each hand as they are called reflects on Toronto’s Kensington Market as the vibrant site of multiple public cultural histories, layered with personal stories and fragmented by the movement of time. Katz approaches the culture of the Market through the lens of her own memory and experience of Kensington, coming out as a young, politically engaged, queer woman. Taking the ephemeral nature of experience in urban space to heart, through a series of solo and collaborative performances, temporary installations, community projects and public posters, Katz works with the notion of transition and movement. each hand as they are called captures the spirit of the Market on any given day, filled with passing but memorable vignettes.
Roaming, live vocal performances insert an experimental soundtrack of assimilation, anachronism and hybridity into the urban landscape of the Market. Based on the jazz-fusion music of Yiddish speaking sister duos from the 60s, Katz’s haunting compositions are a combination of popular music, Yiddish classics and jazz, composed backwards for female duets. The resulting absurdist vocals create a hybrid language of calls and beckoning within the Market streetscape.
A community-based component of the project involves Katz working with residents from the Terraces at Baycrest and grade eight students from Ryerson Community Public School. Together, their working process will highlight Kensington as the important meeting point of Jewish and Chinese culture through the game of Mah Jongg, a game originating in East Asian communities which migrated and was popularized with North American Jewish women during the 1920s. The project culminates in a public day of inter-generational Mah Jongg in the Market’s Bellevue Park on June 7 (rain date: June 14).
In addition, Katz performs solo against the backdrop of Kensington Market’s tense relationship to urban development. At odd and unexpected hours, she will be seen working on temporary structures, building and deconstructing scaffolding in previously undisclosed locations. Katz’s scaffold performances gesture to the incredible labour history of the area, positioning the act of construction as obstruction and to memory itself as construct.
While each of Katz’s performative and social gestures are ephemeral, each hand as they are called will have a constant presence in the market through a series of interrelated street posters, designed by Katz in collaboration with award winning designer and artist Cecilia Berkovic. The posters provide additional context for the project while inserting a distinct visual presence amongst the eclectic mix of band-posters, announcements about lost pets, and other posted ephemera populating the Market.
Reena Katz isn’t being blacklisted because her views on Israel somehow make her anti-Semitic (they don’t), she’s being blacklisted because she is too Jewish for the Koffler Centre and the United Jewish Appeal.
To complain about this outrage email the following people: lstarr@kofflerarts.org, ceckert@kofflerarts.org, thewer@kofflerarts.org, tliederman@kofflerarts.org, ishohat@kofflerarts.org, etauben@kofflerarts.org,
This is what Reena has to say on the matter:
Dear friends, family, comrades and colleagues;
Most of you know that I’ve been working on a site-specific commission for the Koffler Gallery in Kensington Market, set to open on May 20th. Kim Simon is an independent curator, who found me and proposed my work to the Koffler last year. She has been my main creative (and now political) ally in the process.
Today, at 9am Kim and I were informed by Lori Starr (Koffler executive director) and Mona Philip (Koffler curator) that the Koffler is disassociating from the exhibition: removing their name and URL’s from any further outreach materials, exhibition posters and press.
Why?
Their Board of Directors, along with their major funder – The UJA of Greater Toronto – has decided that they “will not associate with an artist who publicly advocates the extinction of Israel as a Jewish state”.In our meeting with Lori and Mona this morning, it was made clear that their decision is based on my involvement specifically with Israeli Apartheid Week. Lori was explicit that it isn’t me they object to, but the public statements I’ve made on behalf of specific organizations. Seeing this as a moment of potential change, I proposed a meeting with their Board, in which I would explain the true mandate of Israeli Apartheid Week, CAIA, and the Jewish Women’s Committee to End the Occupation – now known as Women in Solidarity with Palestine.
Why now?
A year ago, Kim asked Mona directly if Koffler would have a problem showing my work considering my solidarity with Palestine. Mona was clear that since the project didn’t deal with the issue, Koffler would stand behind it. Indeed, after a year of having access to my website, CV, Facebook page and any Google search results, it wasn’t until this week that they chose to look at my Facebook page, and found a link to Israel Apartheid Week.What the?
This weekend, I am working with Kim Simon, the independent curator on the project to respond to Koffler’s press release (click on it to link there) with our own press release in response. It’s evident they are acting out of fear. Fear of critique of Israel from within the Jewish community, fear of the repercussions of standing by an artist who is affiliated with justice for Palestinians.Nu, so, what now?
