast.org) that carries out a resident programme on the island of Fogo in Newfoundland and engages in a dialogue with artists and scientists to !ind alternative solutions for the revitalisation of the area that is prone to emigration.

Kitty Scott is the curator of Modern and Contemporary Art at the Art Gallery of Ontario, Toronto. She was formerly director of Visual Arts at The Ban" Centre, a position she held from 2007 to 2012. Previously she was chief curator at the Serpentine Gallery, London, and curator of Contemporary Art at the National Gallery of Canada, Ottawa. Scott has curated exhibitions of artists such as Francis Alÿs, Janet Cardi", Paul Chan, Peter Doig, Ragnar Kjartansson, Silke Otto-Knapp, Ken Lum, and Ron Terada, and was an agent for dOCUMENTA (13) (2012), Kassel. Scott organized the curatorial symposium Are Curators Unprofessional? (2010) at The Ban" Centre and edited the publication Raising Frankenstein: Curatorial Education and Its Discontents (Koenig Books, Cologne, 2010). She has written extensively on contemporary art for catalogues and journals including Parachute, Parkett, and Canadian Art. Scott has contributed to numerous books on curatorial studies and written texts for monographic publications on the work of Matthew Barney, Peter Doig, Brian Jungen, and Daniel Richter; and for the publication Creamier: Contemporary Art in Culture (Phaidon, London, New York, 2010). As an independent curator, she has organized exhibitions including Bankside Browser (2000) for Tate Modern, London, and Universal Pictures (1999) at the Melbourne International Biennial. Scott was the Canadian coordinator for the Seventh International Istanbul Biennial (2001) and also worked on the inaugural SITE Santa Fe Biennial (1995). She is visiting professor for the Curatorial Practice Program at the California College of the Arts, San Francisco, as well as an adjunct professor at York University, Toronto, and the University of British Columbia, Vancouver.

Todd Saunders is one of the most important young contemporary Canadian architects working internationally. His architecture, simple yet powerful, incorporates elements of his country’s architectural identity — including the use of wood and carefully picked Modernist in!luences — bringing it at the same time into the 21st century with excellent execution, carefully chosen materials and a hands-on approach. Saunders, who lives and works in Bergen, Norway, has successfully executed work in both Canada, Norway, and Finland, creating architecture with a strong sense of northern identity, an individual approach that is informed by the strongness of natural landscape. Saunders Architecture was founded by Todd Saunders in 1998, and the studio now consists of people from all over the world. Saunders has lived and worked in Bergen since 1996, following his studies at the Nova Scotia College of Art and Design in Halifax and McGill University in Montreal. He continues to combine teaching with practice and has been a part-time teacher at the Bergen Architecture School since 2001. Saunders has also lectured and taught at schools in Scandinavia, the UK and Canada and has been a visiting professor at The University of Quebec in Montreal. He will also be a visiting professor at Cornell University during the fall of 2013. Saunders was ranked one of Norway’s 10 best architects by the magazine Bo Bedre in 2009, and was placed number 52 among the 100 best architects in the world by the German magazine BauNetz in 2012. Saunders was also ranked among the !ive top architects in the world under 50 by the Hu$ington Post in 2011. Current projects include the completion of a 29-room inn on Fogo Island, Canada, a cultural centre in

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Labrador, Canada, a centre for UNICEF in Aurland, Norway, and a large scale residential project in Istanbul, Turkey.

Tobias Spichtig is an artist living and working in Zurich, Switzerland. His work includes a variety of media such as photography, painting, sculpture, and !ilm. Spichtig’s practice debates the notion of reality and its conception in regard to an ever-changing perceptual awareness of images and their temporal apparition.

Monika Szewczyk is the Visual Arts Program Curator at the University of Chicago’s Reva and David Logan Center for the Arts. She has been Head of Publications at the Witte de With Center for Contemporary Art in Rotterdam (2008-2011), Assistant Curator at the Vancouver Art Gallery (2004#2011) and Program Coordinator for the Belkin Satellite (2002#2004), a%iliated with the Morris and Helen Belkin Art Gallery. Throughout she has taught at art academies, including Bergen National Academy of the Arts, Piet Zwart Institute (Rotterdam) and Emily Carr University (Vancouver). Her writings on contemporary art have appeared in numerous catalogues and journals. Szewczyk recently joined the Board of Directors of Fogo Island Arts.

