24 Planet of the Arts / December 1996 Satellite Deli ..continued from page 21 the project up for credit with the higher powers and work with the Deli as an advisor. As a class, the Deli is not only “a way to link the real world with our practical work,” as member Suzy Osler puts it, but “a much more interactive, informal, comfortable and less hierarchical way to learn.” Their venue, with its homemade table, colourful pottery and a former tenant's false teeth sitting in a place of honour on a wall shelf, is certainly tangible evidence of this philosophy. In addition to being education- al, the collective is an experiment in empowerment. Members find from personal experience that a solitary art practice - the common artistic method of remaining inde- pendent and in control — can lead to isolation if not difficulty in getting one’s ideas heard. They are also skeptical of the value of an art world in which, Kelly says, “It’s dif- ficult to survive if you don't sell yourself as a genius.” The Deli’s solution is to practice what one member jokingly calls ‘quiet sub- version’: developing a peer network, collaborating on projects and controlling their own gallery space. COMMUNITY INTERACTION The Deli members would like to extend this artistic insurgency to include the surrounding communi- ty (the Downtown Eastside). “It's crucial to not just come in [to the community] and create something that doesn’t interact,” says Kelly, and with the art world, “that does often happen.” Believing that it’s the public that should be adored, rather than the artist, the collective made ‘providing a community resource’ part of their constitution. This has proven to be a contro- versial issue, however, as members are leery of how to go about ‘pro- viding a community resource’ without being patronizing. Says Alana Murray, an artist with the Deli, “What you’re talking about is the Downtown Eastside, and you’re talking about artists who, no matter how little money they have, have a lot of privilege. | definitely don’t want to be part of something that does ‘Outreach’ — ‘Let's get those poor people involved in art’ — | think that’s a really condescend- ing classist approach to that kind of work.” Kelly, who has lived in the area, thinks it's possible to proceed as neighbours rather than missionar- ies. She describes the area as having “a history of marginalized people [veterans, mental patients etc.] struggling to gain control over their community and lives.” Deli members say artists, with their tendency to use and discard cheap space as if it was Kleenex, have contributed to the massive development we see as the latest threat to the area. Feeling no responsibility toward the communi- ty, artists have allowed developers to buy up neighbouring Gastown’s shabby studios, renovate, and sell them back to wealthier artists for profit, rendering the area too expensive for its original inhabi- tants to stay there. As Kelly sees it, the downtown Eastside is next in this campaign of “painting every- thing pretty colours and getting rid of the people you don’t want to look at.” Counteractive measures, says Kelly, are to “help effect change from the ground up.” The Deli aims to do just that by becoming part of the community and, in effect, holding their particular space in trust; to be returned only to the community. The community seems respon- sive to the Deli’s presence. Says Kelly: “People are not shy at all - they will look in the door and say ‘Hey, what are you doing there... who's that crazy woman... ‘” The Deli’s future is a question members smile at, as they prefer to take things one day at a time. They are full of ideas: from creating puppet plays together to providing public Internet access. Their next planned event is hosting a Poetry & Performance Laundromat. However, they're still working on finding (1) a computer and (2) a participating laundromat. As part of Directed Studies they would like to invite artists to the Deli to speak about alternative education, orga- nizing a collective and working with communities. The basic philosophy they all share, is accompanied by a common commitment to communi- - cation among themselves. Priscilla explains, “Everybody has a very dif- ferent vision — we are all in differ- ent stages of how we see our work, and we all respect that.” This commitment is tested at every meeting where, instead of using a voting system, group decisions are reached by consensus: discussing the choices until everyone agrees. But the Deli artists seem dedicated to putting aside time from their diverse individual projects to meet at the venue every other Tuesday and keep the organization living and breathing. In fact, says Kelly, “I tend to neglect my schoolwork since this is more interesting.” <@. “I don’t have anything to say about art anymore. The only thing that art school has taught me is what I don’t like. | really do like this painting, though. I'm not usually a big fan of abstraction, but it’s got lots of depth.” -Galan Akin (on “Anthology.1” oil on wood by Heather Lane) by