November 26, 2023 @ 2:00 pm – 4:00 pm
Sunday November 26, 2023
2:00 pm – 4:00 pm
Presented in partnership with Mending the Museum
Ages 8 – 18
Participants under 12 must be accompanied by a non-participating parent or guardian
Using air drying clay, participants will create their own “narrative charm” by combining a personal story to a work from the Gardiner’s collection. Each attendee will receive a 3” x 3” (250g) block of clay to form a item that relates to the prompt: What story would you turn into a relic? Or what story would you place into a museum?
Through building objects of connection, this workshop will explore the ways alternate histories can be translates, acknowledged, and validated. Narrative charms are small objects that are meant to be carried, both by the creator and as a form that holds valuable experiences, documenting histories that deserve to be recognized.
We acknowledge the support of the Canada Council for the Arts.
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General : Free Registration
About the Instructor
Kendra Yee
Kendra Yee (b. 1995, Tkaronto/ Toronto) is an arts practitioner that seeks to materialize the truths and fictions of memory. Yee pulls tales from; personal stories, lived experience and collective narratives to develop site-specific installations that carve alternative archives. Yee has programmed and exhibited with: Patel Brown (Toronto), NAMARA Projects (Toronto), Heavy Manners (Los Angeles), The Artists Project (Toronto), Juxtapoz (NYC), The Letter Bet (Montreal), Xpace Cultural Centre (Toronto). Upcoming projects include the RBC Emerging Artist Residency Program at The Robert McLaughlin Gallery (Spring 2024).
About Mending the Museum
Mending the Museum is a community research project organized by Mending the Museum (duo of the same name), Karina Román Justo and Camila Salcedo, that pairs ten artists with “fragments” of textiles and ceramics from the Textile Museum of Canada and the Gardiner Museum’s collections. The artists that engaged with the Gardiner’s collection are: Kendra Yee, Habiba El Sayed, Chiedza Pasipanodya, and Juan Pablo Hernandez Gutierrez. The project was divided into two phases: the first, working with the invited artists on research of the collection objects and development of digital artworks, and the second, guiding artists in the delivery of workshops targeting youth and children on their creative processes and histories of making.
Supported By
