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Our Current Issue [Toronto Exhibitions Calendar]
Weee! It's summertime! Toronto is splitting its sides with exhbitions and events to keep your eyes popping until the leaves fall off the trees. Check out what's going on around town:
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A SPACE GALLERY
401 Richmond Street West, Suite 110
Toronto, ON, M5V 3A8
T: 416.979.9633
E: victoria@aspacegallery.org
June 3 - July 17, 2009
Roja Aslani, Heather Passmore: Bearing the Broken Utopian Promise
Opening Reception: Wed June 3, 6 - 8pm
Curator: Khadija Siddiqui
In this two-person exhibition, artists Roja Aslani and Heather Passmore challenge the importance of social hierarchies and the significance of truth through re-contextualising quotidian objects. By manipulating and tampering devaluated mass-produced materials, Alsani and Passmore embed new fictitious meanings in the reality of discarded objects.
While Aslani fabricates interiors with the intention of intertwining the reality of the objects with the fantasies they collectively present; Passmore incorporates paint and newspaper images to question the untold truth of already stained mattresses. The fictitious connections and stories, now weaved into each object, blur the traces of their societal reality with that of social myths.
BIOGRAPHIES
Roja Aslani is a Persian Canadian artist currently living and working in Edinburgh, UK. Roja has a Psychology degree and a BFA from Canada °©°©and an MFA in Sculpture from The Edinburgh College of Art, UK. Roja has exhibited across Canada as well as Germany and the United Kingdom. Upcoming shows include a group show in London UK, a two-man show in Toronto, a solo in Calgary and Kelowna.
Heather Passmore is an artist based in Vancouver where she obtained an MFA from UBC in 2004. She has since exhibited extensively in solo and group exhibitions across Canada and internationally. Heather uses painting, drawing, and photography to explore the politics of taste, class, and art through the reconfiguration of quotidian, outdated, and discarded media. She recently completed an international artist residency in Norway.
Khadija Siddiqui is an emerging curator and painter based in Toronto. In 2008, she has received a BFA in Criticism & Curatorial Practice studies from the Ontario College of Art & Design. Her final year thesis project consisted of an essay and website on the ethics and representation of visual truth.
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AKAU INC. PROJECT SPACE
1186 Queen Street West (side entrance on Northcote)
Toronto, ON M6J 1J6
Hours: Tue - Sat, 10:00 am - 5:00 pm
April 19 - June 13, 2009
Karen Henderson: Slow Pans
A site-specific, photo-installation by Toronto artist, Karen Henderson. Henderson is interested in what happens to still things when she adds the element of time to them and conversely what happens to time-based things when she represents them as static. Henderson says, "I have used the akau project space as a static thing and paired it with Tuesday the 3rd February as the time-based thing." You are cordially invited to experience Karen Henderson's arresting intervention.
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ART GALLERY OF MISSISSAUGA
300 City Centre Drive, Ground floor, South East corner
Mississauga, L5B 3C1
Hours: Mon - Fri 9 am - 5 pm, Sat & Sun Noon to 4 pm
May 14 - July 12, 2009
Man's Ruin
Curated by Suzanne Carte - Blanchenot
Tattoos are a language, an illustrated book of one's stories, religious beliefs, superstitions and deviations.
One of the most infamous of these images, Man's Ruin, exposes vices - drinking, womanizing and gambling. It usually features a sexy pin-up lounging in a martini glass or riding a bottle with a winning hand and a pair of die in the background.
Man's Ruin can be seen as either cautionary images or an open invitation for debauchery. Yet even "sins" can become virtues - they defy social mores and can define who we are.
Man's Ruin features artists who borrow from and are inspired by the iconography of popular North American and traditional naval tattoos. Much like the narrative created by tattoos, contemporary art speaks to a history of image reading.
A free shuttle bus departs from the Gladstone Hotel (1214 Queen Street W., Toronto) at 7 pm to the Art Gallery of Mississauga returning by 9 pm.
Mississauga artist Artur Augustynowicz's Projection Access glorifies vice from YouTube images. Acidic, fast-paced video clips repeat, creating a discombobulating effect.
At the entrance is Julie Moon's beautifully crafted Hanging Arms, images of death, love and lust. Floral and star decals rest on ceramic fists and skulls.
Fiona Smyth's sprawling mural animates the darker side of want, need, and consumption. Her work explores popular and alternative cultural icons and epitomizes the strong connectedness between the body and memory.
Using wax seal from whiskey bottles, Tom Fruin's Shot's of Marker's Mark speckles the gallery wall like a fresh spray of blood.
Fruin's work uses material from New York streets to embody the habitual and repetitive action that "man's ruin" implies. Shuffled Deck, for example, sees the creation of a full deck one found card at a time.
From Trevor Mahovsky and Rhonda Weppler's clutter sculpture series Wreath and Champagne Bottle, Island with Bottle, and Skull & Bottle also explore the accumulation of abject objects from back alleys and basements.
