: THE INSTITUTE december 1997 / planet of the arts 43 by Maeve Doyle convincing essay, good grades anda financial plan are the requirements Emily Carr Institute of Art and Design sets for second year candi- ates who want to participate as exchange students in their third year of study. For the majority of students it is their first time living outside of Canada. It is difficult to prepare for the experience of being a foreigner. The adjustments required often have a powerful impact on the exchange student, and these later can become the most memorable experiences of the trip. Cultureshock curated by Elisa Rathje and Jackie Blackmore went up in the Concourse Gallery on October 17, 1997. The intention behind the show was to determine and discuss the experience of being an exchange student. According to Rathje, who spent last semester in Germany, “There’s this idea that exchange will-be like partying in another country.” In fact, it’s not like that. It can be lonely. Furthermore, there are new living arrangements to get used to, language barriers, and new currency that will not always convert favorably into Canadian dollars. It can all be a little overwhelming and awkward because of miscommunication or invisible cultural barriers. An ordinary thing such as_ ordering dinner,opens an entire arena for misunderstand- ings. For example, ketchup in England is called “tomato sauce” and you will have to pay extra for it! If you order a “tall decaf americano” in a New York diner, you will receive a blank stare. Two peo- ple speaking the same language do not necessarily understand each other. Stories like that are com- mon and generally are collected along with post- cards, ticket stubs, museum brochures, snapshots and a series of other little collectibles that are rec- ognizable as the generic travel experience. Craig Stewart’s contribution to Cultureshock was his collection of memorabilia, which read like a travel diary from a vacation in Britain. Included were snapshots of Stewart smiling at the camera and pictures of the Beatles, ticket stubs from the Tate Gallery and the Hayward, bus tickets, and the standard souvenirs every tourist accumulates for better or worse. I applaud Stewart’s honesty of showing that what he had gained from the exchange program was light and superficial. In contrast were thought provoking pieces like Derek Barnett’s Economy Beans and Elisa Rathje’s Disorientation Maps. Both confirm that the exchange student is in a very different situation than a tourist. Three or four months in a foreign country can make you question a thing or two about yourself and the way you perceive reality. Barnett’s Economy Beans reminds us that what you expect from travel is not always what you get. On one side of his installation under Plexiglas pic- ture frames was a sequence of British Rail Passes from the month of March; on the reverse of every pass an image of a can of ulture Shocked beans. Instantly you became aware of the limi- tations of a tight budget in an expensive city like London. There is an expectation that “going away” will change your life. When you get there and come to the crushing realization that you are still the same person in different place what do you do? Your life can still seem mundane and ordinary; in addition to new boring routines such as “the tube” (public transit) everyday and a can of cheap beans for dinner every night. Elisa Rathje’s response to four months in Germany with language barriers that restricted her communication, and not really knowing what was going on in her new environment was Disorientation Maps, a piece which evokes a sense of massive confusion. The maps were set in clear plastic holders and each one was painted a prima- ry color rendering them entirely useless. The maps were unreadable, ineffective guides and, like so much in a strange place, unreliable. Elisa Rathje, Disorientation Maps. 1997. It is interesting that both Rathje and Barnett retold the story of their exchange through periph- eral vision. The artists shifted the focus away from themselves as the subject to objects, giving the objects new status and meaning. The definitive London experience for the exchange students may not be seen as sixties style Beatles memorabilia, but as a can of cheap beans that helped stretch the 1997 exhausted Canadian Dollar into Pound Sterling. Ol ..continued from page 41 Emily Carr Institute... —Man Dao, Class of 2001 ECIAD School of Foundation and Critical Studies an exhibition of images (one from each year), from the beginnings of the Institute to the present. We can invite five guests (alumni of ECIAD/VSA) each of whom is working in their profession or involved in their discipline to speak or share their