Tag Archives: Toronto

Shades of Pink

COMPLEXionE-flier

I have a photograph, “Shades of Pink,” from Toronto Caribana 2010 that will be a part of the COMPLEXion exhibition in Toronto in October. Details below.

WHAT: “COMPLEXion” – a multidisciplinary collaborative exhibition presented by 3MW Collective and Refuge Productions addressing shadeism in communities of colour.

Local artist collectives join forces to bring awareness to the issue of “shadeism” within communities of colour through their multidisciplinary exhibition “COMPLEXion”. This spectacular exhibition will feature painting, photography, installation, film, music, dance, and spoken word, all addressing issues of “shadeism”.

“Shadeism” (i.e. colourism) is a form of prejudice or discrimination in which people are treated differently based on a range of social meanings attached to the shade of their skin colour.

In collaboration between the 3MW Collective and Refuge Productions, COMPLEXion will share multiple stories related to shadeism, from a wide spectrum of people of colour expressed through a variety of mediums including, visual art and installations, music, film, and poetry — together producing a complex and powerful visual and emotional experience.

Participating Artists:

  • Angelot Ndongmo, Storytelling
  • Sun the Real Sun feat. The Students of Lost Lyrics, Musical Performance
  • Ayan Siyad, Photography
  • Nadia Alam, Visual Art
  • Lelu Angwenyi, Visual Art
  • Tavila Disha Haque, Photography
  • Sanchari Sur, Photography
  • Luxshanaa Sebarajah, Visual Art
  • Joanna Delos Reyes, Visual Art
  • Jade Lee Hoy, Visual Art
  • Sedina Fiati, Musical Performance
  • Shaina Agbayani, Visual Art
  • Bilan Hashi, Audio Installation
  • Marie Sotto, Visual Art / Poetry
  • Jeni Hallam, Photography
  • Dre Ngozi, Visual Art
  • Muna Ali, Mixed Media Installation
  • Nayani Thiyagarajah, Mixed Media, Installation /Film
  • Ilene Sova, Visual Art
  • Rema Taveres, Photography
  • Jordan Clarke, Visual Arts

WHEN: The exhibition runs from October 3 to October 7, 2013, by appointment only 647-­725-­0896

The exhibition will also be part of Nuit Blanche, Saturday October 5th from 7 p.m. to 7 a.m.

The opening reception will take place on Thursday, October 3, from 7-­11 p.m.

WHERE: Brockton Collective 442 Dufferin Street, Studio A Toronto, ON M6K 2A3

http://www.brocktoncollective.com

WHO: 3MWCollective and Refuge Productions

WEB: http://www.3mwcollective.org, http://www.shadeism.com

I won’t be able to make it to the exhibition itself, but it will be worthwhile to catch it if you happen to be in Toronto. Also, some of the works will be on sale.

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Author Thomas King and I

Thomas King and I, Luminato event, Toronto, June 2013.

Thomas King and I, Luminato event, Toronto, June 2013.

This is a photo I should have put up earlier.

He said something about his wife being tiny, but me being tinier than his wife. Sigh.

Taken at a Luminato event featuring Trillium Book Award finalists at the Toronto Reference Library.

Photo credit: Bilan Hashi (friend / poet / photographer)

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The Femail Project

The Femail Project

I am pleased to announce that two of my photographs, “Bride and Bride” and “Freedom Colour,” have been chosen to be exhibited at The Femail Project exhibition in Birmingham, UK. This is the first time that my photographs are being exhibited in an art gallery and that’s why I am sort of over the moon.

About the photographs:

1. Bride and Bride

Bride and Bride_Sanchari Sur-WATERMARK

Bride and Bride, Toronto Pride Parade, 2010.

Taken at the 2010 Pride Parade in Toronto, “Bride and Bride” represents the freedom to marry the one you love, and the ability to celebrate that freedom. To me, this picture undermines the norm of  compulsory heterosexuality; it embodies the idea that love does not need to be confined within patriarchal norms.

2. Freedom Colour

Freedom Colour, Kolkata, March 2012.

Freedom Colour, Kolkata, March 2012.

Taken in Kolkata, India, in 2012, this photo represents the Hindu festival of Colours (or, “Holi”) where “play” using colours allows for a freedom of transgression between caste and class lines in India.

About the project: https://www.facebook.com/thefemailproject

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Breakfast with Teju* (Cole)

Teju Cole, author of Open City (2011)

*Because we are on a first name basis now. 

Yes, it’s true. I had breakfast with Teju Cole.

But of course, like every life changing event (because yes, it is indeed a life changing event for an aspiring writer to have a meal with a world famous writer), this one had a series of causalities that led up to it.

For one, I happened to be in Kingston this year because I am a student at Queen’s University.

Two, I am at Queen’s because I decided to do a second Master’s. I mean, how many people do you know who willingly signs up for a second Master’s? Exactly.

Three, I am friends with Bilan Hashi, whom I had met with as a consequence of her being a student in my program at Queen’s.

Four, Teju Cole happened to be in Kingston this particular year for the Kingston Writers Fest.

And five, both Teju Cole and Bilan happen to follow each other on Twitter.

Of course, Bilan may have never actually messaged Mr. Cole to meet with aspiring writers like herself and her friends (like me) if one of her acquaintances hadn’t done the same with Junot Diaz. Which had worked. Because not all famous writers were stuck up people and actually cared about meeting other writers-in-progress. Hmmm. Who knew?

So, this was the morning of 27th September. Bilan and I are in the lobby of Holiday Inn on the waterfront. We have a breakfast appointment. With Teju Cole.

It’s 9:30. We are on time. I haven’t had more than an hour’s sleep the night before on account of Foucault but had dragged myself out of bed at 8:00 because you didn’t miss these once-in-a-lifetime opportunities unless you were stupid.

We are contemplating whether to approach the lady at the reception, who is eyeing us suspiciously anyway, when the elevator doors open and Bilan goes, “There he is!”

Teju is all smiles.

There is a round of hellos and handshaking and introductions.

We are about to head into the hotel restaurant when we are stopped by none other than Michael Ondaatje.

Was that a sharp intake of breath? Hold on. There’s more to come.

“Teju. We are leaving at ten,” he says. He is talking of their drive to Toronto that morning. Teju leaves on a plane to New York later that day.

“Ten? Can we leave at 10:10? Or, 10:15? I was going to have breakfast with my friends,” and here, Teju introduces us, “Sanchari and Bilan”.

We shake hands with Mr. Ondaatje (while slightly in awe, if I may add).

“You can have 10:20,” Mr. Ondaatje smiles.

We walk into the restaurant, take our seats, and order coffee and breakfast. While Bilan goes for pancakes and I for a garden omelette with fries, Teju settles for a croissant.

The conversation is organic. We discuss our research interests. Bilan talks of her experience of living the underground life in Jeddah, to which Teju makes up a first line of a possible short story where the narrator finds herself snorting coke with a mother of three in Jeddah. We laugh. He shows us Variations on the Body by Michel Serres, a book he is reading at the moment. He tells us about how he quit his doctoral degree halfway through just to finish his novel. We talk of (Jhumpa) Lahiri, who he’s friends with, and whom I admire.

Then he follows me on Twitter right in front of me. And soon, the half an hour is up and I have forgotten the questions I had planned to ask him. He had not at all been what I had expected. Friendly but not superficial. Intellectual without being pretentious.

Before we can protest, he has paid for our breakfast and scampered away with an impish smile.

For a few seconds, Bilan and I are in a daze.

We solemnly agree that yes, we can now successfully cross ‘having breakfast with Teju Cole’ off of our bucket lists. Like it’s no big deal. Yup, none at all.

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Nuit Blanche 2011: Art for Art’s Sake

Ride the Rocket, Nuit Blanche 2011, Toronto

An edited version was published by South Asian Generation Next on 6th October 2011 (print version).

This year was a cold Nuit Blanche. If you think about it, it almost sounds morbidly romantic. The Cold White Night. You know, the whole shindig about the blank canvas painted with the creativity of art. Yes, that. Except, it was très cold.

So, another year. Another Nuit Blanche. My fourth year. I was excited. Honest. It was the first Saturday since I had handed in my M.A. thesis. My mind was devoid of academia and free to take in the sights and sounds of the novel art fest that I look forward to each year. Last year was disappointing, no doubt. But this year took the cake… in disappointment.

My night started late. I joined a couple of people (friends and friends-of-friends) at around 9:30 on October 1st in Zone A, at Bloor and Yonge. After trying to figure out the map for a while, we ended up walking west on Bloor. The night was young. So were we. Spirits were high (literally, since some of us were surreptitiously drinking). Conversation was flowing. Kind of. And then, bang, at the corner of Bloor and Bellair Street, we were stopped in our tracks by the sight of couples dancing to classical music.

Dancing Couples (unoffical exhibit), Nuit Blanche 2011, Toronto

“Wait, guys,” I said. “This must be an exhibit.”