They have offered to continue the project’s $20,000 funding – without attaching to it institutionally in any way. An interesting proposal indeed. The project is quite extensive, and involves youth from Ryerson Community Public School, Seniors from Baycrest Centre, The Element Choir, solo vocalists and a number of stores, homes and cultural institutions in Kensington Market. Of course, I don’t want to cancel the project but feel very uncertain at this time of how I want to proceed with it. Kim and I are putting thought to this, and plan to have a decision on Sunday. I am interested in taking this up politically, and strategizing around the best way to do that.Until then, I would greatly appreciate your support in sending the Koffler messages. This is clearly an attempt by a mainstream Jewish institutions to stifle dissent within our community, and the art world in general. Please cc me on anything you send. Also, talk about it to anyone you know – especially arts organizations and their members. I’ll be in touch soon with our press release.
With love and justice,
Reena
And here is an excellent letter from activist Henry Lowi:
To: lstarr@kofflerarts.org
Subject: Reena Katz unfairly targetted by Koffler Centre
Date: Sat, 9 May 2009 22:28:12 +0000Lori Starr,
Executive Director, Koffler Centre of the Arts
Dear Ms Starr:
I read your announcement about the Reena Katz exhibition.[i]
I have known Reena Katz since she was a teacher in a Jewish Sunday School. I consulted her many years ago about violin lessons for my daughter. She referred us to the best violin teacher in Toronto.
I am well aware of Reena’s activism in solidarity with the oppressed people of Palestine. I know that Reena is motivated by an acute consciousness of the history of Jewish suffering and persecution (and culture!), and a commitment that “Never Again!”, to anyone, anywhere.
Despite the Koffler mandate, [ii] you are taking sides in a political issue. Your position is symptomatic of a kind of panic that is overtaking pro-Zionist organizations. Your panic is based on the painful awareness that you have placed yourselves on the side of injustice and oppression, an uncomfortable position for a Jew to inhabit.
The atrocity committed recently by the State of Israel against the Palestinians in the Gaza Strip has drawn the attention of the whole world. It is well documented. [iii] It has been compared to the Sharpeville massacre in South Africa.[iv] The whole world has seen how the Palestinians — virtually unarmed, isolated, and poorly led — are being systematically massacred by a well-armed military power that enjoys unlimited military, political and economic support.[v] Strong feelings of solidarity have been aroused.
You are untouched by those feelings of solidarity.
Most Jewish community organizations remained silent in the face of the atrocities and the ongoing blockade of Gaza. Unfortunately for you, all decent people, all lovers of humanity noticed the silence of the Jewish organizations. Fortunately, all also noticed that Jewish dissidents — Righteous Jews, upholders of our traditions of struggle against injustice — spoke out.[vi][vi(b)]
Reena Katz is one of those Jewish dissidents.
The Jewish community is split. The split will deepen. On one side, you will find those who uphold the values of solidarity, decency, culture, and human rights. On the other side will be the supporters of murder, racism, and apartheid. All will have to choose their side,
You have chosen your side.
By dissociating yourselves from Reena Katz’s artistic work, for political reasons, you are engaging in a form of cultural boycott. As you know, progressive Palestinian grassroots popular organizations have called for a boycott of Israeli cultural and academic institutions.[vii] Peace-seeking Israelis support the boycott.[viii][viii(b)] Solidarity-minded Canadians, like author Naomi Klein, support the boycott.[ix] Faced with the boycott, Zionist apologists howl about “singling out Israelis because they are Israelis”, “anti-Semitism”, and the like.[x] They lie.
The Zionists lie, but they are in a panic. Fewer and fewer people are impressed by Zionist lies. More and more are impressed by the inevitable parallels between Israel’s genocidal conduct and the conduct of other oppressive regimes.
Solidarity with Palestine will grow, while disdain for Zionism and its supporters will grow.
You are singling out Reena Katz because she is a decent human being who speaks out against the oppression of fellow human beings. You have done so very publicly, making it very clear where you stand, and with whom you stand.
Reena Katz’s Israeli and Palestinian comrades pay a heavy price for their activism.[xi],[xii],[xiii],[xiv] They know that justice is on their side. They will win. Palestine will be free. Arts and culture will flourish. Jews and Arabs will live together, in peace, as equals.
Regards,
Henry Lowi
And go see the show at Kensington Market beginning May 20!






Golpe de Desgracia: Poesia de Váscones y Benedetti July 2, 2009
Posted by rogerhollander in Art, Literature and Culture, Chile, Honduras, Latin America.Tags: Allende, america latina, benedetti, carmen vascones, golpe, golpe de estado, Honduras, honduras gobierno, honduras golpe, honduras politica, imperialismo, poesia, poesia politica, violencia
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VIOLENCIA, S.A. (Sociedad Anónima)
Poema de Carmen Váscones (1 de julio de 2009)
para vencer al hombre de la paz
tuvieron que afiliarse siempre a la muerte
matar y matar mas para seguir matando
y condenarse a la blindada soledad,
para matar al hombre que era un pueblo
tuvieron que quedarse sin el pueblo.