ideas on how art, design and craft will have an impact in the year 2000 and beyond. Perhaps we can have a video-conference on this event through the Internet to get more global exposure for that could include five world thinkers focussed on gleaned themes. Other ideas... global inter- net link on themes; thematic festival which includes an art parade (Public ... The “ECIAD 75th Anniversary Project” will involve side DME, EETAD) 75 Graduation Exhibition in the year 2000 should be a major event for Vancouver and Lower Mainland Art Community. I envision this exhibi- tion being a grand celebration not only of the graduating class of year 2000, but also of all our honoured alumni... -William Cupit, Photography Deptartment Coordinator, ECIAD School of Media Arts ...1 envisage a World Summit (modest) on art-making and the New Millennium ... It would be interesting to include alumni who have made signif- icant contributions as well as faculty members (past and present) and current students into these discussions. On a personal level the Year 2000 Millennium phenomenon is largely irrelevant. I perceive it as a Western construct around religious impera- Dreams Society?) and food art collabo- tives and the hierarchical use of power. As such it needs ration with chefs; art making throughout to be contested as much as celebrated... —Paul Mathieu, Faculty ECIAD School of Visual Arts Vancouver, in public sites,. in’ various neighbourhoods and communities, as well as in the traditional gallery locations... —Sandra Semehuk, Faculty ECIAD School of Media Arts’ ...The production of a “book” that would research and document the processed of creative learning...not necessarily the sunimits, but the attempts of ECIAD over the last 75 years... The exercises given, the projects undertaken, the materials used, the vast variety of forms produced... What is remembered in the learning experience, and how does this shed light on the next generation of work. Thoughts from students, faculty and a wide vari- ..-The ECIAD Year 2000 Committee hopes to ety of alumni... arrange for a series of events, activities, shows and guest speakers —Sheila Hall, Faculty to represent the institute and to be a part of this monumentous event. We School of Foundation hope to reach and involve all levels of the community, starting with children. One and Critical Studies of the proposed ideas is to drive a bus across the country seeking advice and information ; form school kids about possible themes that they think are related to the coming of the year 2000 (while offering workshops and art related activities at the same time) and using those themes as a point of departure for the planning of events and activities to follow. It seems to be a project based on process as it is impossible to predict what will happen in the next two years... —Natalie Purschwitz, Major in Intermedia ECIAD School of Media Arts, Class of 2000 continued on page 46... THE INSTITUTE december 1997 / planet of the arts 43 Culture Shocked by Maeve Doyle convincing essay good grades anda financial plan are the requirements Emily Care fsttate of Art and Design sets for second year candi dates who seant to pati pate as ‘achange students in thei thitd year of study Foe the majority of students itis thee Rt time ivi ‘outside of Canada itil to prepare forthe experience of being foreigner The adjustments equired often have a powerfl impact on the ceachange student, and these ater can Beco ‘most memorable experiences ofthe trp Cultures curated by Elsa Rathje and Jackie Blackmore went up in the Concourse Gallery on (October 17, 197. The intention behind the show was to determine and discuss the experience of being an exchange student ‘According to Rathje who spent ast semester in Germany, "There's this idea that exchange willbe lik partying in another county” In fac its not like that can be lonely, Furthermore; there are ‘new living arrangements to get used to language buries, and new curreney that will not always convert favorably into Canadian dollars. tan all bea litle overwhelming and awkward beease of ‘miscommunication o invisible cultural bari. An ordinary thing as ordering dinneropens an entire arena for misunderstand ins. For example, ketchup in England is called such tomato sac” and you wil have to pay extra for it Ifyou onder 3 “tll dca tercano” ina New York diner you will receive a blank stare Two peo: le speaking the sme language do not necessarily understand cach other Stories like that are som ‘mon and generally re cllested along with post ‘ards, icket stubs, mascum brochures snapshots and. series of other ite collectible that are ree ‘gnizable asthe Craig Stowar’s contribution 9 Cultaresh ere travel experience Fi ‘was his collection of memorabilia, which read ike Included ‘were snapshots of Stewart smiling atthe camera travel diary from a vacation in Brita and pictres ofthe Beatles, chet tubs from the Tate Gallery and the Hayward, bus kets and the standard souvenirs every tourist accumulates for better oF worse. 