One of the guys sniggered. I wanted to smack him (as I will for most of the night, but that comes later).

After two minutes of checking them out, we walked on (later, I pored over the list of exhibits to locate what/who they were. Finally, I must conclude that they were an unofficial exhibit.).

Next we ended up at Avenue and Bloor, and entered Church of the Redeemer that hosts an exhibit without fail each year. We were greeted by a smiling old lady who went “welcome”. And then, we were face-to-face with static-y televisions. “This is art?” the same annoying guy started again. “Open your mind,” I said, tersely. The church atmosphere was awe-inspiring. You have to admit that there is something about a holy place that demands reverence. And, silence. But some giggling teenage guys (perhaps, drunk, too) kept yelling out obscenities. The tiny candles, however, along with the choral music, kept the ethereal atmosphere of Compostela alive.

Compostela, Nuit Blanche 2011, Toronto

We moved on, and out into the cold. Where to now? We wondered. “Can we go to the ROM (Royal Ontario Museum)?” one of them asked. “No baby, they are not open today.”

“Actually, they might be,” I ventured. “They had an exhibit last year too.”

We wandered upto the ROM, only to be greeted by milling people, but no sign of any exhibits. There were no welcome Scotiabank info tents to help us either. Wow, we must really be in the midst of a recession, I thought. As we were walking away, I saw people heading out of the side entrance of the ROM. Then, I noticed pictures of Bollywood flicks plastered on the side, announcing the Bollywood Cinema Showcards exhibit. “Guys, they are open!” I yelled, happy as a clam. For those who are not in the know, this exhibit had made its appearance at AGO (Art Gallery of Ontario) a while back, and now it was being recycled for Nuit Blanche. The reason for my happiness was that I had missed it earlier (read: working on my thesis), but now I got to catch it. For free!

The exhibit had us climbing three flights of stairs. “They must really want to discourage us from catching this!” I said out aloud. The exhibit, however, was every bit worth it. It was interesting to watch non-brown people reading out the names on the hand painted showcards, and not getting what they meant. There was one that cracked me up. Ek Sapera, Ek Lutera. One Snake Charmer, One Robber. It had a figure of a very lust ridden Feroz Khan gazing equally lustfully at a helpless half-naked wide-eyed damsel, while in the process of robbing her honour. And there was a snake charmer too in the corner, but it was unclear what his role was. I surmise she falls in love with the snake charmer, who saves her from the Lutera. Oh, well.

Our steps took us to a Niagara Falls exhibit next. Slow Falls Rising, located on the University of Toronto campus, was a video installation of Niagara Falls rising upwards. In slow motion. Don’t look surprised. Yes, that’s all it was. “Je-sus, if this is art, I am entering something next year!” one of my friends called out. “Hey, look at me! I am walking backwards in slow motion!”

Slow Falls Rising, Nuit Blanche 2011, Toronto

We sniggered and tee-heed and went to look for something meaningful in this melancholic night of disillusionment.

We ended up in the middle of Queen’s Park and spied a large exhibit in the distance. We walked, without inspiration. And then, we were silenced. Because The Feast of Trimalchio did just that. Subliminally sexual, the images created tension (all kinds of tension, if I may add). We were silenced, as were most of the crowd. Most of them were open-mouthed and unable to walk away. Reminding myself that the night wouldn’t last forever, and there were many, many more exhibits to catch, I reluctantly moved away. The annoying guy, however, put a damper, as usual, “My evaluation: this sucks”. I had to retort to shut the prick up, “My evaluation: you have no imagination” (He ignored me for the rest of the evening. Not that I care.). We lost him and his friend momentarily in their quest for washrooms (thank god!) and headed to Hart House. There were atleast four exhibits there.

The Feast of Trimalchio, Nuit Blanche 2011, Toronto

The first three inside the building are nothing to write home about (and I won’t even bother). But the one in the courtyard should be applauded for its innovation. Known as Medicine Walk, and organized by the Aboriginal Studies Program at UofT, it was a group exhibition on (quoting from the Nuit Blanche booklet) “aboriginal knowledge, artistry and language”. I made out a beehive made of wood and big enough to accommodate atleast 10-12 adults in it. There was this one guy handing out a drink of some sort. I refused, well, because I had my own drink. There were also rows of pod-like capsules that were filled with crickets. A man at the exhibit explained how crickets needed a certain amount of warmth to stay active (the pods had some kind of heating), and they went into hibernation once they lost that warmth.

