For immediate release: August 5, 2009

Dear friends and colleagues;

We are pleased to update you regarding the status of Katz’s performative project in Kensington
Market, each hand as they are called:

As many of you know, The Koffler Centre for the Arts dissociated from Katz and the commissioned
project in early May, 2009 because of her political work for Palestinian human rights, and
subsequently sent a defamatory press release across the country, falsely claiming that Katz supports
the extinction of the State of Israel. Since late May, we have been in legal negotiations with the
Koffler about moving forward with the project and we have now reached an agreement. While the
specific terms of this agreement are confidential, we are happy to continue discussions about our
experience and understanding of the Koffler “dissociation” as well as the project itself.

Simultaneously but independent of our legal negotiations, the Toronto Arts Council (TAC) Board of
Directors has been involved in internal discussion, as well as in consultation with the Koffler about
their decision to dissociate as well as their professional and ethical conduct. The TAC has determined
that the Koffler was in violation of the City of Toronto’s non-discrimination policy regarding an
individual’s right to freedom of political association. As it is not TAC general policy to release public
statements regarding such matters, for a more detailed statement regarding the decision, the TAC
invites you to contact Executive Director Claire Hopkinson directly at Claire@torontoartscouncil.org.
It is our understanding that while the TAC will not be withholding funding from the Koffler, they have
approached this situation in a productive gesture of stewardship. This includes working non-
punitively with Koffler around issues of anti-discrimination policy development, transparency of
mandate, curatorial and board structure, as well as accountability and eligibility where public funds
are concerned. We are heartened by the TAC’s official acknowledgement that Koffler violated Katz’s
right to freedom of association, and by extension violated one of the terms of the City of Toronto’s
public funding. We are sincerely encouraged and hopeful about the TAC’s strategies for addressing
this matter.

Finally, we are thrilled to announce that we will soon share details about the presentation of a revised
version of each hand as they are called, to be presented in Kensington in the fall of 2009. We
consider this presentation a positive outcome of a very difficult situation, and look forward to seeing
you at the exhibition. We also encourage continued personal and public dialogue around
Israel/Palestine and the role of cultural institutions in relation to discussion and dissent. The events of
these last few months have embodied the extreme need for such dialogue in all our intersecting
communities, and we are deeply thankful for the threads of discussion arising from the support,
suggestions, and questions you have offered.

Please contact us for further information on each hand as they are called, and check out our website
for continued regular updates. www.eachhand.org

Reena Katz, artist
Kim Simon, curator

Dear friends, supporters and colleagues,

As our situation with Koffler Centre of the Arts continues unresolved, we offer this brief update on the status of the Reena Katz exhibition each hand as they are called:

While we have made every attempt to present the exhibition as originally intended, with numerous logistic delays and the fact that Baycrest Centre Geriatric Care – an essential and valued collaborator in the project – has withdrawn their participation, we are prevented from moving forward at this time.

Our request to meet with the Koffler board of directors has been rejected and the question of silencing discussion and diverse voices within our communities remains.

While it is with great sadness that we announce the exhibition will not be opening to the public on Wednesday, May 20th as originally scheduled, we continue to work towards the presentation of each hand as they are called.

The incredible support that we have received from cultural workers, administrators, organizers, academics, and the media has been the inspiration for our desire to continue moving forward. Your writing, calls, and critical discussions are greatly appreciated and act as a place marker for the original spirit of the project.

We will continue to share updates as they happen, and please visit our website for any information: www.eachhand.org

Sincerely,
Reena Katz, artist
Kim Simon, curator

Two Jewish cultural workers, 30,000 opinions:
A public statement from artist Reena Katz and curator Kim Simon

It is with absolute outrage and a deep sadness that we write this statement regarding our experience working with the Koffler Centre of the Arts. As a Jewish curator and Jewish artist, we were invited by the Koffler to develop a project in early 2008. Since April of last year we have been working closely on an off-site exhibition wholeheartedly approved by Koffler curator Mona Filip, Koffler Executive Director Lori Starr and the Koffler Arts Advisory Committee.

Slated to open on May 20th 2009, the project, entitled each hand as they are called, is an ambitious and considered series of ephemeral gestures reflective of life in Toronto’s historic Kensington Market. The project consists of sonic and visual performances, brings elders from Toronto’s Jewish community into conversation and play with students from Ryerson Public School, and involves a series of vivid posters designed by Cecilia Berkovic sited throughout the Kensington neighborhood. This beautiful, smart and tender project reflects a deep commitment to animating a dialogue between aspects of Toronto’s diverse Jewish/Yiddish history and its fascinating contact with other cultures. Through a queer framing of social history, this dialogue draws on the current social and economic space of Kensington Market, the trans-cultural game of Mah-Jongg, and the fusion music of the North American Yiddish song.

THE FACTS:
Late on Thursday, May 7th we received an email requesting our attendance at an urgent meeting with Lori Starr and Mona Filip, scheduled for Friday, May 8th at 9:00 AM. When we inquired about the agenda of the meeting, Filip refused to answer. The next morning, twelve days before the scheduled opening of a project involving over seventy participants, we attended the meeting. We were shocked to learn that the Koffler would be dissociating itself from Katz and our project solely on the basis of her political affiliations they said they had discovered on the Internet. Of particular concern was Katz’s participation in Israeli Apartheid Week. Starr made a verbal offer to honor the full funding of the project while removing the Koffler’s name, logo and URL from any related material. Before leaving the meeting we requested a discussion with the Koffler Board of Directors and Starr agreed to take the request under advisement. The one -hour meeting ended with many questions unanswered, and it was agreed that we would be in contact again with the Koffler on Monday, May 12th about whether and how to continue such a difficult working relationship. In less than one hour after this meeting, the Koffler and its parent organization United Jewish Appeal of Greater Toronto (UJA) issued separate public statements of dissociation from Katz.

