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Happy 65th Birthday, singer, songwriter, composer and guitarist David Byrne who was born in Dumbarton on May 14, 1952.

The family  moved to Canada when he was two, and then to Maryland , U.S., when he was nine years old.

He loved music from a young age and was already playing multiple instruments like guitar, accordion and violin by middle school. He went to Lansdowne High School in Baltimore County.later attending the Rhode Island School of Design during the 1970-71 term and the Maryland Institute College of Art during the next term. He dropped out of college to pursue a career in music.

David has been rocking the music world with his experimental music and rhythms since the 1970s. The versatile musician started performing as a teenager and has worked in a number of media like films, albums, opera and photography. 

He is known mainly as one of the co-founders of the new wave band Talking Heads which produced hit singles like ‘And She Was’ and ‘Burning Down the House’. The band was considered the most innovative and critically acclaimed bands of the new wave movement.

independent.co.uk
Brexiter donates £3.2m to Leave campaign, loses £400m after Brexit result
The top donor to the campaign for the UK to leave the EU has said he has no regrets about the money he spent, despite hundreds of millions being wiped off his fortune in the aftermath of the vote. Peter Hargreaves, who owns one third of the shares in the financial advice company that he founded called Hargreaves Lansdown, gave £3.2 million to the Leave campaign in the run up to the vote.
  • Step 1: Stupid games
  • Step 2: Stupid prizes
Jennifer Angus: Lookabout

May 7 - June 11, 2017, Annapolis Region Community Arts Council (ARCAC), Annapolis Royal, Nova Scotia


Reviewed by Emma Lansdowne & Alana Traficante

Jennifer Angus, Lookabout (2017). Installation view at ARTsPLACE Gallery, Annapolis Region Community Arts Council.

I happened upon the multi-venue exhibition Lookabout purely by chance: my sister and I, on a drifting road trip through pre-season Nova Scotia, found our way by default to Annapolis Royal. The promise of teeming rain had deterred us from a plan to drive the Cabot Trail; instead, we wandered the sleepy streets of the tiny clapboard town, seeking out the ghosts of its colonial past. By the time we arrived, artist/researcher Jennifer Angus had been working in residence at ARTsPLACE, the artist-space run by the Annapolis Region Community Arts Council, for a few weeks. She had situated installations in various historic sites in town: dioramas of insect specimens under bell jars; pots of preserves lined up on windowpanes, beetle bodies suspended within. Through this odd assemblage of tiny exoskeletons, spread across unexpected sites (the town theatre, a coffee shop, the unattended historic garden gatehouse), Angus wove a haunting narrative, reimaging the mythos of two sisters, Anne and Victoria Oliver, who disappeared from the town without explanation in 1867.

Jennifer Angus, Lookabout (2017). Installation view at ARTsPLACE Gallery, Annapolis Region Community Arts Council.

Finally, after traversing the external sites, my sister and I witnessed Angus’s expansive, central installation at ARCAC. Already familiar with her practice, I knew to expect the installation of insects pinned directly to the wall in repeating patterns, evocative of wallpaper and textiles. Yet my immediate perception of this decorative, critical mass found it wanting. Angus’s promise to chronicle the Oliver sisters’ strange disappearance was played out in an odd aestheticization of insect bodies that only scratched the surface of the mystery, much less the complex layers of the region’s troubled past that are buried beneath it.

Returning home, with many questions left unanswered, I sought insight from my friend Emma Lansdowne, whose scholarly research interrogates the colonial legacy of taxonomical aesthetics. What follows is the result of our collaborative dialogue about the work and about the history of taxonomies and naturalist collections, as well as our joint questioning of perceived relationships among land and the people, plants and insects that inhabit it. — AT

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Jennifer Angus is an artist, designer and researcher who, for over ten years, has centred her practice around the collection and repurposing of insect specimens for intricate wall-based and sculptural installations, displayed in exhibitions such as A Terrible Beauty (Textile Museum of Canada, 2006), lauded for its dazzling, immersive patterns that evoke Victorian-era ornament. She has a particular interest in this period, which she describes as “the age of travel, exploration, [and] scientific discovery.” Angus takes inspiration from the practice of naturalist collecting in pursuit of new knowledge, and uses pattern-making as a means of contemporizing the curio aesthetic of nineteenth-century collections.

Jennifer Angus, Lookabout (2017). Installation view at Annapolis Royal Historic Gardens.  