Wooden beehive (part of Medicine Walk), Nuit Blanche 2011, Toronto

After having exhausted Hart House, we walked to meet up with the annoying guy and his friend, and went to catch a train from Queen’s Park. Meanwhile, I was informed in hushed whispers that the annoying guy had decided to head home (again, thank god!). The train took us to St. Patrick, and hence, to Zone B.

The first thing we saw was Ride the Rocket, a multimedia video installation that transformed a street car into a virtual ride through video. It appeared to be a popular exhibit, judging from the long line, so we moved on, after taking pictures for posterity.

Next, we walked into The Heart Machine. Termed as an “interactive fire sculpture” in the booklet, the exhibit was too crowded to get a clear glimpse. However, I think the heat from the sculpture may have something to do with that. Cold night. Hot sculpture. Freezing people. You make the equation. I did catch some shooting flames in the air, but it wasn’t enough to keep me around.

Egerton Falls, Nuit Blanche 2011, Toronto

Our next stop took us to Dundas Square, again too crowded to move about in. We headed towards Ryerson University, and stumbled upon Egerton Falls. The fog, music and the lights around the water had me transfixed for a few moments. But the increasing cold (and a desire to empty my bladder) pushed us along. Looking for a restroom, we ended up at Atrium on Bay. After my business, we headed to the underground parking to catch a sound installation known as Border Sounds. The novelty of the exhibit was that it was in an underground parking. The exhibit had different makeshift stations with tons of headphones at each station. Each station played music that referred to a particular area. I caught Israel, Pakistan, India and finally, Canada. And, if you like dubstep, then this was probably your scene.

Border Sounds, Nuit Blanche 2011, Toronto

Later, we caught Paparazzi Bots on Yonge Street. The bots moved around and took your photos and then displayed them on a screen. Brownie points for another inventive project. After this, we stumbled upon Shannon’s Fireflies that had strings of LED lights that react to people’s whispers and convert them into light. Sure, it was “pretty,” but it was also similar to Ning Ning on Bond Street last year. Another case of recycled art? Bah. (Apparently not. Check comments section below.)

Paparazzi Bots, Nuit Blanche 2011, Toronto

We meandered into Zone C, after I filled my belly with some yum yum from one of the food stations in front of Nathan Phillips Square. No, I didn’t see the flying human birds at the Square. Maybe, I was too tired and cold to care. Also, hungry. Hunger makes me blind. The first exhibit that caught my eyes in Zone C was Cardiac Combustion Chamber.  It was a bunch of guys playing drums in the center of car parts suspended into space. The music was mesmerizing, and I wanted to stay. But one of my companions (and, my ride back home) was cold and wanted to leave. It was probably minus 1 at this point, and I wanted to catch Bone Dump, before we called it quits.

Cardiac Combustion Chamber, Nuit Blanche 2011, Toronto

On our way there, we passed by I just know that something good is going to happen. People were standing in lines to grab an umbrella and experience rain. Yes, rain. In the cold. Don’t ask me why. I don’t know why. Sometimes, people are crazy, or too drunk, to care. We also passed by New Dawn Fades on 100 Yonge Street. It was a row of cyclical rings lit by blue lights. There was a line to get in. Again, I don’t know why. It didn’t look very interesting from outside. Not in my opinion, anyway.

I just know that something good is going to happen, Nuit Blanche 2011, Toronto

I just know that something good is going to happen, Nuit Blanche 2011, Toronto

And finally, we came upon Bone Dump in the Financial District, in an alley between 10 and 18 King Street. It was a dump of porcelain bones. At this point, my friend gave me a look that said, “This is what you made me walk in the cold for? This?” “Oh, come on,” I said, “this is better than most of the crap we saw tonight.”

Bone Dump, Nuit Blanche 2011, Toronto

“True,” he nodded. And, we headed back home.

(Interesting stuff seen that night that was not a part of Nuit Blanche: a man in a green skin-tight suit, two guys vomiting together and a man in Snuggies.)

Man in the green skin-tight suit, Nuit Blanche 2011, Toronto

Two vomiting guys, Nuit Blanche 2011, Toronto

Man in Snuggies, Nuit Blanche 2011, Toronto

At two-thirty, when we left, downtown was pretty crowded. This was new. People were genuinely out to enjoy the fest, despite the insipid “art”. But hey, that is a good sign. For artists. For the city. And, to an extent, for the economy. Smile, Rob Ford.

Photographs: Copyright Sanchari Sur (if it wasn’t obvious, already).

