Update on Canada Council transition to New Funding Model

Update on Canada Coun­cil tran­si­tion to New Fund­ing Model and upcom­ing appli­ca­tion dead­lines for media arts orga­ni­za­tions cour­tesy of IMAA/AAMI

Most media arts orga­ni­za­tions that cur­rently receive assis­tance from the Canada Coun­cil for the Arts through the pro­gram Grants to Media Arts Orga­ni­za­tions – Ini­tia­tives will be moved to one of the two fol­low­ing new pro­grams:
Sup­port­ing Artis­tic Prac­tice – Sup­port Orga­ni­za­tions (for most Production-based orga­ni­za­tions and dis­trib­u­tors)
Arts Across Canada – Arts Fes­ti­vals and Pre­sen­ters (for fes­ti­vals)

There will be no multi-year appli­ca­tion due this fall. Instead, the Multi-year cycle which began in 2014–15 will be extended for a fourth year (2017–18). The 2017–18 instal­ment of Multi-year fund­ing will be released upon approval of an interim report.

The next multi-year appli­ca­tion will be in May or June 2017 (details below). In the mean­time, here are the upcom­ing dead­lines for media arts organizations:

Grants to Media Arts Orga­ni­za­tions – Ini­tia­tives1 Novem­ber 2016
Project Grants to Media Arts Orga­ni­za­tions, Groups and Col­lec­tives: 1 Novem­ber 2016
Grants to Media Arts Orga­ni­za­tions – Equip­ment: 15 Novem­ber 2016

More infor­ma­tion will be pub­lished by Coun­cil in Decem­ber 2016, at which time you’ll also be able to cre­ate a pro­file on the Council’s new web portal.

The first appli­ca­tion dead­lines for the new multi-year pro­grams will be:
Sup­port­ing Artis­tic Prac­tice – Sup­port Orga­ni­za­tions: 15 May 2017
Arts Across Canada – Arts Fes­ti­vals and Pre­sen­ters: 1 June 2017

Note that although these appli­ca­tions will be sub­mit­ted part-way through the 2017–18 fis­cal year and com­pe­ti­tion results won’t be known until Decem­ber 2017, they will cover a three-year cycle begin­ning with the 2017–18 fis­cal year. This means that in addi­tion to your core fund­ing for 2017–18 which you will receive accord­ing to the same lev­els as the last three years, there is an oppor­tu­nity for a retroac­tive top-up to your 2017–18 core fund­ing, if the jury assess­ing your appli­ca­tion decides on an increase to your orga­ni­za­tion.
For fur­ther infor­ma­tion, con­tact your offi­cer at the Canada Coun­cil or go to: http://newfundingmodel.canadacouncil.ca/

ODSP and Arts Grants Questionnaire

ODSP Action Coali­tion, Media Arts Net­work Of Ontario, Work­man Arts, ACTRA Toronto, and Tan­gled Art + Disability

ODSP and Arts Grants Questionnaire

Are you an artist and a recip­i­ent of ODSP? We need your help!

The ODSP Action Coali­tion, Media Arts Net­work Of Ontario, Work­man Arts, ACTRA Toronto, and Tan­gled Art + Dis­abil­ity are work­ing together to gather sto­ries and expe­ri­ences of being both an artist and a recip­i­ent of ODSP.


The Ontario Dis­abil­ity Sup­port Pro­gram (ODSP) is a social assis­tance pro­gram run by the Ontario Min­istry of Com­mu­nity and Social Ser­vices. It pro­vides income sup­port and employ­ment sup­port to peo­ple who receive it.

In order to qual­ify for ODSP your income and assets can­not be above cer­tain amounts. All pay­ments to a per­son receiv­ing ODSP are con­sid­ered income, unless they are specif­i­cally exempted by the rules gov­ern­ing ODSP.

Dif­fer­ent kinds of income for ODSP recip­i­ents are treated dif­fer­ently.  For exam­ple, employ­ment or self-employment income is par­tially exempt, mean­ing you can keep some of it but part of it is deducted from ODSP.  But you can keep 100% of gifts or money that peo­ple give you vol­un­tar­ily, up to $6000 per year.  And you can keep all income that is intended for disability-related expenses, but must get approval from the ODSP office for this.  Because there are so many dif­fer­ent rules, it is not clear how arts grants will be treated.

