Brila Youth Summer Creativity Camp Edition
July 2014, Montreal
The CRUM was an invited guest at Brila Summer Creativity Camp. The camp is based on a model for teaching philosophy to children. This means that kids from age 6-12 are introduced to imaginative tools that help us wrestle with the ethical dilemmas of everyday life. In the week that the CRUM led a two-hour workshop, the kids had been learning about POWER through discussions of justice and workshops on comic book super heroes! To help along their exploration of the theme of power, the CRUM decided to make an envelope edition on the theme of ELECTRICITY. Read the rest of this entry »
Édition limitée / Limited Edition
Total printing of 100, broken down as follows:
Edition of 70,
7 Artist Proofs (AP)/ Épreuves d’artistes (E.P.),
7 Dedicated Proofs (DP),
3 Printer Proofs (PP),
3 Trial Proofs (TP),
10 Hors commerce (H.C.)
LAUNCH / LANCEMENT
Saturday, March 22, 2014
La Galerie Espace
4844, Boul. St-Laurent
The nine contributing artists have been brought together for the enveloppe and are all participants in the group exhibition Something Something Something are:
The CRUM hosted Luis Jacob while he was in Montréal for the presentation of two video works Theory, 2002, and Light On (Flashlight), 2013 as part of a larger project titled, Network Consciousness / La conscience du réseau.
Luis Jacob is a Canadian artist and curator born in Peru. He presented his work at documenta 12 (2007) and at the New York Guggenheim Museum (2010). He lives and works in Toronto.
While on residency in the beautiful Îles-de-la-Madeleine, CRUM’s Master of Maintenance organized and sorted debris in a few of the Islands’ many clandestine garbage dumps. Vestiges I is a visual poem of sorts, a reflective look into his actions. Music is by CRUM’s own Executive Aural Stimulator.
CRUM’s Executive Aural Stimulator reports on sonic wilderness adventures with his compatriots in the Lanark Land Art Recording Group. Everything you hear in this piece was recorded in the woods. Much fun was had…
Filmed in Greenwood, Ontario, Canada in the spring of 2012.
This Saturday night March 2nd, CRUM’s Executive Aural Stimulator will collaborate with sound artist Navid Navab and Mere Phantoms for a night of interactive shadow projections and spontaneous sonic alchemy at the McCord Museum in Montreal !
Game / Jeu
London, Hackney, England
Edition of 70
LAUNCH / LANCEMENT
Hackney Downs Network Rail
Friday, November 16th, 2012
Daniel Canty & Patrick Beaulieu (Montreal, Canada), collectif_ fact – Annelore Schneider & Claude Piguet (Geneva, Switzerland), Emotional Driven Process Based Parallel Identities (London, UK), Levin Haegele (London, UK), Lukas Heistinger (Vienna, Austria), Pekko Koskinen (Helsinki, Finland), Alan Magee (London, UK), James Prevett (London, UK), NaoKo TakaHashi (London, UK), Andy Wicks (London, UK) and YKON (Helsinki, Finland)
While on residency in London, UK, CRUM’s Master of Maintenance was out and about looking at and reacting to the condition of things. Floating City presents rubbish as a simple, meditative and even beautiful part of urban life.
Filmed on an iphone 4s
Regent’s Canal, de Beauvoir Town, London, UK – March 2012
CRUM Executive Aural Stimulator reports on wonderous dreamscapes of Montréal’s cultural imaginary. Nuit Blanche (2012) at the McCord Museum in collaboration with Mere Phantoms and the many, many museum visitors who built the maquettes!
Music by Christian Carrière and Frank O’Connor
No-input mixer and keyboard : Christian Carrière
Guitar and loops : Frank O’Connor
Music Mix : Adam S. Wright
Mere Phantoms : Maya Ersan and Jaimie Robson
Videography : Maia Iotzova
CRUM Executive Aural Stimulator reports on the conclusion of a residency at OBORO (2011): Arvo Pärt’s 1977 string quartet piece Fratres, played using only audio console feedback.