For the exhibition Lookabout, Angus extends her practice by looking through the lens of an unsolved mystery, the unexplained disappearance of two female, budding amateur naturalists. The missing women become her subjects but are present in allusion only, save for one portrait photograph of the sisters mounted on the gallery wall. The show’s small publication and walking guide references an article published two years after the women’s disappearance (titled “The Affecting History Of Two Young Gentlewomen, Who Were Ruined By Their Excessive Attachment To The Amusements Of The Town”), indicating that their disappearance was surrounded in scandal, and that the women were vilified in their absence. Angus reveals that while the sisters were indeed adventurous, they explored the town and riverside with the intent of amassing an impressive collection of local flora and insects. She revisits and re-imagines the Oliver girls’ collection in an immersive wall-patterned installation, and in a small adjacent room that houses objects and furniture reminiscent of amateur taxonomical displays. She presents clues, but very few answers. There are whispers, but there is very little voice.

Angus’s exhibition exudes an infectious intrigue, pulling viewers in through a complex layering of historical mystery, the romance of the unknown, and an aestheticized take on taxonomical science. The artist’s allusion to the contemporaneous account of the girls’ disappearance — an account riddled with presumably unjust implications about their extracurricular activities — prompts viewers to briefly consider the inaccessibility of science to 19th-century women and the potential risks those women ran in defying the societal norms of their day. However, the greater part of Angus’s work — rather than provoking such consideration — seems to use the story of the girls as a convenient narrative framework upon which Angus builds her highly aestheticized insect displays. Rather than further exploring the gendered tensions between the girls’ nature-focused pastimes and their sudden disappearance, Angus draws on their intersecting love of nature and belief in fairies to build a whimsical series of installations modelled on Victorian curiosity cabinets. This whimsicality is a key component of Angus’s work, helping to create an environment of nostalgia for a time when much of the world was still “unexplored,” and when naturalists were to be found at the boundaries between known and unknown.

Jennifer Angus, Lookabout (2017). Installation view at ARTsPLACE Gallery, Annapolis Region Community Arts Council.

There is a danger to such nostalgia, however. The collection and classification of flora and fauna, the display of which led to the foundation of the modern museum, carries the heavy weight of colonial legacy. The process of collecting and naming natural history specimens consolidated a European scientific knowledge system that was both extractive and homogenizing, while specimen displays such as those emulated by Angus were and are carefully curated representational regimes based on scientifically-justified exclusion. Plucked from their natural environments to be pinned onto boards or mounted on blank pages, organic specimens such as insects or plants were forcefully relieved of their environmental, historical, and cultural contexts and, renamed in scientific terms, were given new identities divorced from their own ecology. Based on an assumption of both the availability of “undiscovered” lands and the universalizing correctness of Linnaean taxonomy, natural history collection resulted in an aesthetic, symbolic, and ultimately political erasure of indigenous presence on colonized and to-be-colonized lands.

Although Dr. Laurie Dalton, in her essay about the exhibition, acknowledges a link between such collections and European colonial expansion, commentary by the artist on this fraught connection is largely absent; instead, her installations glorify natural history collection through their highly decorative construction and placement, emulating the reductionist visual structuring of the natural world for which taxonomical science is responsible. As we stand on the verge of a whirlwind summer of national celebration for Canada’s 150 years of confederation, Angus’s failure to unpack the problematic relationship between exploration, science, and colonialism seems especially stark. — EL & AT

Emma Lansdowne is a writer specializing in horticultural history and critical theory. She is currently an MA candidate in Cultural Studies and Critical Theory at McMaster University in Hamilton, Ontario. Emma is also a professional gardener who hopes that the deer haven’t eaten all her plants in her home city of Victoria, BC.

Alana Traficante is an art writer and curator based in her home city of Hamilton, Ontario. She is a recent MFA graduate of OCAD University’s Criticism and Curatorial Practice program, where she researched sensory criticism, feminist theory, installation, and moving image artworks. Alana is currently Acting Curator of Contemporary Art at the Art Gallery of Hamilton.  

Student's guide to University of Leicester

Okay. So I’ve spent 4 years here after being 100% new to the city and figured hey that’s enough time to gather enough info to advise fresh young minds right? RIGHT?
HALLS.
Halls were fun. Catered or non catered both have pros and cons, either way if you live in Oadby, Asda is a 10 minute walk away. Oadby is a great place to live, leafy and compact with a wide range of accommodation to fit every budget and taste. It’s cute. Also got a brand new gym and pool. Noice. Don’t worry about making friends, it’s gonna happen, I mean you’re never going to get on with everyone but you’re going to have an amazing year.