Maeve Doyle The Doyle Review Eve: Our Heroine of Disobedience (Kathleen Symons) It is unusual, except perhaps relatively recently to consider Eve without the association of shame that casts a shadow over her character. Eve is after all, the woman who is held responsible for humankind’s expulsion from the Garden of Eden. Kathleen Symons’ work engages with the subject of Eve freed from this shadow. Symons’ work on Eve was installed in the library window at Emily Carr from November 23rd until November 29th. The work spins an interesting twist on the whole picture. The artist's perspective shows us Eve as a women capable of satisfying her needs and desires and, in the process, moving humankind from innocence to experience by experimenting with imposed boundaries. In Eve: Our Heroine of Disobedience, Symons shows her subject in a stance of defiance to authority — exploring her passions for food, knowledge and sexual gratification. It would take a mean-minded Victorian not to regard this Eve’s actions favourably. Symons’ installation consists of a reconstructed Eden made from astro turf, enlarged photographs of tree and a mock bible. This provides a stage for the critical examination of the long-perpetuated myth of Eve, and makes room for applauding her indepen- dence. Symon’s thematic choice reflects her frustration with a society plagued by eating disorders and dis- torted body images. In a effort to get to the root of the problem, Symons goes back to the creation myth and launches a series of questions about social stan- dards. We need to question authority — to ask who has authority and why? And to get around to consider- ing the actions of people who, like the mythical Eve, fall through the cracks of society's constructs. “@s erior/Exterior Show Concourse Gallery, October 10 - 19, 1996 “1 don’t have a clue what it’s about. It’s beautifully crafted. Unfortunate it doesn’t have moving parts - looks like it would be fun to play with. Some of the stuff in this show is ugly and messy. It’s really angsty art.” —Celest Brown (on “Every 28 Days” mixed media by Deb Dyer) We rather like this hairy table. One often wonders what grows beneath a table, when we so often only wipe the surface. -Roch Smith & Deb Dyer (on “Inhibition” wood, nails, string by Conchita Galway) What's Happening For Women At CFS CFS Women’s Constituency Group met at the National General meeting held in Ottawa this November. Below are highlights of the dis- cussions. The minutes and appendix of this meeting are available to inter- ested people please contact the Student Union executive at Emily Carr. At the CFS national general meeting, the Women’s Constituency group held a roundtable discussion on women’s issues that were prevalent at their local campuses. Some of the issues raised were: lack of women’s rep- resentation in student governance, backlash against December 6, harass- ment and harassment policies, safe walk programs, sexist material in campus media, BGLAD events, lack of women doctor's in university health services etc. Two major issues of concern, raised by a number of locals, were the appearance of the drug Rohypnol (roofies or the date rape drug) and childcare. A decision was made to create a campaign kit containing, information on the abuses of Rohypnol and information on strategies in addressing problems relating to this drug that may occur on school campuses. Furthermore, a lobbying strategy to seek legislation and a public educa- tion policy on Rohypnol, will be developed and executed by the Women’s Rep on the CFS National Executive. The Women’s Constituency Group Report states their dedication to: raise awareness on the specific issues faced by student parents, to work towards ensuring that the federal and provincial governments and campus administrators provide for adequate child care space and subsidies for student parents, and to build stronger links with coalitions who tradi- tionally work more closely on child care issues. A report detailing the issues affecting student parents and the status of child care service for students will be produced and available for those interested. Contact Phil at the BC-CFS at 733-1880 for further information. “@ 24 Planet of the Arts / December 1996 Satellite Deli ‘the project up for credit with the higher powers and work with the Deli as an advisor. ‘Asa class, the Deli isnot only “a ‘way to link the real world with our practical work,” as member Suzy Osler puts it, but "a much more interactive, informal, comfortable {and less hierarchical way to learn.” ‘Their venue, with its homemade table, colourful pottery and a ‘former tenant’ false teeth sitting Jina place of honour on a wall shel, s certainly tangible evidence ofthis philosophy. In addition to being education- athe collective is an experiment intempowerment. Members find ‘rom personal experience that a solitary art practice ~ the common Artistic method of remaining inde- pendent and in control ~ can lead to isolation if not difficulty in getting one’s ideas heard. They are 30 skeptical of