Guerilla seeks key partnership with new Web Director

Thursday, June 2, 2011

Exciting news to share: Here at Guerilla we are currently seeking a foundational new partnership with a talented and enterprising Web Director.

We have currently suspended publication of our print edition to focus energies on updating and revamping web publishing activities—with an eye towards deeper and broader coverage in Ottawa and beyond.

Guerilla’s new Web Director will work closely with us to transform the Guerilla web site into a more robust, active, and interactive online presence that is more deeply integrated with social media and better equipped to maximize advertising and other revenue streams.

The new Web Director will bring proven success with CMS-based web development (preferably in Joomla! and/or Wordpress), an entrepreneurial drive to innovate, and a passionate belief in the Guerilla mission.

Interested individuals or groups should send a brief letter outlining their qualifications and motivations to: This email address is being protected from spambots. You need JavaScript enabled to view it.


Reading ‘Images in a Fog’

Friday, May 20, 2011

Artist Jean Jewer with her painting, Images in a Fog

Post by Barbara Cuerden

I first ran into the FogMan, Bob Cunningham, at a community barbeque on Grand Manan Island, New Brunswick. At that time he had been studying and collecting fog and acid fog samples for 65 years, reading the fog and sending his data to Bowdoin College, Massachusetts. When there was no fog, I could see his white house just away on the point from where I was staying. Under some compulsion to draw and paint air at the time, I was determined to converse with him.

Recently, seeing Jean Jewer’s massive painting Images in a Fog at Cube Gallery called to mind a mixture of recollected images and responses. Past conversations condense and break through into the present “on little cat feet” like Carl Sandberg’s fog. Lingering with it after a rainy week, I recall what Bob told me about the constituents of fog, the physics of it, how it condenses differently because of temperature, and the resulting turbulence between bottom and top layers.

Jewer layers three panels in a top-to-bottom composition that seems to record details of a lost conversation where the rain told her what it saw and the wind told her how to write it down.

Reading Images in a Fog, I see the sweep of Jewer’s arm and shoulder in strokes across the canvas, the specific size of a brush collecting and recollecting the eruptions of that conversation. The small circular wrist movements of a human hand mark the twists and touches, turns and returns of some perhaps stormy encounters. The painting asks me what is surface and what is not-surface; above, in-between, and below. It asks me to feel again feelings aroused by childhood scribbles, rhythmic circles, and those kinds of touches testing materials and types of markings make. It also asks how it feels to be marked by something. I think of those strange Venn diagrams people use to demonstrate the intersection of two fields with the middle oval a felt overlap, the kind of shape you get when you keep scribbling loops and circles. The painting stands between Jean and the weather on the edge of a sudden transition.

Red splashes drip, an overlay marking a final surface layer blooming like water lilies trailing red roots from above to below, but not right down to the bottom. There’s an etcetera quality to the boiling points circulating a sleety bottom panel, moving beyond it and into the margins.

Images in a Fog
is an “emotional weather report”—and precipitation is expected. I am thinking Tom Waits, as I sit with Jean Jewer’s work. The paintings are displayed monolithically, counterbalanced by the grey slab floor at Cube. But what I am actually hearing over the sound system is a perfect musical match, Keren Ann (Live Sessions), singing Chelsea Burns. I could spend the duration of a rainy afternoon here in moody atmospheric conditions, dripping, boiling, shivering, and burning.

Morrow wins CAO emerging artist award

Friday, April 29, 2011

Congratulations to Guerilla #27 cover artist Andrew Morrow, who scooped the 2011 Emerging Artist award from the Council for the Arts in Ottawa. The CAO awards were given out Thursday, April 28 at the Museum of Nature.

Morow won the award against some formidable competition. Also nominated were photographer Jonathan Hobin and painter Howie Tsui, both of whom have been featured in the pages of Guerilla.

In the below photo (by Rémi Thériault), Morrow autographs a copy of edition #27 for Guerilla editor Tony Martins.

Artist featured in issue #27 uses guerilla promo tactics

Monday, March 28, 2011

Is it just us, or does it seem like Olexandra Pruchnicky (“The Story of Olexandra,” Guerilla #27) is everywhere these days?

Here’s a pic that this hi-energy gal posted on Facebook illustrating the results of the spontaneous in-store promotion work she did at Mags & Fags on Elgin Street recently.

“I got so excited! I kept looking over my shoulder though,” explained Pruchnicky of her guerilla marketing effort. “I figured I'd have to explain myself. Happy I didn't. But I did sing the mission impossible theme.”

If you can’t find a free copy of the Guerilla print edition, you can buy one for $5 at:

Mags & Fags
254 Elgin Street

Collected Works
1242 Wellington Street West

Ten minutes to wow 'em at YOWYOW

Sunday, February 6, 2011

Martin Canning talks city planning at the first edition of YOWYOW.

Post by Tony Martins  /  Photos by Pierre-Hughes Giroux

I was honoured to be one of the first-ever speakers at a cool new community-building gathering called YOWYOW when it kicked off Thursday, February 3 at Raw Sugar Café in Chinatown.

Founded by Sophé B Poitras and Marc-André Plouffe, YOWYOW was inspired by the idea of the “unconference." The event is a relaxed non-profit speaking occasion that brings together people from different backgrounds who are doing interesting things locally.

Drawing on an article I wrote about Guerilla in 2009 for an online magazine called New Social Inquiry, I positioned the publication as a kind of public dialogue that helps a community understand itself in new and deeper ways … which is precisely what YOWYOW is all about, too.

The YOWYOW format calls for three 10-minute talks followed by five minutes of Q&A. Nice and tidy, which I always like. Boredom is virtually impossible!

Joining me at the mic on the night were entrepreneur and Algonquin College instructor Ian Graham (founder of The Code Factory), and Martin Canning, founder of the Sustainable Development Council, an emerging forum bridging commercial and civil society stakeholders.

All three of us spoke about ways to build community—in a place that is itself a vital community-building venue, Raw Sugar.

Congrats to Sophé and Marc-André. I look forward to more YOWYOW.

YOWYOW founders Marc-André Plouffe and Sophé B Poitras check out the latest Guerillla print edition at Raw Sugar.

Me, during my turn at the mic.