Mario Benedetti: “ALLENDE”
1
Un golpe otro golpe
Uno tras otro
Golpe más golpe otro
Las puertas caen
Ninguna de pie
Nadie asoma
Solo se ve un montón
Como un esqueleto gigante
Y una sombra hinchada
A punto de reventar
Una voz desconocida
-En ese estado quedó-
2
Hay que derribar el golpe
Quitarle la capucha
Hacer un paro a tanto horror
Hacerle saber del miedo
Enfilar la marcha
Y no sentirse solo
-acompáñame-
3
No hay tumba para el desaparecido
Podrán derribar casa
Podrán quemarlo todo
Podrán cortar el recuerdo
Podrán dejarme sin mí
Podrán poner y oponer
Pero los pasos avanzan
No puedes cogerlos
¡Ay de ti!
No soporta más
El espanto ordenado y dirigido
-Apunte y calle-
El sonido no se incinera
Alguien lo continua …
4
Que no se les ocurra quitarle su nombre
Que no lo manchen
Que no estoy con ganas de aguantar
Que no callaré hasta morir
Y este momento no es suficiente
No solo estamos hechos de intentos
Hay que atreverse
Pero eso sí ni héroe ni martir
En la jugarreta del opositor
Que arremete sin pena
La urna la estatua y el que se impone con trampa
Un protagonista sospechoso de la mudanza
Que te fuerza que te lleva que te detiene
Que te intimida que te allana que te usurpa
Que te toma que te secuestra
Que te desaparece
Que te toca y queda
Que te apaga el alba
Que te desecha como un papel
Que te quiebra el deseo
Que te deja sin madrugada
Que te destroza la memoria
Que desconoce el respeto
Que te pone condiciones
Que te tapa la boca
Que te quiere dejar sin palabras
Que te dice retrocede o no respondo por nada
Aún así
-“Soy inconforme”-
Los manifestantes dan la cara
A esa lucha constante
Barreras y máquinas
Consignas y moneda
Constitución y agresión
Tierra saqueada
¿Quién soy?
¿Quién soy para tí?
Manoseas mi identidad
Para violar mi voluntad
Aún así no me apagarás
Impide la opresión
Hace barricada
Comanda resistencia
Rechaza
¿Quién despeja el camino?
¿Quién está con el pueblo?
-Estamos indignados-
“Qué cosa fuera la masa sin frontera”
Que no se detenga la huelga
Vencer para jamás no ser vencido
¿La lluvia cae igual para todos?
¿Por qué achicas el río?
¿Por qué me desconoces?
¿Si dices soy tu semejante?
Ningún golpe es diálogo
Y sin embargo
Quien calla otorga o es cómplice
Del derrumbamiento y la devastación
Sácate el temor de encima
Tan fácil resulta matar
Hacer a un lado
Arrastrar con todo
¡Golpe de estado!
(Un estado embarazoso)
Parto: una partida de defunción
¡NO!
www.carmenvascones.wordpress.com
Poema de Benedetti: “ALLENDE”
Para matar al hombre de la paz
para golpear su frente limpia de pesadillas
tuvieron que convertirse en pesadilla,
para vencer al hombre de la paz
tuvieron que congregar todos los odios
y además los aviones y los tanques,
para batir al hombre de la paz
tuvieron que bombardearlo hacerlo llama,
porque el hombre de la paz era una fortaleza
Para matar al hombre de la paz
tuvieron que desatar la guerra turbia,
para vencer al hombre de la paz
y acallar su voz modesta y taladrante
tuvieron que empujar el terror hasta el abismo
y matar mas para seguir matando,
para batir al hombre de la paz
tuvieron que asesinarlo muchas veces
porque el hombre de la paz era una fortaleza,
Para matar al hombre de la paz
tuvieron que imaginar que era una tropa,
una armada, una hueste, una brigada,
tuvieron que creer que era otro ejercito,
pero el hombre de la paz era tan solo un pueblo
y tenia en sus manos un fusil y un mandato
y eran necesarios mas tanques mas rencores
mas bombas mas aviones mas oprobios
porque el hombre de la paz era una fortaleza
Para matar al hombre de la paz
para golpear su frente limpia de pesadillas
tuvieron que convertirse en pesadilla,
para vencer al hombre de la paz
tuvieron que afiliarse siempre a la muerte
matar y matar más para seguir matando
y condenarse a la blindada soledad,
para matar al hombre que era un pueblo
tuvieron que quedarse sin el pueblo.
Mario Benedetti (http://www.cubadebate.cu/opinion/2008/06/27/poema-de-benedetti-allende/)