Currently working in Toronto. He received an honours undergraduate degree in Art History from McGill University (1997) and his diploma (honours) from the Ontario College of Art and Design (2001). Borins has worked in artist run centres such as V Tape, and as a programmer of video. He contributes regularly as an independent curator, programming exhibitions on a local, national and international level. In 1999, he founded the Art System Cultural Centre, a gallery for emerging and established artists, that specializes in experimentation and new directions in curation. Borins has regularly published articles and criticism in Canadian journals. He continues to exhibit his art locally and internationally. Daniel Borins collaborates on sculptural projects with his partner Jennifer Marman. Their mix of minimalist, conceptual and engineered electronic art has shown on a national level in Canada.
FAMEFAME is a curatorial, programming, and artists collective for the
production, presentation and promotion of visual art and time based media
work including but not limited to video, audio, kinetic sculpture,
painting, event and net art.
Famefame‚s impetus is in a unification of cultural practice, we create
opportunities for artists and audiences to involve themselves in cultural
activity in a integrated fashion. For the total art experience we strive
to play on all facets of the viewers experience including, sight, sound,
mind, touch and sometimes smell. It is our belief that when all of these
elements are activated simultaneously that the viewer opens themselves top
the work, or in a best case scenario that they become more than audience
they become directly involved in an active relationship with the work
Famefame‚s roots were developed in a progression of music concrete and
Dadaist cutups modified to serve the medium of video under the title
„Jawa‰. Jawa made use of pre-existing media materials through inventive
appropriation and early forms of digital editing to accommodate a rapid
„machine gun‰ edit style. In addition to the use of appropriated
materials, Jawa introduced an evolutionary worship of the glitch aesthetic
into its technique later followed by the now all-inclusive nature of seeing
and hearing. The complete union between auditory and visual traditions in a
progression based on works such as „Tower‚s Open Fire‰ by William S.
Burroughs and „Timber‰ the video/audio collage by British collective,
Famefame maintains a website, which provides more on this theoretical
approach and constantly updated information about our practices and
Past Famefame events:
CTRL+ALT+DEL, CDR release of sound works by Tasman Richardson, Feb. 2002.
This glitch based experimental electronic composition was launched at the
ART SYSTEM and received very enthusiastic response.
SPEED, a video program curated by theblameshifter (aka Tasman Richardson),
Nov. 2002, was the first of the official FAME FAME events. It was a very
successful single evening screening held at the ART SYSTEM. The theme of
the program examined different views of the influence of pace and the
dynamics which come into play with variation of pace, velocity and duration
and the impacts these elements have on our cultures and our lives.
Video work by:
SOMEPLACE, record, 2002, a compilation of audio works based on a concept
and source material by Tasman Richardson. 8 artists were asked to create a
piece addressing specific thematic concerns of mental illness and
Limited edition of 300.
SOMEPLACE, event, Jan 2003. Site specific performances created for a
disused psychiatric hospital in Whitby, ON, a very special and exclusive
event reached by chartered bus.
ATTACK OF THE CLONES, video screening as part of the 2003 TRANZ TECH VIDEO
ART BIENNIAL curated by the Famefame collective. 15 video artists are
invited to produce a video work entirely from the Arnold Schwartzenegger
film „The 6th Day‰ invited will artists include:
Famefame exists for the production and promotion of the aggressive, intense
and volatile. Our aim is to promote an immediacy, that transcends the
physical means of the work itself , threatening the boundaries of video,
sculpture, performance and event arts, audio and music, generating new
strategies for culture making.
Our work is a furious attack on the mysterious doors of the impossible.
Moralism and every utilitarian cowardice have atrophied our faith in
romantic notions of purity, beauty and truth. Civilization has domesticated
the feral spirit of the living. This program of convenient submission is
one of castration. We are specialists in Revolt.
We turn bravely to face the abyss, without fear, without hope; we dive
headlong into the oblivion of a tele-visionary existence.
We undertake an impossible crusade. Unlike our predecessors, who have
resigned themselves to the flesh piles of end time, we seek to find
the bleeding edge of the advance guard of contemporary thought, while
giving a virtuous transmutation of the passions of the doomed.
We live in the absolute: primitive geometry; experiential association; and
the empirical investigation into the evolving nature of being.
Our work is the residual iconography of the new ethos condensed into a
singular gesture. We give form to the wall of history as it crashes into
itself, obliterating the lines of demarcation, to break out of time into
the experience of the perpetual present, the infinite moment, the absolute
Death for the dead, life for the living.
393 Harbord St. Unit #1
Toronto, Ontario, M6G 1J1
email@example.com, firstname.lastname@example.org, email@example.com, firstname.lastname@example.org
Contact: Tasman Richardson