1 applaud Stewarts honesty of showing that what he had gained from the exchange program was light and superficial In contrast were thought provoking pieces like Derek Barnes Economy Beans and Elsa Rathje’s Disorientation Maps. Both confi that the ceachange student isin avery diferent situation an tourist, Thee or four months ina foreign country can make you question 2 thing oF two bout yourself and the way you perceive ely Barnews Economy Beans reminds us that what you expect fom tael snot always what you get ‘On one side of hisinsallton under Plexiglas pic- ture frames was a sequence of British Rail Passes from the month of Marchs on the reverse of every pass an image ofa can of beans. Instantly you Ibcame are ofthe limi tations ofa ight budget in an expensive city ike Londo. “Thetis an expectation that “gol change your life. When ‘you get there and come to the rushing re ‘that you ate sil the sae person in diferent place ‘what do you do? Your lite can still seem mundan and ordinary in addition to new boring routines such a “the tube (publi transit) everydayanda ean of cheap beans for dinner very might. lisa Rathjes response to four months in ‘Germany wih language barsers that resected hee ‘communication, and not really knowing what was g0ing-on inher Disorientation Maps.a piece which evokes sense ‘of massive confusion. The maps were set in lear plastic holders and each one was painted a prima ty color rendering them entirely useless The maps were unreadable, ineffective guides and, like so ‘mucin strange place, unviable. saat, Disorientation Maps. 1997 tis intresting that both Rathje and Barnett retold the story of ther exchange through periph «ral vision. The artis shifted the focus away from themselves a6 the subject to objets, giving the ‘objets new status and meaning ‘The definitive London experience for the ‘exchange students may not be seen assists style Beatles memorabil, bt asa ean of cheap beans that helped steetch the 1997 exhausted Canadian Dollar into Pourid Stering, The “ECIAD 75th Anniver Projet” willbe “an exibition of mages oe from cack yar fo the beings ofthe Iain the preent. We can ite five gue (aunn of ECIADIVSA) cach of whom i working in ther profeion or ivoid n ‘heir dicipline to speak o sare thrid on hw ar, design and eft wl have an ipo ithe The Gradvaton Ehibition {in the yar 2000 shouldbe «4 major event for Vancouver ‘and Lower Mainland Art {Community 1 eison this eli 73th ear 2000 a yond Perhaps we Emily Carts Man Dio Cis of 2001 ECIAD Sooo of Fo Ifyou can ent his man please contact PoA a 4 3867 Tis video-onfrence om this event tough the thinker ei inde art parade (Pubic rooms Sve?) and fot at olab- ation eth chfsar making rowgiont toh ghia and communities, a ll yf alan. Shit Hal Faay So of Fondation an have tot Being ra celebration not ‘only of the graduating da of year 2000, but alto of all our honoure villian Capt ion Paap Dptartent Coordinate, FCIAD School of Malia Are Imre 19 get more slbal exposure for omelet ‘har cod inc fre work merino ince ln who bre made sii focwscd on glee nt aswel a fy members (pas and preset eel al iter: ain re det ite the di themes emai ftv the Ysa 2000 Mien phe nis argyle. ‘eve a Weer contrac sr egos per tive andthe hierarchical we of power. As such it eas sted as mich eerie Paul Mash Facty FCIAD Schoo of Visual As jn public sites, in various 25m the rational ally ions. San Semi Fac ECIAD Schoo Motia Arts The production of « “hoot” thar wold recarch and docment the proceed of creative learing..ot mesa the snus but the etenps of ECIAD over the at 75 yours. The xr given the proes undertake the materials se the vs varity of forms produc. Wha is emembered nthe earning experienc and ow ds hiss igh the nest generation of wrk gs fom tudo, acy ad a wie vr The ECIAD Your 2000 Commitee haps to rang ora seri of vets atts shows and gues speakers represent he insti adobe a part of this monumentns event. We ape reach and inv all eels ofthe commun, staring with deen. One of the propose ideas it drive bac the country king advice and information form sel Ks about posible themes that hey hin are related tthe coming of he yer 2000 (whl fering workshops an art rea civ the aetna using thes themes asa pont of departure for the planing of events aati a follow Isc tbe projet based on proces si simple topic et wil happen the next yar Natale Purch Major in Itermia ECIAD Schou of Melia 7s, Clas of 2000, ri Stic: