…Crow meets Salmon, a performance by Ayumi Goto and Peter Morin, moves together and apart with respect to all that has accumulated in specific sites, locations, histories. Crow-Salmon-Human relations reflect on the interconnections between sky, water, and land, and the mutability of forms to make a joyous sound for creating joyful kinships.
Event note: Tea and cake will be served as a part of this performance.
Goto and Morin’s performances are a part of the Biennial’s weekly Performance and Reading Program: Isonomia in Toronto, a series which takes place within Adrian Blackwell’s two interrelated structures at 259 Lake Shore Blvd E and the Small Arms Inspection Building. Invited guests include poet CAConrad, artists Camilo Godoy and Lawrence Abu Hamdan, Apache violinist Laura Ortman, Sister Co-Resister, and percussionist Marshall Trammell.
Image: Ayumi Goto and Peter Morin, Roaming performance at 7a*11d Festival, 2018. Photo by Henry Chan.
Performance Program: Isonomia in Toronto
Small Arms Inspection Building (2019)
1352 Lakeshore Road East
Mississauga ON
L5E 1E9
November 30
Bios
Ayumi Goto (born in Surrey, BC, Canada; lives in Toronto, ON, Canada) is a performance apprentice, based in Toronto, traditional territories of the Haudenosaunee Confederacy, Huron-Wendat, Anishinaabe, and Mississaugas of the Credit First Nations. As diasporic-Japanese, she at times draws upon her cultural heritage and language to creatively reconsider sentiments surrounding national culturalism, migrations, activist strategies, and land-human relations. Ayumi has made performative interventions in London, Berlin, Kyoto, and across this land presently called Canada. Her practice is deeply influenced by Shirley Bear, Roy Miki, Cheryl L’Hirondelle, Adrian Stimson, and Peter Morin.
Learn more about Ayumi Goto’s practice by listening to episode 4 of the Toronto Biennial of Art Podcast “Short Format”, available on Apple Podcasts, Google Podcasts, and Spotify.
Peter Morin (b. 1977, Tahltan Nation/British Columbia; he/him) is a grandson of Tahltan ancestor artists. Morin’s work highlights cross-ancestral collaboration and deeply considers the impact zones that occur between Indigenous ways of knowing and Western Settler Colonialism. Morin’s practice has spanned twenty years so far, with exhibitions in London, Berlin, Singapore, New Zealand, and Greenland, as well as across Canada and the United States. Morin currently holds a tenured appointment in the Faculty of Arts at the Ontario College of Art and Design University in Toronto.