Some artists who receive ODSP sup­port are con­cerned that if they are awarded arts coun­cil grants their ODSP pay­ments will be reduced, or cut off com­pletely. They may also be con­cerned that they will no longer qual­ify for the health ben­e­fits they cur­rently receive. Since ODSP sup­port is not enough to cover liv­ing expenses and the costs of mak­ing art they face bar­ri­ers to advanc­ing as artists.

The ODSP Pol­icy on Canada Coun­cil of the Arts Grants and Ontario Arts Coun­cil Grants states: These grants are not specif­i­cally exempt under ODSP…The details of the spe­cific grant should be reviewed to deter­mine the nature of the grant, how it is paid and the cir­cum­stances under which the grant is pro­vided. (Direc­tive 5.1)

These reviews are con­ducted by ODSP case work­ers and indi­vid­ual recip­i­ents have had a range of experiences.

This is where you come in.

If you’re an artist and are or have been recip­i­ent of ODSP, please fill out the ques­tion­naire. The ques­tion­naire is vol­un­tary and confidential.

The infor­ma­tion we gather will help us to seek changes that would allow artists who receive ODSP to develop and thrive as professionals.

That means we could see more plays, films, books, songs, etc. cre­ated by and about peo­ple with disabilities.


If you have any ques­tions about this ques­tion­naire, please contact:

Eliza Chan­dler, Tan­gled Art + Dis­abil­ity

Guides on HR, Governance, Equity and Conflict Resolution

Pre­vi­ous con­sul­ta­tions have demon­strated the need for the media arts sec­tor to develop a set of (uniquely tai­lored to the orga­ni­za­tional struc­tures of artist-run media orga­ni­za­tions) best prac­tices, poli­cies and doc­u­ment tem­plates on human resources, gov­er­nance,  equity, and con­flict resolution.

With the sup­port from the Canada Coun­cil for the Arts (Lead­er­ship for Change pro­gram), MANO’s mem­bers worked with con­sul­tants Giselle Bas­anta, Charles C. Smith and Sheila Wilmot in order to develop such poli­cies and pro­ce­dures dur­ing the sum­mer and fall of 2015. After research, con­sul­ta­tions with work groups, the draft­ing of poli­cies and a work­shop on Medi­a­tion and Con­flict Res­o­lu­tion, the con­clu­sion of the project took place in Jan­u­ary 2016 with the pre­sen­ta­tion of the project’s poli­cies and pro­ce­dures to MANO’s mem­ber­ship at the Map­ping Medias symposium.

Guide 1 — Con­flict Resolution_0229

Guide 2 — Best Prac­tices on Equity_0229

Guide 3 — Board Governance_0229

Guide 3– Board Gov­er­nance Templates

Guide 4 — HR Bet­ter Practices_0229

Guide 4– HR Templates

These Guides are the intel­lec­tual prop­erty of MANO/RAMO and are to be used for the ben­e­fit of its mem­ber orga­ni­za­tions. All rights and priv­i­leges that adhere to these Guides are owned by MANO/ RAMOThe infor­ma­tion in these Guides is offered for infor­ma­tion pur­poses only and does not con­sti­tute legal advice. The infor­ma­tion in these Guides may be sub­ject to updates as prac­tices and applic­a­ble leg­is­la­tion change over time. Mem­ber orga­ni­za­tions should con­sult the appro­pri­ate pro­fes­sional for advice relat­ing to spe­cific issues.


Modern Fuel Artist-Run Centre


A cat­a­lyst for cul­tural activ­ity in Kingston, Ontario, Mod­ern Fuel Artist-Run Cen­tre is in its 39th year of oper­a­tions, incor­po­rated as Kingston Artists’ Asso­ci­a­tion Inc. (K.A.A sero­quel online.I.) on 12 Octo­ber 1977. Mod­ern Fuel Artist-Run Cen­tre is a non-profit orga­ni­za­tion facil­i­tat­ing the pre­sen­ta­tion, inter­pre­ta­tion, and pro­duc­tion of con­tem­po­rary visual, time-based and inter­dis­ci­pli­nary arts.

