{"id":11406,"date":"2025-01-08T14:56:26","date_gmt":"2025-01-08T21:56:26","guid":{"rendered":"https:\/\/centrea.org\/?p=11406"},"modified":"2025-01-13T21:18:44","modified_gmt":"2025-01-14T04:18:44","slug":"technicowlour","status":"publish","type":"post","link":"https:\/\/centrea.org\/2025\/01\/technicowlour\/","title":{"rendered":"TechniCowlour"},"content":{"rendered":"

\"\"<\/a><\/p>\n

A The Biting School Production<\/span><\/p>\n

Co-produced by battery opera<\/span><\/p>\n

Co-Presented by vAct and Centre A<\/span><\/p>\n

Concept and creation by:<\/span><\/p>\n

elika mojtabaei + Aryo Khakpour<\/span><\/p>\n

In collaboration with:<\/span><\/p>\n

Alanna Ho\u00a0<\/span><\/p>\n

ellis cheadle<\/span><\/p>\n

Jaewoo Kang<\/span><\/p>\n

SF Ho<\/span><\/p>\n

_<\/p>\n

January 18 \u2013 March 15, 2025<\/span><\/p>\n

Opening: January 18, 5 \u2013 8 PM;
\nFeaturing a free 20-min performance performed by Aryo at 6:30pm on Jan 18 (opening), and sliding scale tickets on Feb 12, Mar 1, and Mar 15 (closing)<\/span><\/p>\n

Ticket Information Here<\/a><\/p>\n

Gallery Hours: Wed \u2013 Sat, 12 \u2013 6 PM<\/span><\/p>\n

_<\/p>\n

Centre A is excited to kick off 2025 with the announcement of our upcoming exhibition<\/span> TechniCowlour<\/i>! <\/span><\/p>\n

“i just want to be a cow<\/span><\/p>\n

in full colour<\/span><\/p>\n

in full house<\/span><\/p>\n

in full surround sound<\/span><\/p>\n

free from all that makes me sad\u00a0<\/span><\/p>\n

\u2014 by Arika Mojpour (6th-century Persia)<\/span><\/p>\n

TechniCowlour<\/span><\/i> is an installation and performance exploring the intersections of mythology, memory, and sensory experience. At its core, the project queers and remixes materials\u2014scents; fabrics; songs; gestures; and Iranian mythologies and architectural references\u2014into a fragmented experience of longing; and questions the preservation of culture that persists in diasporic living, blurring the lines between the nostalgic and the immediate.<\/span><\/p>\n

Across its three interconnected spaces, <\/span>TechniCowlour<\/span><\/i> invites viewers into a sensory dialogue that traverses the ancient past, the near past, and the present. One room binds light with absence; and houses retellings of pre-Zoroastrian deities in the form of costumes created from second-hand clothing. Another space envelops the audience in near darkness, where the intimate terrains of scent memories and tactile interactions take precedence over sight. The third space centres water, grounding us in the present\u2014a momentary refuge entwined with the poetics of displacement and loss.\u00a0<\/span><\/p>\n

Our process began as a response to the Iranian film, <\/span>The Cow<\/span><\/i> (1969), which tells the story of a man\u2019s unparalleled love for his cow, and his immense grief upon her death\u2014an event that leads him to believe he has become his cow. <\/span>TechniCowlour<\/span><\/i> is an invocation of the body and the senses, undermining the customary cultural inertias in favour of an experimental adaptation. Here, nostalgia becomes an entry to presence rather than a retreat from it. Through the interplay of mythology, cinema, and haptic exploration, the piece asks: What does it mean to live between worlds that carry us across times?”<\/span><\/p>\n

\u2014 The <\/span>TechniCowlour<\/span><\/i> creative team<\/span><\/p>\n

\u2013<\/p>\n

Artist Biography:<\/b><\/span><\/p>\n

 <\/p>\n

Aryo Khakpour<\/b><\/p>\n

Aryo Khakpour is an interdisciplinary performer, director and dramaturg. Born and raised in Tehran, Aryo has been involved in multiple theatre, dance, and film productions in Vancouver, Canada, since 2006. He co-founded The Biting School in 2013 and was company-in-residence at the PuSh Festival and The Dance Centre from 2018-2019. Aryo is an infrequent sessional instructor at Simon Fraser University\u2019s School for the Contemporary Arts. In his practice he explores dynamics of power, implications of ideologies, repetition of mythologies, and cultural adaptation. An intersectional feminist, Aryo interrogates the patriarchy and its harmful effects on people. His practice is heavily physical and surrealistic; it moves from theatre to performance art to dance to film and back to theatre; it deals with pain and pleasure; it is sex-positive; and aims to queer the status quo. Aryo was trained in devised practices of non-hierarchical collective creation \u2014 this is his favourite way of creating work.<\/span><\/p>\n

\u00a0<\/b><\/span><\/p>\n

elika mojtabaei<\/b><\/p>\n

elika mojtabaei is an Iranian-born writer, costume designer, translator, and dramaturg based on the stolen traditional territories of the (Musqueam), (Squamish), and (Tsleil-Waututh) Nations.<\/span><\/p>\n

She is artistic associate with The Biting School; and co-founder of the No Small Feat Collective.\u00a0<\/span><\/p>\n