OTHER AREAS IN THE CITY TO LIVE
Cool, so you had fun in halls but the thin walls and squeaky beds get old so you gotta find somewhere new to live for year 2. There are 2 main student areas really. Evington and Clarendon Park. Starting with Evington… it has a bad reputation and you probably are more likely to get mugged here but that being said I love it. Not all of Evington is bad, it’s a friendly and cheap place to live with a couple of good sized grocery stores, a billion banks and some great food places (Bombay Bites. Just do it. You won’t regret it). All in all, it’s a little rough around the edges, I’ve lived here 2 years and have had very little trouble, it’s not as bad as people say.
Clarendon Park is a bit different. Lots of independent shops, bakers, butchers, green grocers, restaurants…. you get the bijoux image right? Expect rent to be higher but that won’t necessarily get you a nicer place than in Evington. It’s a pretty, safe area with lots of convenient shops near by.
Some folk do live out Aylestone way or in the city but they are few and far between. Wherever you end up just remember, boring stuff like double glazing and boiler safety is really important, don’t rush into an unsafe or gross property. Nothing is cool about seeing your breath in your bedroom.
The university runs Sulets which has a range of university approved properties on it’s book, all with no agency fees.
THE CITY
Leicester is a good size city, everything is pretty much in walking distance or easily accessible by bus. It has all the shops you would expect from a city and a modern shopping centre as well as lots of independent shops and arcades (hit the Lanes). There’s a cinema and plenty of places to eat, all in all it’s a good egg.
The Leicester Tigers are obviously pretty big, as are Leicester City and sometimes you can get £5 tickets for matches.
If you are a fan of the arts, New Walk museum is a great day out (cute for dates and shit), the Curve always shows great things like Chicago as does DMH. Basically there’s tonnes to do to keep you entertained in your free time.
NIGHTLIFE
Ahhhh… nightlife. There’s a pretty healthy nightlife here. Republic is the biggest club in town (note biggest… not best) and is open Monday, Thursday, Friday and Saturday. It’s like a big scary loud maze that you will never find your friends in ever again. That being said it’s quite fun but quite strict with it’s dress code.
Mosh is my favourite club. It’s smaller and plays a wide range of music varying on the day (Tuesday, Friday and Saturday). It’s good fun and there is a Subway like 10 m away for when you get kicked out. Cool.
The students union… yeah… open Wednesday (Red Leicester) and Friday (Shabang) (RIP Propaganda Saturdays). The O2 is pretty big and relatively cheap. It’s also close to home, usually a drunken stumble across the park.
I don’t really go out much anymore so I’m sure there’s other clubs out there, but that’s enough for now. I mean there is liquid but I don’t think anyone goes there anymore. Frowny face.
There’s plenty of cute bars too. You have stuff like walkabout and the loaded dog etc for cheap fun, the old horse is a fun, quirky pub with pub food in unhealthy portions, and yoy have bars like hakamou and the lansdowne for fancy cocktails. You got errything.
ACTUAL UNI THE ACTUAL THING YOU CAME HERE TO DO
The uni is a good place to be. I can’t really deny that. It’s been a good 4 years. Campus is compact and pretty easy to navigate with lots of social spaces and you always have the park in summer. The library is huge and pretty new and shiny but if you need a computer try Charles Wilson or George Porter (shhhhh secret).
The union building is pretty new too (4 years) as is the gym on the edge of campus which also has a pool.
The union is home to a lot of sports and societies, you really have no excuse for not joining one. Whether it’s muggle quidditch, theatre, curry or burlesque (represent!), give it a go! Sports have a good reputation too, working and playing hard. Varsity against DMU is always fun. Societies and clubs are a great way to meet people, and there are plenty of international societies to help you feel more at home.
The university health centre is brand new (where are they getting all this cash from?) and offers all services including contraception and sexual health (you’re gonna need it). The university also offers counselling for free if needed, the waiting list can be long but they are good at their job.
The university and staff are there to help so just talk to them! And for the love of god go to some lectures? I can’t talk for all departments but I know that Chemistry here is great, totally supportive and friendly. 10/10 would study there again (except I’m moving uni shhhh).

So yeah. That is my guide to UoL. I hope someone finds it useful. I’m just waiting for my drunk neighbours to go out so I can sleep. But yeah, if you are about to start here, you are going to have a great time, I envy you. Stay safe and be nice and most importantly have fun.