Artist Talk and Performance
Saturday December 3rd, OBORO, 4001, rue Berri, local 301, Montréal
Last summer, CRUM Executive Aural Stimulator spent some time at OBORO working out an idea he had. The music, by Arvo Part, was originally written for a string quartet. This version is played using only tuned audio feedback. No external sound source is present. This technique is called ‘no-input’.
I arrived to Detroit late on Saturday night, in fact it was midnight. I would have arrive 4 hours earlier but missed my train at 6:40 am that morning.
When I arrived at the station in Windsor I had just enough time to take a cab to the bus terminal where I caught the Tunnel Bus to Detroit (4.00$, but $10 for the short taxi ride). Once there, I was met by Martin Dufranse and Gonzague the two DARE-DARE organizers and Jeff Deburyn from Detroit. Jeff took us to the house where we are staying (2018 11th Street) but not before dropping in to a local bar for a beer and to meet other Imagination Station members. After and quick libation and on the way to our house, he took us on a abbreviated tour of Corktown, the neighbourhood in which we are staying. This is a very old neighbourhood, dating from the 1850’s. Many of the homes and buildings are either gone, razed, or are left abandoned. But there are many homes still occupied and within the neighbourhood there are urban farms, that is individuals who have assumed land and taken up farming vegetables and fruits and even raising chickens. In fact, in one of the homes beside where we are staying there is a rooster that announces each morning. The urban farmers survive by selling their produce to local restaurants and at the markets. As we saw this area in the dark, at night, quickly as Jeff drove us around after having imbibed and as he rolled his cigarettes and texted on his iphone (muti-tasking is not dead).
Read the rest of this entry »
Août / August 2011
Montréal (Québec); San Francisco (California)
Edition of 119
Adad Hannah | Alexandra McIntosh | Alissa Firth-Eagland | Amish Morrell | Andre Furlani | Ann Butler | Anne Bertrand | Anne-Marie Proulx | Ardath Whynacht | Barbara Clausen | Barbara Wisnoski | Catherine Bodmer | Chris Carrière | Claudine Hubert | Corina MacDonald | Daniel Olson | Darren Wershler | David Tomas | Denis Lessard | Denis Longchamps | Doug Scholes | Emily Falvey | Eva Fromm | François Lemieux | Felicity Tayler | Florencia Marchetti | Jacob Wren | jake moore | Jen Allen | Johanne Sloan | John Latour | John Murchie | Karen Spencer | Karilee Fuglem | Leisure Projects | Lowell Darling | Marc-Antoine K. Phaneuf | Marisa Jahn | Mark Gaspar | Michael Blum | Michèle Theriault | Michelle Bush | Nathalie Angles | Nicole Burisch | Peter Dubé | Rebecca Duclos | Robin Simpson | Sarah Greig | Sarah Watson | Sarah Wookey | Simon Brown | Sturm Husqvarna | Taien Ng-Chan | Therese Mastroiacovo | Tom Sherman | Urs Lehni | Vincent Bonin | Vincent Trasov
In San Francisco, tsunami sirens pierce the seaside air every Tuesday at noon. In this city under constant threat of extinction, Rick and Megan Prelinger have accumulated a private collection of over 40,000 books, periodicals, ephemera and government documents. Many of these documents were once in public library collections, but have been discarded as cultural memory is digitized and migrates online. In the American democratic tradition of building community through private assets, the Prelingers have opened their Library to everyone compelled by curiosity. While some of its most avid users arrive via Silicon Valley, this Library is an ark of pulp and paper, something solid that might float when rivers of information lose their wellsprings of electricity.
The Centre de recherche urbaine de Montréal assigned an amanuensis the task of soliciting search requests from fifty-seven people in different cities. The amanuensis received these requests and browsed the Prelinger Library for appropriate material. The collection is arranged as a landscape, interpolating the history of communities and their relationship to the environment. Accordingly, the act of searching must follow the contours of this topology. Petite enveloppe urbaine No. 19 contains the answers to their questions.