FROM KIM SIMON, CURATOR:
Now distributed to an international network, the Koffler and UJA’s statements are a hypocritical, inaccurate account of Katz’s work for human rights in Palestine. They constitute an irresponsible, inflammatory and slanderous attempt to discredit Katz and by extension her work as an artist. After a year of dialogue with us, to be summarily dismissed by Star and Filip without opportunity for discussion is shocking to say the least.

The Koffler had full knowledge of the work Katz has done over the course of a year to develop close relationships enabling dialogue and collaboration with numerous organizations and individuals participating in her exhibition. While verbally agreeing to continue funding for the exhibition, the Koffler’s reprehensible and uniquely unprofessional conduct has in effect placed the project in jeopardy. At this time, several key collaborators in the project have withdrawn their participation due to the discomfort directly caused by the Koffler and UJA statements.

In their public dissociation from Katz’s exhibition, not on the basis of the aesthetics and content of the work but rather on the presumed opinions of the artist, the Koffler has entered into a practice of cultural blocklisting reminiscent of the 1950s and McCarthyism. I cannot overstate my disappointment in this institution that claims its mission as strengthening “identity and community while fostering an appreciation of difference.” The Koffler’s dissociation with Katz is a complete undermining of open dialogue within the Jewish community of Toronto and a great disservice to the Toronto cultural community, and the greater community of this city. As a condition for receiving financial support, the City of Toronto requires all organizations to follow policies that clearly prohibit discrimination and harassment on the basis of political affiliation. The Koffler Centre for the Arts has unwisely chosen to follow a different course and thus effectively rendered itself an undemocratic cultural space.

Katz is a person for whom I have deep respect. It has been my honor and privilege to work with her, learn from her and debate with her. I am appalled and heartbroken over the manner in which she has been treated by the Koffler Centre for the Arts.

FROM REENA KATZ, ARTIST
I come from a family of many Holocaust Survivors. My elders’ stories of resistance and survival have deeply informed my visual and sound work. In a number of Jewish contexts, I was taught to embrace tolerance and fight racism in all its forms. It is this wisdom and ethical rooting that informs my art practice as well as my activism. My relational, sound and sculptural work have a consistent reference to oral archive, Yiddish texts, Jewish metaphor, and culturally specific imagery.

Starting at age 16, I studied Yiddish with my great-aunts, both of whom lived at the Baycrest Centre for Geriatric Care, a participating organization in the project. I have been a student, teacher, and performer of Yiddish and Klezmer for the past 14 years. I have worked within Jewish, multi-faith, and secular forums to educate around anti-Semitism, racism, homophobia, and sexism.

I bring an irreverent, creative, and queer voice to my Jewish cultural work, critiquing and transforming traditions into contemporary praxis. My projects build bridges between the diverse communities I am a part of, forming my esteemed reputation as a community-based artist. It repulses me that I have to justify my practice here, as I sit falsely accused. I am as Jewish as they come, and not the Jew the Koffler claims me to be.

Israeli Apartheid Week (IAW) and its organizers do not act to delegitimize Israel, but rather, “to educate people about the nature of Israel as an apartheid system and to build Boycott, Divestment, and Sanctions (BDS) campaigns as part of a growing global BDS movement.” I have not stated that I advocate for the “extinction of Israel as a Jewish State” as the Koffler’s statement claims. What I do state publicly is that I am an anti-Zionist Jew. This is an ideological stance, not one that determines any specific outcome for the contemporary state of Israel. I consider the Koffler’s press release a blatant misrepresentation of my position as well as that of IAW.

I do not expect the Koffler or the UJA to agree with my political leanings. The issue here is the silence because of my political affiliations, and the stonewalling of internal dissent and debate within our cultural institutions. I am deeply committed to open discussion both within Jewish communities and with Palestinian, Arab, and Muslim communities worldwide. Dissent and discourse are crucial parts of this now global conversation; silencing and blocklisting are cowardly and toxic. At no point along the way was I asked to represent myself, my ideas, or the mandates of the groups I belong to, despite amicable, almost daily contacts with Filip for many months.

One of the first steps towards dialogue and understanding is upholding the rights of expression and free association. The arts especially, are fertile ground on which communities can come together with respect and creative vision. Cultural workers and artists must be allowed to speak honestly, stir passions, disturb – as well as kindle – justice and peace.

MOVING FORWARD
Since the release of the Koffler and UJA statements we have received overwhelming support from an international community of artists, curators, public arts organizations, educators and organizers. We greatly appreciate your attention to this matter. In further consideration we suggest you continue to question what is at stake in the Koffler’s decision. We respectfully request your support in the form of continued dialogue with each other and a critical inquiry regarding all forms of support to the Koffler Center of the Arts.

Rest assured that the presentation of each hand as they are called will go on, even if this means an amendment to the original project. We look forward to inviting you to the opening.

Please visit our blog at eachhand.org and the eachhand Facebook page which will be up and running by May 12, 2009. For any questions or comments, please contact Reena Katz at radiodress[at]rogers.com and Kim Simon at kimshoshanasimon[at]gmail.com

Sincerely,
Reena Katz, artist
Kim Simon, curator