Throwback on our crossed residency with Ally Rosilio

Last week marked the end of Ally Rosilio’s residency, held as part of our partnership with Le centre d’art et de diffusion CLARK.

Over the course of four weeks, Ally delved into the history of artist-run centres in Canada, exploring the hidden gems in our documentation centre. Her research focused on how these early models of self-organization might still inform contemporary approaches that operate between institutional and commercial frameworks.

“What would the cultural landscape of Canada look like today if the Canada Council had promoted the idea of artist co-ops rather than non-profit cooperations?” – AA Bronson, Transfiguration of the Bureaucrat (46).

“This reading list emerged during my residency at Est-Nord-Est, where I spent time in the Documentation Centre researching the early histories of artist-run centres in Canada. It brings together catalogues, critical essays, interviews and personal reflections shared between the artists, cultural workers and funding agents involved in shaping and supporting these initiatives. Together, these materials trace their spatial histories, organizational structures, and socio-economic conditions that shaped their emergence—and in some cases, their dissolution. Drawing on discussions around labour, I am interested in how these early organizational models might continue to inform approaches to self-organization, particularly in spaces that operate between institutional and commercial frameworks.” – Ally Rosilio

Here is the full bibliography that accompanied her research:

• Bonin, Vincent. “Here, Bad News Always Arrives Too Late: Institutional Critique in Canada (1967–2012).” In Institutions by Artists: Volume One, edited by Jeff Khonsary and Kristina Lee Podesva, 49–79. Vancouver: Fillip Editions and Pacific Association of Artist Run Centres, 2012.
• Borsa, Joan. “Post-Institutional Curating: Negotiating Curatorial Practice in Canada.” In Penser l’indiscipline: Recherches interdisciplinaires en art contemporain, edited by Lynne Bell et al., 153–163. Montréal: OPTICA, centre d’art contemporain, 2001.
• Bronson, AA. “The Transfiguration of the Bureaucrat.” In Institutions by Artists: Volume One, edited by Jeff Khonsary and Kristina Lee Podesva, 25–47. Vancouver: Fillip Editions and the Pacific Association of Artist-Run Centres, 2012.
• Cotton, Sylvie. “Des ventres d’artistes.” In Répertoire des centres d’artistes autogérés du Québec: 4ième édition, 1998. Montréal: Regroupement des centres d’artistes autogérés du Québec.
• Cwynar, Kari. “Institutions.” C Magazine, no. 140 (Summer 2019): 6.
• La Chambre Blanche. Actes du colloque sur le développement des galeries parallèles. Québec: La Chambre Blanche, 1980.
• Lazzarato, Maurizio. “Art and Work.” Parachute, no. 122: 84–93.
• Léger, Marc James. “Neither Artist nor Worker.” ESSE arts + opinions, no. 94, “Travail / Work,” Fall 2018.
• Regroupement des centres d’artistes autogérés du Québec (RCAAQ), and La Centrale, eds. Points de forces: Les centres d’artistes, bilan et perspectives. Montréal: RCAAQ and La Centrale, 1992.
• “Selling Out? Who’s Buying it? A FUSE Roundtable on Funding the Arts.” FUSE Magazine, vol. 25, no. 3: 32–41.
• Trépanier, Anne-Marie, and Laure Bourgault, eds. Le corps au travail. Volume 1. Montmagny, QC: Cigale, 2019.
• Wallace, Brenda. “Art Galleries and Council Funding.” Parachute, no. 13 (Winter 1978): 50–52.
• Wallace, Brenda. “On Parallel Galleries.” Interview by France Morin. Parachute, no. 13 (Winter 1978): 48–51.