Tous les mardis à San Francisco, des sirènes rappellent aux habitants la possibilité imminente d’un tsunami. C’est à l’ombre de cet anéantissement éventuel que Rick et Megan Prelinger ont amassé les 40 000 livres, périodiques, documents gouvernementaux et autres publications éphémères qui deviendront, en 1983, la Prelinger Library. Bon nombre de ces documents, abandonnés dans le sillage de la numérisation omniprésente, proviennent des collections de bibliothèques publiques, et fidèle à la tradition américaine du mécénat communautaire, la Prelinger Library est justement ouverte à tous. Bien que la plupart des habitués y accèdent de façon virtuelle, l’archive demeure une véritable arche de Noé faite en papier, prête à retrouver l’océan si jamais les sirènes sonnent pour de vrai.
Le centre de recherche urbaine de Montréal a engagé les services d’un amanuensis (copiste) qui a sollicité des requêtes de recherche auprès de cinquante-sept individus d’un peu partout dans le monde. Le copiste a sillonné l’archive afin de répondre à ces requêtes — archive qui prend la forme d’un paysage, intercalant l’histoire des communautés et leurs contextes respectifs. Le parcours du chercheur suit donc les contours de cette topologie. La Petite enveloppe urbaine no. 19 en présente les retombées.
Traduction : Simon Brown
Thank you / Remerciements:
With thanks to Edward Maloney, Pierre-François Ouellette, Rick Prelinger, Megan Shaw Prelinger, Kevin Kelly, the Canada Council for the Arts and all of you whose questions led the way through the dusty books in San Francisco.
CRUM offers doctoral seminar on the epistemology of science. Students respond favourably to epistemic things. Lesson plan developed in collaboration with Byzantine iconographer, Adrian Gorea.
Rheinberger, Hans Jörg. On Historicizing Epistemology : An Essay. Tran. David Fernbach. Stanford :
Stanford University, 2010.
Rheinberger, Hans Jörg. Towards a History of Epistemic Things: Protein Synthesis in the Test Tube. Stanford: Stanford University Press, 1997
Photo courtesy of Florencia Marchetti, thanks to Chris Salter for the framework.
Parlez aux machines
Interactivité: Outils et Approches
Talking to Machines
Interactivity: Tools and aproaches
en collaboration with Philippe Hughes
Horaire / Schedule :
samedi / Saturday 5 march & dimanche / Sunday 6 march et
samedi / Saturday 12 march & dimanche l/ Sunday 3 march, 2011
Heures / Times :
12h00 – 16h00 chaque jours / each day total = 16 hrs.
CRUM House 83 rue, Ste-Marguerite, St-Henri, H4C 2W5
Inscription / Registration:
Avant mercredi le 2 mars 2011
Before Wednesday, March 2, 2011
Please submit your registration request to
S.v.p. remettre vos demandes d’inscription à
Téléphone @ 514 274 1390.
# participants : 8 personnes
Cost / Coûts – 125$/person
This workshop will cover the fundamentals of object-oriented programming languages of MaxMSP/Jitter. It has been specifically designed for artists and musicians wanting to learn how to use computers for interactive projects or physical computing to build their own instruments. Each workshop session will provide an opportunity for participants to get hands-on practice through succinct interactive projects.
Cet atelier couvrira des notions de base du langage objet visuel MaxMSP/Jitter. Il est spécialement conçu pour les artistes qui veulent apprendre à produire des projets interactifs à l’aide d’un ordinateur. Il s’adresse également aux musiciens qui souhaitent fabriquer leurs propres instruments avec le « physical computing ». Les participants auront la chance de mettre en pratique leurs nouvelles connaissances en réalisant des minis projets interactifs dans le cadre de chacune des séances de la formation.
Las Américas : Prácticas Artísticas Indipendientes en la Era de la Mundialización
The Res Artis 12th annual General Meeting, Montréal October 6-10.
On the subject of mobility, “lightness,” and Writing and Research Residencies, the CRUM remains resolutely local.