Mod­ern Fuel aims to meet the pro­fes­sional devel­op­ment needs of emerg­ing and mid-career local, national and inter­na­tional artists, from diverse cul­tural com­mu­ni­ties, through exhi­bi­tion, dis­cus­sion, and men­tor­ship oppor­tu­ni­ties. Mod­ern Fuel sup­ports inno­va­tion and exper­i­men­ta­tion, and is com­mit­ted to the edu­ca­tion of inter­ested publics and the diver­si­fi­ca­tion of its audi­ences. As an advo­cate for con­tem­po­rary art, as well as for artists’ rights, we pay pro­fes­sional fees to artists in accor­dance with the CARFAC fee schedule.


Toronto International Film Festival

TIFF logo

TIFF is dri­ven by a mis­sion to trans­form the way peo­ple see the world through film. Our vision is to lead the world in cre­ative and cul­tural dis­cov­ery through the mov­ing image. What began as a ten-day film fes­ti­val has grown to embrace pro­gram­ming 365 days a year. TIFF offers screen­ings, lec­tures, dis­cus­sions, fes­ti­vals, work­shops, indus­try sup­port and the chance to meet film­mak­ers and artists from Canada and around the world.

In Sep­tem­ber 2010, the open­ing of our new home, TIFF Bell Light­box, enabled TIFF to expand to truly become a cre­ative, com­mu­nity and global leader, and one of the world’s pre­miere orga­ni­za­tions in the dis­cov­ery and under­stand­ing of film.

Our year-round activ­i­ties include:

The Toronto Inter­na­tional Film Fes­ti­val has become the launch­ing pad for the best of Cana­dian and world cin­ema, and includes a show­case of Cana­dian short film­mak­ers and a pro­gramme of media arts instal­la­tions across the City of Toronto.

TIFF Cin­e­math­eque is a year-round screen­ing pro­gramme of the clas­sics of world cin­ema and con­tem­po­rary art house films, includ­ing free screen­ings of the avant-garde.

TIFF’s Exhi­bi­tions present a bal­ance of artefact-based shows and media arts instal­la­tions in our 2 gallery spaces at TIFF Bell Lightbox.

TIFF Kids presents out­stand­ing Cana­dian and inter­na­tional films and pop­u­lar work­shops geared for fam­i­lies and school groups.

Film Cir­cuit is a net­work of more than 160 cities across Canada, pro­vid­ing acclaimed Cana­dian and inter­na­tional films to for­merly under-serviced areas.

The Film Ref­er­ence Library holds the world’s most exten­sive Eng­lish lan­guage col­lec­tion of Cana­dian film-related mate­r­ial, includ­ing col­lec­tions from Canada’s most esteemed con­tem­po­rary filmmakers.

Canada’s Top Ten cel­e­brates and screens the best Cana­dian fea­tures and shorts of the year.

TIFF Indus­try sup­ports film indus­try pro­fes­sion­als dur­ing the Fes­ti­val and year-round through the Sales & Indus­try Office and Indus­try Pro­gram­ming initiatives.

MAY WORKSHOP: Accessible Customer Service Training

MAY WORKSHOP: Acces­si­ble Cus­tomer Ser­vice Train­ing
with the Acces­si­bil­ity Pro­fes­sion­als of Ontario

Wednes­day, May 21 — 2:00–5:00 PM

In Per­son: Ontario Arts Coun­cil Board Room
151 Bloor St. West, 6th Floor, Toronto
or remotely via Video Conference

Cost: $80 for MANO/RAMO Mem­bers and $95 for Non-Members

Under the AODA “all busi­nesses or orga­ni­za­tions oper­at­ing in Ontario that have one or more employ­ees and pro­vide goods or ser­vices to the pub­lic or to other third par­ties are legally required to com­ply with the require­ments of the stan­dard.” This work­shop, lead by the Acces­si­bil­ity Pro­fes­sion­als of Ontario, will give media arts orga­ni­za­tions the tools needed to pro­vide excel­lent cus­tomer ser­vice to peo­ple liv­ing with tem­po­rary and per­ma­nent dis­abil­i­ties as well as numer­ous resources to ensure your orga­ni­za­tion is on the right path to becom­ing compliant.