the value of an art World in which, Kelly says, “It's dif ficult to survive if you don't sel yourself as a genius” The Delis Solution isto practice what one etc} struggling to 9 their community and lives.” Deli members say artists, with their tendency to use and discard cheap space as fit was Kleenex, hhave contributed to the massive evelopment we see as the latest threat to the area Feeling no responsibilty toward the communi- 'y, artists have allowed developers to buy up neighbouring Gastown’s shabby studios, renovate, and sll ‘them back to wealthier artists for profit, rendering the area too expensive for its original inhabi- ‘tants to stay there. As Kelly sees it, the downtown Eastside is next in this campaign of ps ‘thing pretty colours and getting tid ‘of the people you don't want to ‘Counteractive measures, says Kelly, are to "help effect change ‘rom the ground up." The Deli ‘aims to do just that by becoming part of the community and, in effect, holding their particular ‘space in trust, to be returned only 10 the community. The community seems respon: control over ting every- Interior/Exterior Show Concourse Gallery, October 10 - 19, 1996 sive tothe Delis presence. Says. Kelly: "People are not shy at all ~ they will ook inthe door and say “Hey, what are you doing there. who's that crazy woman..." "The Delis future s a question ‘members smile at, as they prefer to take things one day ata time. They ‘are ful of ideas: from creating ‘Puppet plays together to providing public Internet access. Their next planned event is hosting @ Poetry & Performance Laundromat. However, theyre still working on finding (1) a computer and (2) a participating laundromat. As part of Directed Studies they woul like to invite artists to the Del to speak about alternative education, orga- nizing a collective and working with communities. ‘The basi philosophy they all share, i accompanied by a Cation among themselves. Priscilla explains, “Everybody has avery dif- ferent vision — we are alin difer ent stages of how we see our ‘work, and we all respect that.” This Commitment is tested at every meeting where, instead of using a voting system, group decisions are reached by consensus: discussing the choices until everyone agrees. ‘member jokingly calls ‘quiet sub- version’: developing a peer ‘etwork, collaborating on projects {and controlling their own gallery space COMMUNITY INTERACTION ‘The Deli members would like to ‘extend this artist insurgency to Include the surrounding communi ty (the Downtown Eastside). "t's ‘rucal to not just come in [tothe community] and create something ‘that doesn’t interact," says Kelly, ‘and with the art world, “that does ‘often happen.” Believing that its ‘the public that should be adored, rather than the artist, the collective ‘made ‘providing a community ‘resource’ part oftheir constitution ‘This has proven to be a contro- versal issue, however, as members {are lery of how to go about ‘pro: viding a community resource’ without being patronizing. Says ‘Alana Murray, an artist with the Deli, What you're taking about is the Downtown Eastside, and you're talking about artists who, no ‘matter how litle money they have, hhave a lot of privilege. | definitely don't want to be part of something that does ‘Outreach’ ~ ‘Let's get those poor people involved in ar’ — “don't have a de what t's abou. ts betty cated Untotuate it dest have moving partook woul be fo play with ‘Scie ofthe st Int Show ply and mes. real angsty rt “Gest Brown fon “Evry 28 Day mined mess By bab Byer) “Ide have anything to sy about at anymore. The only thing tht art ‘choot es tught fe what dont ke realy doe he pit, ‘ough fm notussaly abi fon of bronco, but es go lt of dept Galan Alin (on “Aathaogy ol on wood by hehe ane) Thin thats realy condexend: But the Del ats seem “The Satelite Det i abvays Ing dost appreath to that ind dedcatedo putting de time _|_-OB€N4O Working with you hwo from their dere inva Or providing space oan Kelly who has ved inthe area, projects tomeet atthe venue every | eventor show. They are : thinks it’s possible to proceed as. other Tuesday and keep the accepting proposals and Pp: neighbour ther than isioner- organization Iving and breathing. | cane ached at 139 ats happenin tevthedessibe the orea on Infact sayrKely “tend to Danley ave, telephone (hing “atisory of marginalized neglect my schocwerk since ths s | AS-1B75 people veterans, mental patients more interesting.” “@. Vy The Doyle ‘by Maeve Doyle Eve: Our Heroine of Disobedience (Kathleen Symons) Its unusual, except perhaps relatively recently to consider Eve without the association of shame that, ‘ast a shadow over her character. Eve is ater al, the woman who is held responsible for humanking's ‘expulsion from the Garden of Eden. Kathiegn Symons’ work engages with the subject fof Eve freed from this shadow. Symons’ work on Eve was installed inthe library window at Emily Car from November 23rd until November 25th “The work spins an interesting twist on the whole picture ‘The artist's perspective shows us Eve as a women