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South asian visual arts centre

493 1 year ago
Our mission is to produce innovative programs that critically explore issues and ideas shaping South Asian identities and experiences. We encourage work that is challenging, experimental and engaged in critical discussions on visual forms and processes, and which offer new perspectives on the contemporary world. SAVAC develops and produces exhibitions, and a range of contemporary visual art interventions and programs. SAVAC works without a gallery space, and typically in collaboration with other artist-run centres, public galleries and visual arts organizations.
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South Asian Visual Art Centre (SAVAC)

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Sampad continues to play an instrumental role in promoting and encouraging British Asian arts and artists to progress, break new ground and enrich mainstream culture in the UK. Sampad programme a number of events throughout the year from dance, music, theatre, literature and visual arts. Over 29 years we have built a strong track-record of showcasing high quality productions and events. Sampad works with a wide range of partners delivering work across a variety of agendas from producing spectacular events to supporting professional development, diverse communities and artistic innovation. Sampad announce new commission! View More. Sat 3 August - 2pm Matinee 7pm Evening.
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Sajdeep Soomal at SAVAC (South Asian Visual Arts Centre)

Using traditional museum tactics such as collecting, preparing, interpreting and displaying, Farooq and Linschooten have created what appears to be a typical museum installation. On closer inspection, it is apparent that their museum cases contain objects from active South Asian neighbourhoods in Brampton, Mississauga, Scarborough and Milton. As a result, the process of making art and displaying art becomes unexpectedly merged. Coinciding with Maharaja: The Splendour of India's Royal Courts , The Museum of Found Objects: Toronto creates an opportunity for visitors to make a clever comparison between the value of historic and present-day objects. The Maharaja exhibition celebrates the historic pride of Indian culture and the splendours of India's great Kings.
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She is interested in the role that memory plays, in not only what we choose to remember but how we think of the past. Using the motif of the rubberstamp both as object and imprint, signifying the bureaucratic apparatus, Kallat has worked with officially recorded or registered names of people, objects, and monuments that are lost or have disappeared without a trace, only to get listed as anonymous and forgotten statistics. In her works made with electrical cables, wires usually serving as conduits of contact that transmit ideas and information, become painstakingly woven entanglements that morph into barbed wires like barriers. Her ongoing series using salt as a medium explores the tenuous yet intrinsic relationship between the body and the oceans, highlighting the fragility and unpredictability of existence.

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