Atten­dees will also receive train­ing man­u­als valid for two years that will allow them to train staff who are not in atten­dance, future employ­ees and vol­un­teers at no extra cost. Addi­tion­ally, you will be pro­vided with tem­plates for poli­cies and pro­ce­dures, sim­pli­fy­ing the com­pli­ance process for the Acces­si­ble Cus­tomer Ser­vice Standard.

The Acces­si­bil­ity for Ontar­i­ans with Dis­abil­i­ties Act (AODA) became law in 2005.  There are 3 sep­a­rate stan­dards that may con­cern your business:

1. Acces­si­ble Cus­tomer Ser­vice Stan­dard (Ontario Reg­u­la­tion 429/07) — Com­pli­ance dead­line for pri­vate and non-profit orga­ni­za­tions: Jan­u­ary 1, 2012;
2. Inte­grated Acces­si­bil­ity Stan­dard (Ontario Reg­u­la­tion 191/11) — Com­pli­ance dead­line for pri­vate and non-profit orga­ni­za­tions: Vary from Jan­u­ary 1, 2014 to Jan­u­ary 1, 2025 and
3. Built Envi­ron­ment Stan­dard — Com­pli­ance dates start­ing Jan­u­ary 1, 2015

Atten­dees attend­ing remotely will con­nect to the work­shop by video­con­fer­ence, login details will be pro­vided by MANO/RAMO.

Due to train­ing method­ol­ogy, reg­is­tra­tion is lim­ited to 24. To reg­is­ter, please email membership@mano-ramo.ca.

Nipissing Region Curatorial Collective


The Nipiss­ing Region Cura­to­r­ial Col­lec­tive is an ad hoc, project-based group of media artists, cura­tors, writ­ers and edu­ca­tors man­dated to curate, pro­mote, develop and facil­i­tate regional con­tem­po­rary and site-specific art in the region of north­east­ern Ontario and to fos­ter the pro­duc­tion and pre­sen­ta­tion of con­tem­po­rary visual arts in Canada.  Our main goal is to bring all forms of con­tem­po­rary arts cre­ated by North­ern Ontario artists to audi­ences from across the coun­try. By ini­ti­at­ing unique and high qual­ity con­tem­po­rary art projects in our region, we hope to increase the pro­file of regional artists, develop the con­cepts of a regional art prac­tice, travel exhibits of north­ern regional art to other parts of the coun­try, and develop a dis­course between artists work­ing in regional areas and crit­ics or cura­tors of “inter­na­tional” con­tem­po­rary art.

Through our var­i­ous projects, we pro­duce visual and per­form­ing art exhi­bi­tions, arts col­lo­quia, and site-specific events that focus on under­stand­ing North­ern Ontario con­tem­po­rary visual arts prac­tices and plac­ing these within a global con­text. Our col­lec­tive is fluid and dynamic, mem­bers of our nomadic col­lec­tive include cura­tors and project lead­ers from across Ontario, design­ers, pho­tog­ra­phers, emerg­ing cura­tors, edu­ca­tors and artists. The Col­lec­tive also exists as a part­ner­ing agent, work­ing with and on behalf of many com­mu­ni­ties and activist groups across the north­ern two-thirds of our province. We work to bring diver­gent audi­ences and com­mu­ni­ties together, as we com­plete projects that will inform con­tem­po­rary regional art and media arts practices.



Co-presented by  The Images Fes­ti­val, MANO/RAMO and aluCine


Sun­day April 13, 2014 @ 2 PM
Monarch Tav­ern – 12 Clin­ton St

For 2014, Images Fes­ti­val and Media Arts Net­work of Ontario (MANO/RAMO) we have assem­bled two esteemed pan­els that will debate (Oxford style!) the impli­ca­tions and effects of the pro­fes­sion­al­iza­tion, through acad­e­mia, of art.

