Production still, Episode 2, 2018, courtesy of the artist.
SCREENING — Byron Peters: Anti-Racist Mathematics and Other Stories
Wednesday, October 24, 2018
200 – 1131 Howe Street
ARTIST IN ATTENDANCE! In her speech to the (UK) Conservative Party Conference in 1987, Margaret Thatcher claimed that British children were being taught anti-racist mathematics as part of a new curriculum delivered by “extremist teachers.” In Anti-Racist Mathematics and Other Stories, a series of three speculative educational videos, Vancouver artist Byron Peters attempts to figure this anti-bias pedagogy within the lexicon of our contemporary mediascape. Each episode, visually distinct in its playful didacticism and in the composition of its unreliable narrator, is a thought experiment that oscillates between satirical dramatizations and sincere propositions for a world wherein the equation 10 − 3 = 13 expresses an ideology of sharing, collectivity, and mutuality.
Anti-Racist Mathematics and Other Stories is a series commissioned by VIVO Media Arts Centre that initiated with the exhibition Byron Peters — Before and After the Sixth Radar Conference (VIVO, 2017).
Episode 1 | Byron Peters/Canada 2017. 22 min. DCP
Episode 2 | Byron Peters/Canada 2018. 30 min. DCP
Episode 3 | Byron Peters/Canada 2018. 30 min. DCP
Post-screening Q&A moderated by Stacey Ho, an artist, writer, and curator living on the unceded Coast Salish territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaʔɬ (Tsleil-Waututh) peoples. Their practice considers intersections of culture, history, and embodied experience from a feminist perspective. Informed by a background in photography and performance art, they often incorporate language, sound, and gesture into their work. They also spend a lot of time thinking about math, plant medicine, and perfume.
Byron Peters is an artist and writer based in Vancouver, unceded Coast Salish Territories. His collaborative and solo works take the form of sculpture, text, sound, and video, and his research engages emerging technologies, economic imaginaries, prison education, and the histories of science.
Co-presented with DIM Cinema
VIVO is located in the homelands of the xʷməθkʷəy̓əm (Musqueam) Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaɬ (Tsleil-Waututh) peoples in a warehouse space at 2625 Kaslo Street south of East Broadway at the end of E 10th. Transit line 9 stops at Kaslo Street on Broadway. From the bus stop, the path is paved, curbless, and on a slight decline. The closest skytrain station is Renfrew Station, which is three blocks south-east of VIVO and has an elevator. From there, the path is paved, curbless, and on a slight incline. There is parking available at VIVO, including wheelchair access parking. There is a bike rack at the entrance. The front entrance leads indoors to a set of 7 stairs to the lobby.
A wheelchair ramp is located at the west side of the main entrance. The ramp has two runs: the first run is 20 feet long, and the second run is 26 feet. The ramp is 60 inches wide. The slope is 1:12. The ramp itself is concrete and has handrails on both sides. There is an outward swinging door (34 inch width) at the top of the ramp leading to a vestibule. A second outward swinging door (33 inch width) opens into the exhibition space. Buzzers and intercoms are located at both doors to notify staff during regular office hours or events to unlock the doors. Once unlocked, visitors can use automatic operators to open the doors.
There are two all-gender washrooms. One has a stall and is not wheelchair accessible. The other is a single room with a urinal and is wheelchair accessible: the door is 33 inches wide and inward swinging, without automation. The toilet has 11 inch clearance on the left side and a handrail.
To reach the bathrooms from the studio, exit through the double doors and proceed straight through the lobby and down the hall . Turn left, and the two bathrooms will be on your right side. The closest one has a stall and is not wheelchair accessible. The far bathroom is accessible.
Stacey Ho lives on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaʔɬ (Tsleil-Waututh) peoples. Their practice considers intersections of culture, history, and embodiment from a feminist perspective while incorporating language, sound, and gesture. Their work has been presented at Art Metropole, Justina M. Barnicke Gallery (Toronto), Galerie oqbo (Berlin), Artcite (Windsor), RAM Galleri (Oslo), Or Gallery and the Vancouver Art Gallery. They organize Slow Wave Small Projects, a one-week Gulf Island retreat that re-imagines approaches to learning and art-making from feminist, activist, and land-based perspectives.
Byron Peters is an artist and writer of Chinese-Canadian and European descent. His practice critically engages labour and materiality in the context of emerging technologies, economic imaginaries, prison education, and the effects of gentrification and displacement. Peters’ solo and collaborative works have been exhibited at The Darling Foundry, Montreal; Para Site, Hong Kong; ICA Miami; The White Building, London; The Elizabeth Foundation for the Arts, New York; The Asian Art Museum of San Francisco, and others. His writings have appeared in Continent, SFMOMA Open Space, Cesura//Accesso, and Fillip.