Halloween in The City & what to do in Toronto on October 31st
This isn’t your typical Halloween Bash but then again Mirella Amato, founder of Beerology™, doesn’t throw a typical event.
I discovered Mirella at Pecha Kucha Toronto at the Gladstone Hotel speaking about an event she was hosting called “Hopera.” What is a Hopera you ask? Well, it is Mirella’s mashup of her two professional loves – Hops & Opera. For last year’s event “each beer was paired with an operatic aria, duet or ensemble.” Mirella says she wanted to “create the ultimate evening, by combining two fantastic things, and to open doors: introduce opera lovers to craft beer and introduce craft beer fans to opera.”
“It was to share two of my passions and inspire people to look at both opera and beer in a new way. Before each pairing, Melanie[the Opera Singer] provided a description of the piece and I then guided the audience through a brief tasting of the beer, explaining why I had chosen this particular beer for the pairing.” Read more about the event…
But Mirella’s upcoming event for the night of Halloween 2013 may just take the cake (or worm) as the most unique Beerology™ event as well as the most intriguing (and possibly the creepiest) mashup – Beers & Bugs.
Hallowe’en is around the corner. Why not celebrate by sinking our teeth into some creepy-crawlies?
For this event “Cookie Martinez and guests will be preparing five different cricket canapés and sweets, each of which will be expertly paired with a craft beer as chosen by Canada’s only Master Cicerone, Mirella Amato.”
At a time when food scarcity and sustainable options for protein need to be explored Beer & Bugs is a fun way to introduce our culture to considering insects as a food option.
Why eat crickets?
They are sustainably produced, using less water, less land, producing fewer C02 emissions with a high feed to protein produced ratio
They are nutritious. High in protein, Omega 3 fats and iron
They are versatile to cook with
They are found everywhere on the planet, meaning that they do not pose an ecological disaster. They are also capable of being raised in home units
Why drink beer?
Can you think of a reason not to?
BEER & BUGS EVENT DETAILS:
The Victory Café
581 Markham St, Toronto, M6G 2L7
Thursday, October 31, 2013 from 7:00 PM to 9:00 PM
Tickets are $25 advance | $40 Cash at the Door
Click here to register for the BEER & BUG Event & purchase advance tickets.
Perhaps the most obvious comparison one might make upon seeing Chiko Chazunguza’s paintings would be to the work of Jean-Michel Basquiat. But to stop there would be like experiencing a Wifredo Lam painting in the Cubist style and expecting that its inspiration followed the same trajectory to creation as a painting by Picasso. Like these masters of Cubism, Chiko and Jean-Michel punctuate the compositional conversation with some shared visual shorthand and technique but the point from which they leap off of is, like Lam and Picasso, individually unique and located within their own cultural specificity.
Originally from just outside Harare, Zimbabwe, Chiko spent seven years in Sofia, Bulgaria on an art scholarship. While in Sofia he “was trained in the classical modes of printmaking, drawing and painting”. Upon arriving home though Chiko realized that in order to expand as an artist he would have to enter back into the culture of his youth so he could find a visual language that would be his true to his way of scripting a story.
“I wanted to pick a language I could use that was compatible to my history, my tradition.”
Human walls by Chiko Chazunguza.
Finding a New Visual Language
The inspiration of mis-registration, the effect given by the areas that overlap and bleed out in screen-printing, seemed appropriate for this cultural provocateur. It was Chiko’s experience as a printmaker that made him “approach painting with an attitude of non-conformity”, to shift the paint just outside the lines. This overlapping and layering, inherent in the process of screen printing, spoke to the layers of culture – traditional tribal, leftover colonial, urban contemporary – that blanketed Zimbabwe in repression upon Chiko’s return.
“It was like being in Sofia during the breakdown of the old regime. Communism was kicking its last kicks was a dying horse and the political condition that I arrived home to was much the same.”
But it was not until another move, another cultural relocation, that Chiko began the collection and style of paintings showcased at the B.A.N.D Gallery for his show SHIFT.
Upon moving to Canada this artist, who is known back home for his installations that poke and prod at the socio-political contentions of a country in flux, picked up a pop can then oddly enough was inspired to paint.
Nursery 2 (detail) by Chiko Chazunguza.
It was the omnipresence of aluminum soda cans in Canada and their ease of acquisition that made them fitting as a symbol for consumer culture. Along with being ubiquitous they were durable – omni-persistent!
Nursery 2 by Chiko Chazunguza.
It was the “generousity of Canadians” who upon hearing he was an artist stocked him up with paint that got him started in combining the two materials to continue his theme of “reflecting on the traditional in transition.”
“Here food is always being advertised. It is at your doorstep, in your mailbox. Pop is a drink that is not necessary but it is always in front of you.”
Juxtaposed with hard memories of scarcity back in Zimbabwe, where people had to line-up single file into endless rows for basic staples, a vision was realized for a new body of work.
“Line-ups and people waiting in suspense for something to come, that was my inspiration…these line-ups look beautiful in their own way and you can almost forget the struggle…When there is a crisis, a shortage of basic commodities people behave differently and visually this informs.”
Passage by Chiko Chazunguza.
Shifting our Ideas of Who We Are
Many of the paintings in the SHIFT show come with pop cans, liquor labels and food advertisements cutting through the canvas like interruptions. They are then woven over, around and through deconstructed figures, busy heading nowhere in never-ending cues for food, for water, for life. Urbanization in Zimbabwe led to the inability for one to produce his or her own food which had been the previous traditional practice. A population of producers turned into a population of dependent consumers enmeshed (like the cans in Chiko’s work) in the ebb and flow of changing regimes.
“The figures are multi-faced; the disfiguration is because one’s face may change into all sorts of faces in that queue.”
While waiting in line with a stranger one can “start chatting, become friends, fall in love.” But by the end of the line the friend becomes the enemy and the lover a foe if one gets the last ration with nothing left for the one behind.
Nursery 1 by Chiko Chazunguza
Although the painted experience in Chiko’s work is intimately personal the anonymous quality of the figures in his paintings let them become the every(wo)man, no longer a “them” but an “us” as together, in this contemporary context, we face a future of scarcity on a global scale.
Following in the tradition of artists like the aforementioned Wifredo Lam we can see that Chiko, for his inspiration and call to action as an artist, draws from the common experiences of humanity in transition.
“Through art, I reflect upon how issues such as spirituality, disposition, denied access and interference with basic commodities, and the painful evolution of ancient cultural traditions into contemporary yet uncertain urbanized communities, all shape and shift our constructed notions of identity.”