Mod­er­ated by: Deanna Bowen
Team Yes: Andrew Lam­bert, Ross McLaren and Wanda Nanibush
Team No: Omar Estrada, Paige Sar­lin and Kim Simon


Fri­day April 18 @ 5  PM
Admis­sion: $10 general/$5 mem­bers, stu­dents, seniors
Jack­man Hall - 317 Dun­das Street West, McCaul Street entrance

Speak­ing Together

The obtuse and absurd sys­tem of hand signs and move­ments that make up the actions in Open Out­cry rep­re­sent a lan­guage reduced to the con­cerns of finance and econ­omy, a closed sys­tem, yet one that is per­va­sive in all facets of our lives. From here, this pro­gram pushes out­ward, to explore the notion of com­mu­ni­ca­tion through both­lin­guis­tic and non-linguistic means.

Open Out­cry
Ben Thorp Brown
USA, 2013, video, 15 MIN
A per­for­mance that cat­a­logues and inves­ti­gates the com­plexly absurd means of ges­tures that were once the pri­mary mode of com­mu­ni­ca­tion by com­modi­ties traders on the stock trad­ing floor. The per­form­ers cre­ate a kind of instruc­tional video – one call­ing out the words and describ­ing the asso­ci­ated actions while the other demon­strates those actions – high­light­ing the self con­sum­ing nature of this lan­guage that was both invented by and made obso­lete by finance capitalism.

Wow and Flut­ter
Jen­nifer Brady
Ire­land, 2013, video, 13 MIN
A por­trait of a mag­nif­i­cent bird draws on the 30-year rela­tion­ship between ani­mal cog­ni­tion sci­en­tist, Irene Pep­per­berg and the African Grey Par­rot who she trained in ele­ments of human lan­guage. The ele­gant depic­tion of the ani­mal attempts to ‘give voice’ to the crea­ture while rais­ing ques­tions about what cre­ates and what lim­its language.

one, two, many
Manon de Boer
Bel­gium, 2012, 16mm/video, 22 MIN
one, two, many strings together three per­for­mance ges­tures: a con­tin­u­ous, seven minute long flute per­for­mance, a record­ing of an off screen dis­cus­sion about the qual­i­ties of Roland Barthes’ voice, and a choir of four singers per­form­ing to a small group of peo­ple. Each seg­ment of the film artic­u­lates a dif­fer­ent posi­tion about and man­i­fes­ta­tion of the voice. Mov­ing from the closed, cir­cu­lar breath­ing of the flautist, Michael Schmid, in the first sec­tion, to the cho­rus per­form­ing for the audi­ence, de Boer’s film presents a med­i­ta­tion on speak­ing together, lis­ten­ing, and the indi­vid­ual body in rela­tion to the collective.

Peo­ple to be Resem­bling
The Otolith Group
UK, 2012, video, 21 MIN
Peo­ple to be Resem­bling was com­mis­sioned for the exhi­bi­tion ECM–A Cul­tural Archae­ol­ogy, a research-based archive project about the his­tory of the pio­neer­ing music label ECM. The video focuses on the musi­cal trio Codona, a group founded by Collin Wal­cott, Don Cherry and Nana Vas­con­ce­los in 1978. The video uses his­tor­i­cal pho­tographs, inter­views, archival footage of the musi­cians and a text cita­tion from Gertrude Stein’s “The Mak­ing of Amer­i­cans” to reflect on the junc­ture of two dif­fer­ent man­i­fes­ta­tions of polit­i­cal form in the his­tory of black music.

E-fagia Visual and Media Art Organization

efagia logo

e-fagia is a Toronto-based orga­ni­za­tion cre­ated to pro­duce and dis­sem­i­nate media art projects with empha­sis on con­tem­po­rary Cana­dian and Latin Amer­i­can artists. We pro­vide a space for artists’ vis­i­bil­ity in the national and inter­na­tional com­mu­ni­ties, while advanc­ing the­o­ret­i­cal inquiry through exhi­bi­tions, dig­i­tal and print pub­li­ca­tions, and lec­tures by local and inter­na­tional artists, cura­tors and scholars.

We have a trans-disciplinary approach towards the com­plex­ity of con­tem­po­rary arts: we fos­ter encoun­ters between media artists and peo­ple of other aca­d­e­mic dis­ci­plines to develop aes­thetic and socio-communicational projects under the net of rela­tions enabled by new technologies.