Crickets in pods (part of Medicine Walk), Nuit Blanche 2011, Toronto

Shannon's Fireflies, Nuit Blanche 2011, Toronto

New Dawn Fades, Nuit Blanche 2011, Toronto

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Deepak Chopra (and I) at ideacity 2011

With Deepak Chopra at ideacity 2011, Toronto

I took a few hours out of my temporary exile today to interview Deepak Chopra at ideacity, Toronto. How could I miss this once-in-a-lifetime opportunity?

I had interviewed Dr. Chopra’s daughter, Mallika Chopra, last year at ideacity as well (you can check out her interview here). So when I received a media invite from ideacity this year about Dr. Chopra’s upcoming talk and a possibility to interview him after, I had to go.

To know more about what he said at the conference and what he thinks about how social media impacts collective consciousness, keep your eyes peeled here. The interview and more pics will be up by mid /end October. Till then, back to my temporary thesis shelter made out of photocopied articles, academic books and tons of paper covered with my writing.  Aah, (grad)life!

Photo credit: Mariellen Ward (although, all the fancy editing stuff was done by yours truly!)

Update: So, I never actually got around to writing and publishing the interview. Life sort of took over. And, by the the time I became aware of what I should have done, a year had passed. For now, the interview resides on my digital recorder. 

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Good Indian Boys Do Not Cut Hair for a Living

Posting an old interview that was published by South Asian Generation Next on 7th July 2010.

Gay, Proud and Successful: Sunil Prakash on his Life as a South Asian Hairdresser

What happens when your first-born son comes up to you and says, “I want to become a hairdresser”? Do you blink rapidly like a goldfish and wonder to yourself that maybe he is joking? Or, do you balk and then give in to your urge to scream?

Then...

Suave, sexy and a true gentleman, Sunil Prakash, the co-owner of ‘The Lid Lounge’, a high end salon in downtown Toronto, and a hairdresser himself, had the following reaction from his Indo-Canadian father: “Any idiot can cut hair!” Not one to take things lying down, he answered, “Well, if any idiot can cut hair, then you go cut mum’s hair, and we’ll see who’s an idiot!”

... and now

With a far-away look in his eyes and a tiny smirk, he says, “I got cut off financially… I didn’t know what [my father] was trying to do at that point… I got student loans, did my own thing… and (with some pride creeping into his voice) [have] been quite successful ever since.” And, indeed he has, since his salon boasts of famous clientele like Shyam Selvadurai (author of Funny Boy).

Of course, becoming a hairdresser and admitting his desire for an alternative career (as a South Asian) was not the only concern for his parents. When asked if he had a difficult time ‘coming out’ to them, he glibly responds, “Yeah, absolutely… and, as a first-born son too!” He admits that his relatives back in India were more “okay” with it than his parents. He further goes onto explain why most South Asian parents may be reluctant to open up to the idea of homosexuality as a reality within the South Asian community, “Most South Asians here [in Canada] are immigrants or have come with an immigrant mentality, meaning, their socialization has sort of stopped… They are not socially current as Indians [in India] are. You go to India today and Indians of the same age as my parents are far more liberal. My dad left India in the 1950’s and his Indian values are of that someone from the 50s. But (he adds hurriedly) [he is] all cool enough… now.”

However, he admits that it wasn’t easy for his two younger very-straight brothers either, “When they started to go out with their [girlfriends,] my parents started with ‘These Canadian girls’. They had a problem with that too… I don’t know why! (Laughs)” Thinking for a second, he offers an explanation, “Think about it. My father’s Indian. Mother is from England. My brothers and I are all biracial. [We] are both of our parents and neither of our parents. They could relate to us on many different ways but in some ways they couldn’t relate to us because we were slightly culturally different from them.”

Talking about his partner, with whom he co-owns his salon, he says, “My partner and I have been together for twenty years… My parents really respect us for being together for so long. We owe the longevity of our relationship to the example which my parents set for us. And, my partner’s parents have been together for… forever [as well]. We have pretty strongly rooted families… Time is a great leveler, so it all worked out in the end”.

And, are you guys married? He shakes his head and replies, “By the time they changed the same-sex legislation, we had already been together for such a long time that [it didn’t matter]… The commitment is to each other. [Marriage] would be an afterthought at this point”.

Sunil ends with his words of wisdom that maintains its hold on me as I walk alone to the subway to catch my train back to Mississauga, “Never be afraid to be yourself. I haven’t and it’s worked out for me”.

For more informaton on Sunil Prakash’s salon, visit www.lidlounge.com

Photographs: Copyright Sunil Prakash

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