Her recent credits include <\/span>Draw Me a Home<\/span><\/i>; \u201ca film about a uterus\u201d (co-created with Aryo Khakpour); <\/span>Long Time So Long <\/span><\/i>(Jin-me Yoon); <\/span>Parifam<\/span><\/i> (vAct \/ Medusa); <\/span>Empty-Handed <\/span><\/i>(The Biting School); <\/span>Nunca h\u00e1 Nada | There Is Never Nothing<\/span><\/i> (Luciana Freire D’Anuncia\u00e7\u00e3o); <\/span>Zahak, the Serpent King <\/span><\/i>(The Biting School).\u00a0<\/span><\/p>\n

elika\u2019s creative process begins with extensive research. In her work, she examines the inequities imposed through language and apparel, informed by her experience as a first-generation immigrant femme. She is interested in surrealist gestures and the poetry of the unsaid. She approaches her multidisciplinary practice and all her interactions through an intersectional feminist lens.\u00a0<\/span><\/p>\n

\u00a0<\/b><\/span><\/p>\n

Alanna Ho<\/b><\/p>\n

Alanna Ho is an artist-educator living on the Vancouver on unceded Indigenous land, including the territories of the (Musqueam), (Squamish), and (Tsleil-Waututh) Nations.\u00a0<\/span><\/p>\n

Alanna’s uses a multi-modal approach in S.T.E.A.M education which has been facilitated through galleries and schools. The Creative Teaching Lab (formerly Rainbow Forecast) was founded in 2016 to explore visual art, music and deep play as interconnected experiences. One of CTL\u2019s current projects is creating digital teaching resources for non-music and non-art teachers to easily implement musical or creative inspiration into their classrooms.\u00a0<\/span><\/p>\n

She is also a co-director and early childhood programmer of INTER\/MEDIATE, a non-profit organization that hosts new media workshops where learning through play is priority.<\/span><\/p>\n

\u00a0<\/b><\/span><\/p>\n

ellis cheadle<\/b><\/p>\n

ellis cheadle (she\/her) is a theatre-maker living and working on the stolen territories of the (Musqueam), (Squamish), and (Tsleil-Waututh)<\/span> Nations. She is a graduate of Simon Fraser University\u2019s School for the Contemporary Arts and Mount Royal University\u2019s acting conservatory program. She is increasingly dedicated to creating malleable theatrical set-lists that responsively adapt to requirements of scale, duration, location, and collaborator skill-sets\/curiosities. She values playfulness and experimentation, and strives to make theatre that invites the audience into a shared game of finding links between seemingly incongruous images, texts, themes, and materials.<\/span><\/p>\n

ellis\u2019s work has been shared at Here 4 Now Vol. 4, Hold on Let Go, PuSh Performing Arts Festival, Schaubude Berlin, Festival de Casteliers, The Array, and the rEvolver Theatre Festival. Recent collaborators include elika mojtabaei, Hong Kong Exile, and Macromater (Robin Leveroos). She is currently a participant of PTC\u2019s Block D Program, where she is brushing up on her dramaturgical skills.<\/span><\/p>\n

\u00a0<\/b><\/span><\/p>\n

Jaewoo Kang<\/b><\/p>\n

Jaewoo Kang is a queer Korean-Canadian interdisciplinary artist working with film, animation, textile and performance. Born in Busan, Korea, currently living and working in the stolen land of (Musqueam), (Squamish), and (Tsleil-Waututh) Nations. His training in art started with visual art, which allowed him to be interested in moving images.A major theme for him is queer eroticism and how intimate moments with others can allow the self to have an introspective experience. Recently he finished a residency at Griffin Art Project in North Vancouver with a fashion performance presentation. He also has been working with performers to integrate fashion and art. Most recently he was part of a durational fashion performance project, Returns. \u00a0 With the support of Canada Council and BC Arts Council, he is currently in post-production for his first animated feature film, Primavera.\u00a0<\/span><\/p>\n

\u00a0<\/b><\/span><\/p>\n

SF Ho<\/b><\/p>\n

SF Ho is a porous object. They live on the unceded territories of the (Musqueam), (Squamish), and (Tsleil-Waututh) peoples. Operating somewhere between words and whatever words can\u2019t be, their work is informed by feminist methodologies, land-based practices, and grassroots community networks. Ho has presented their artwork and writing both regionally and internationally. They\u2019ve published a book about love and aliens called George, the Parasite. They\u2019re cultivating a practice of wary sociality, never finishing books, and being sort of boring.<\/span><\/p>\n

\u00a0<\/b><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A The Biting School Production Co-produced by battery opera Co-Presented by vAct and Centre A Concept and creation by: elika mojtabaei + Aryo Khakpour In collaboration with: Alanna Read more…<\/a><\/p>\n","protected":false},"author":1,"featured_media":11413,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false},"categories":[5],"tags":[],"_links":{"self":[{"href":"https:\/\/centrea.org\/wp-json\/wp\/v2\/posts\/11406"}],"collection":[{"href":"https:\/\/centrea.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/centrea.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/centrea.org\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/centrea.org\/wp-json\/wp\/v2\/comments?post=11406"}],"version-history":[{"count":11,"href":"https:\/\/centrea.org\/wp-json\/wp\/v2\/posts\/11406\/revisions"}],"predecessor-version":[{"id":11424,"href":"https:\/\/centrea.org\/wp-json\/wp\/v2\/posts\/11406\/revisions\/11424"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/centrea.org\/wp-json\/wp\/v2\/media\/11413"}],"wp:attachment":[{"href":"https:\/\/centrea.org\/wp-json\/wp\/v2\/media?parent=11406"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/centrea.org\/wp-json\/wp\/v2\/categories?post=11406"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/centrea.org\/wp-json\/wp\/v2\/tags?post=11406"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}