Current Fogo Island Arts artists in residency:

Katie Bethune-Leamen works in sculpture, video, and installation. She holds a MFA from the University of Guelph, and has exhibited across Canada, and internationally. Recent solo exhibitions include Shiny Object Person (Art Gallery of Ontario). Recent residencies include The Ban" Centre, SIM (Reykjavik, IS), and Fogo Island Arts (Fogo Island, NL), with ones upcoming at Open Studio (Toronto), the Illulissat Art Museum (Ilulissat, GD), The American Museum of Natural History (NYC), and The Arctic Circle (Svalbard, NO). Her writing has appeared in Canadian Art, C Magazine, Border Crossings and others. www.katiebethuneleamen.com

Mark Clintberg is an artist and art historian based in Montreal, Quebec. He has shown his work in institutions across Canada and in the United States. Recent exhibitions including his work have been held at the Art Gallery of Alberta, the Habourfront Centre, Centre des arts actuels Skol, and AXENÉO7. Upcoming sites for solo projects include the Illingworth Kerr Gallery, Western Front and Trap\door. Currently he maintains a studio practice in Montreal, where he is also a Ph.D. Candidate and part time faculty member in the Department of Art History at Concordia University. He earned his M.A. at Concordia University (2008), and his B.F.A. from the Alberta College of Art & Design, completing a portion of his studies at the Nova Scotia College of Art & Design (2001). In 2011, Clintberg conducted research at Oxford University with support of the Social Sciences and Humanities Research Council. Publications of his writing can be found in the periodicals The Senses & Society, C Magazine, The Art Newspaper, Fillip Review, Canadian Art, Border Crossings, BlackFlash, Arte al Dia International and Photo!ile. Other publications include contributions to One for Me and One to Share: Artist’s Multiples by Multiple Artists, The Domestic Queens Project, and Paul Butler’s Lateral Learning. Mark was recently shortlisted for the Sobey Art Award.

Janice Kerbel is a Canadian artist, living and working in London, UK since 1995. Kerbel’s work is often produced in relation to existing logic systems, re-con!iguring the principle applications of organising structures to better de!ine the relationship between reality, imagination and illusion. Her work ranges in its use of material, often involving the use of print, text, sound, and more recently, light. Her body of work includes: Bank Job (1999), a detailed plan to rob a central London bank; Deadstar (2006), a plan for a new ghost town; Ballgame (2009#12), an audio recording of a scripted play-by-play commentary of a imagined, statistically average, baseball game; and most recently Kill the Workers! (2011), a play written for theatrical lights. Recent solo exhibitions include: Justina M. Barnicke Gallery, Toronto (2013) , Arts Club of Chicago (2012), Walter Phillips Gallery, Ban" (2012), i8 Gallery, Reykjavik (2012), Chisenhale Gallery, London (2011), Art Now Tate Britain (2010); and greengrassi, London (2009). Her radio play “Nick Silver Can’t Sleep” (2006) was commissioned by Artangel, and produced by BBC Radio3; her book “15 Lombard St” was published by Book Works, London (2000). She is currently Reader in Fine Art at Goldsmiths College, University of London. Kerbel is represented by greengrassi London, Catriona Je"ries Vancouver, Karin Guenther Hamburg and i8 Reykjavik.

Silke Otto-Knapp is a University of Hildesheim, Germany Cultural Studies graduate and holds an MA in Fine Arts from the Chelsea College of Art and Design in London. She is a painter working in watercolour, with her most recent exhibitions being Many, Many Women (2010), Interiors (2010), I Must Say That At First It Was Di$icult Work (2010), The Mass Ornament (2010) and While Bodies Get Mirrored (2010) at the Kunstverein Münich, Gavin Brown’s Enterprise, Kunsthall Oslo, Gladstone Gallery and Migros Museum, respectively.

Starting out from Pollard’s Point, a tiny community in rural Newfoundland, Jerry Ropson received his BFA from Memorial University, Grenfell Campus in 2001 and earned a MFA in Studio Arts from Concordia University some years later. He has focused a practice around material-based installation, and performative storytelling; having exhibited his work across Canada, as well as in Europe, Australia, Thailand and Cuba. He has participated in numerous artist residencies including those at The Ban" Centre for the Arts, The Atlantic Centre for the Arts, Struts Gallery and St. Michael’s Printshop. He prefers longer walks in cooler months, and hums incessantly. He currently resides in Sackville, New Brunswick where he is an Assistant Professor in the Fine Arts Department at Mount Allison University.

Fogo Islanders — !ishermen, teachers, entrepreneurs, writers, and arts professionals — who play a vital role in Shorefast Foundation and Fogo Island Arts programs by sharing local knowledge and collaborating with artists-in-residence.

F O G O I S L A N D D I A L O G U E S | July 19, 20, and 21 — 2013