Panelists are (from left to right), Marc Drouin (Centre des auteurs dramatique, off camera), Sylvie Gilbert (Artexte), Johan Lundh (independent curator), Felicity Tayler (CRUM), Kitty Scott (Banff Centre) and the moderator, Peter Dubé. Dubé’s recent novella, Subtle Bodies, bears the lightness of sensuous language.
Drake Hotel, Toronto, Ontario.
September 19, 2010
Overlord of Entropy and Master of Maintenance in attendance.
From: Sharon Switzer
Date: August 5, 2010 2:46:25 PM EDT (CA)
Subject: Congratulations on your submission to TUFF!
Reply-To: Sharon Switzer
I am very pleased to inform you that your film ‘Crumbruler’ was selected to be part of the Toronto Urban Film Festival, running from September 10-19, 2010. It was chosen by Min Sook Lee for the ‘Urban Ideas and Politics‘ program, and will screen as part of a 10-film program (one film every ten minutes) on September 13th.
80 films were selected this year, out of a total of 355 submissions from 25 countries. Each film submitted was reviewed by one of our seven guest jurors / programmers. TUFF is seen by an audience of over 1.3 million daily commuters on the subway platforms of Toronto’s transit system. Your film will cycle throughout the day with the other chosen films in your category. Again this year, TUFF is pleased to announce that Film Zones will air TUFF content non-stop during the entire 10 days of the festival, on screens in select downtown stations. Read the rest of this entry »
What possibilities for artistic action exist within the public sphere?
The CRUM welcomes independent curator Alissa Firth-Eagland to Montreal. As part of her stay, she will give a talk at Skol to present her practice and experiences as a nomadic cultural worker, and her interest in printed matter as public sphere. A fictive text, produced as part of a collaborative project organized by École du Magasin (Grenoble, FR) puts forward The Bruce High Quality Foundation (New York) and Claire Fontaine (Paris) as protagonists and acts as an entry point to an open group discussion.
Presentation and discussion
Thursday, July 8th, 2010 – from 5 to 7pm
372 Sainte-Catherine Street West
The CRUM International Residency (CIR) program was inaugurated with Los Angeles-based artist, choreographer and creative consultant, Sara Wookey. In anticipation of future projects, Sara explored interests in all things movement-body-space related: urban development; public transportation; spatial design and signage.
What struck me the most was the human scale, the ease of moving the body from point a to point b and the juxtaposition of old industry to new development. -SW
4 min. 33 sec.
Conjurer le non-actuel pour confirmer
notre présence fragile
au temps et à l’espace
Conjuring the not-now to confirm
our fragile presence
in time and space
dimanche le 30 mai, 2010 à 14h
262, Fairmount O.
Le Centre de recherche urbaine de Montréal (CRUM) vous invite à un événement spécial qui conclura l’année de services rendus à articule tout au long de sa programmation 2009-2010.
Documentaliste en résidence, le CRUM a travaillé à partir des archives d’articule pour produire une série d’interventions artistiques explorant les vérités et les fictions anecdotiques des trente ans d’histoire du centre.
Proposé par le Service de consultation en information (SCI), un rapport annuel final sera présenté sous les formes d’une discussion portant sur le témoignage des archives et la projection d’un court film.
The Centre de recherche urbaine de Montréal (CRUM) invites you to a special event that concludes their year-long service to articule throughout the 2009-2010 programming year. As Documentalist in Residence, the CRUM has worked with articule’s archives to produce a series of artistic interventions exploring anecdotal truths and fictions in the centre’s 30-year history.
As part of the CRUM’s Information Consultation Services (ICS), a concluding Annual Report will be delivered in the form of a discussion around archival evidence and the screening of a short film.
En préparation à l’événement, veuillez consulter les deux documents suivants // Please consult the following two preparatory readings:
Entrevue avec / Interview with Noam Chomsky (articule’s Discussions, vol. 7 no. 2, 1988, p. 4-9).
Anthony Hubermann, Naïve Set Theory, 2007 (http://www.dextersinister.org/library.html?id=126).
Begin forwarded message:
From: articule <email@example.com>
Date: May 12, 2010 2:02:03 PM EDT (CA)
To: Recipient List Suppressed:;
Subject: Fwd: LIZ MAGOR LIZ MAGOR
Begin forwarded message:
From: Liz Magor
Date: April 14, 2010 9:53:34 PM EDT (CA)
To: CRUM <firstname.lastname@example.org>
Subject: Re: LIZ MAGOR LIZ MAGOR
Dear CRUM – I have absolutely no recollection of doing this talk, although I believe that it may have taken place.
Please keep me informed of the proceedings on this 25th anniversary of the event. The address for receipt of my name tag is :
#XXX -XXX XXXXXXXX Street
Vancouver, BC XAX AXA.
Liz Magor Liz Magor
On 4/14/10 2:32 PM, “CRUM” <email@example.com> wrote:
Dear Ms. Magor,
We wish to inform you that the Center de recherche urbaine de Montréal (CRUM) has appropriated information related to you that was recently found in the archives of the Montreal artist-run center articule. The piece of found information is a vintage mail-out bulletin that announces your artist talk at articule on Friday, April 16th (circa 1985). Please see the attached jpg image.
The CRUM has mailed out a copy of this archival artist talk announcement to the gallery’s current mailing list.
The members of the CRUM will be on location at 1012 rue de la Montagne (articule’s original address) to greet all those interested in hearing your talk on Friday, April 16, 2010.
The CRUM will be wearing blue name tags identifying each of the five members as, respectively, LIZ MAGOR, LIZ MAGOR, LIZ MAGOR, LIZ MAGOR, LIZ MAGOR and LIZ MAGOR.
As a small token of the CRUM’s appreciation for you and your work, we will also send you a name tag in the mail. We hope you enjoy it.
Please also find attached a Semi-Annual Report on the activities of the CRUM’s project to date.
CRUM is currently working on a project that offers its services as Documentalist in Residence to articule throughout the 2009-2010 programming year. This year-long commitment of service to the center, its membership and its larger public is part of the 30th anniversary of articule. As Documentalist in Residence, the CRUM has been working with articule’s archives to produce a series of artistic interventions exploring anecdotal truths and fictions in the centre’s 30-year history, and the broader context of artist-run culture in Canada. For more information on CRUM, please visit our web site at www.crum.ca
Please fell free to contact us with any questions or comments you may have.
Centre de recherche urbaine de Montréal
83, rue Ste-Marguerite
The CRUM issues a Semi-Annual Report as part of Conjuring the not-now to confirm our fragile presence in time & space. CRUM offers its services as Documentalist in Residence to articule throughout the 2009-2010 programming year. This year-long commitment of service is part of the 30th anniversary of articule, one of the oldest artist-run centres in Montréal. As Documentalist in Residence, the CRUM has been working with articule’s archives to produce a series of artistic interventions exploring anecdotal truths and fictions in the centre’s 30-year history, and the broader context of artist-run culture in Canada. A description of the project and interventions to date is outlined in a Semi-Annual Report that can be viewed here as a PDF: Semi-Annual Report
Photograph courtesy of articule, 2009.
Inauguration : 0,01% articule
CRUM : Documentalistes en résidence 2009-2010
Vendredi le 27 novembre 2009, 19h
Le CRUM a organisé une cérémonie de coupe du ruban inaugurant le 0,01% d’articule, une série d’interventions permanentes in situ se développant, au cours de l’année, dans et autour de la galerie. Créé à partir de la politique de Réponse aux concepts artistiques (RCA) développée par le CRUM, le programme d’art public 0,01% célèbre et souligne les 30 ans de participation d’articule à l’environnement culturel montréalais.
Inauguration Event: articule’s 0.01%
CRUM: Documentalist in Residence 2009-2010
Friday November 27, 2009 at 7pm
The CRUM held a ribbon-cutting ceremony to inaugurate articule’s 0.01%, a series of site-specific permanent interventions, evolving in and around the gallery, throughout the year. Created through the CRUM’s Response to Artistic Concepts (RAC) policy, the 0.01% public art program celebrates and affirms articule’s 30-year integration with Montreal’s cultural environment.