Overlooking the exhibition, David R. Harper's taxidermy bear teeters on a faux wood-burning stove. An intricate, stitched portrait of a young girl on the bear's back is hauntingly reminiscent of large back tattoos that pay homage to past lovers.
Tattoo artists from the region will also be invited to work on patrons and exhibit their work on a white cube. On May 14th, Toronto tattooist Sarah Bolen will be working in the gallery amongst her velum drawings.
A mainstay at Cottage 13 in Hamilton, Ontario, Jen Stewart is a highly respected and sought after artist. Man's Ruin features her playful and large-scale colour pieces.
With a studio in Parkdale, Toronto, Daniel Innes (known for his Ukiyo-E influenced tattoos) has created temporary tattoos with his own version of Man's Ruin.
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ART GALLERY OF YORK UNIVERSITY
Accolade East Building,
4700 Keele Street Toronto
T: 416.736.5169
E: emelie@yorku.ca
Hours: Mon to Fri, 10 am-4 pm; Wed, 10am-8 pm; Sun from noon-5 pm; and closed Sat
April 8 - June 14, 2009
The Communism of Forms
The Communism of Forms: Sound + Image + Time ’Äì The Strategy of Music Videos is a fluid and evolving exhibition whose first presentation (Galeria Vermelho, Sao Paulo, 2006) has been remixed and restaged to resonate in the Toronto context. The playlist has been edited, with some works dropped out, others added, and new works specifically commissioned for this presentation. The exhibition itself has been divided between two venues ...
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BLACKWOOD GALLERY
at the University of Toronto
359 Mississauga Road North
Mississauga, ON L5L 1C6
T: 905.828.3789
Gallery Hours: Mon - Fri, 11 - 5pm; Sun, 1 - 4pm
April 9 - May 31, 2009
Awashawave
Curated by Christof Migone
An exhibition investigating figurative and literal interpretations of inundation, and the resulting perceptual tensions and shifts of being one amongst many. With works by Louis Fortier, Antonia Hirsch, Young-Sup Kim, Arnold Koroshegyi, Diane Landry, Michael Snow and Kelly Wood.
View photos, videos and journal entries by the curator at http://blackwoodgallery.ca/Blackwood_exhibitionawashawave.html and don't forget to read Alison Syme's text on Diane Landry!
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BOARD OF DIRECTORS
1080 Queen St. W.
Toronto, ON M6J 1H8
www.boardofdirectorstoronto.com
Gallery Hours: Thur & FrI, 12 - 7 pm, Sat, 12 - 6 pm, Sun 12 - 5 pm or by appointment
June 18 - July 18, 2009
Kris Knight: Farewell Log Cabin
The latest in a series of installations by Faith La Rocque, which seeks to explore conceptions of healing, hope, technology and truth in relation to alternative health therapies. In Farewell Log Cabin, Toronto based artist Kris Knight brings winter back for one month, with a new series of figurative oil paintings that depict winter, both externally and internally.
For his latest body of work, Knight has continued his examination of the seasons by creating a series of intimate character based paintings and portraits that explore ideas of cabin fever, isolation and winter phenomena. To most Canadians the notion of being snowed-in until spring seems unconceivable, but to a lot of early northerners it was a seasonal misfortune that one had no choice but to endure. Knight believes that the experience of winter confinement has deep roots in Canadian society, and even though we are less remote than the lone confinement historically experienced, there's still a thrilling uneasiness when our winters turn wild and unforgiving.
Some of Knight's characters in Farewell Log Cabin go bananas, others salaciously make the best of the situation, while the daring try to fight themselves out from winter's mass burial attempt. However, as in most of Knight's previous works, he takes this otherwise stark theme and twists it with sexual overtones, notions of the paranormal, enchantment, superstition, mischief and humour.
Since his first solo with Katharine Mulherin in 2005, Knight's much in demand portraits and paintings have made their way into several permanent museum collections and esteemed private collections. His paintings have been widely collected across Canada, as well as America, South America and Europe, and have been published nationally and internationally and profiled on the CBC. Recent solo exhibitions include So Long Scarecrow (2008) at Spinello Gallery in Miami and How We Quit The Forest (2007) at Katharine Mulherin Contemporary Art Projects in Toronto.
Adrianne Rubenstein: Galapagos
curated by Erin Stump
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CAMERA LOUNGE & BAR
1028 Queen St. West
Toronto, ON
W: www.camerabar.ca
Saturday afternoons, December 6th, 2008 - January 31, 2009, 3 pm
May 29, 9 pm
May 28, & 31, 7 pm
July 1, 3 pm
U.S. vs. John Lennon
Dir. David Leaf and John Scheinfeld (USA, 2006) 99 mins PG13
A documentary film about John Lennon’Äôs evolution from a member of The Beatles to a rallying anti-war activist striving for world peace during the late 1960s and early 1970s. In 1972 President Richard Nixon initiated a campaign to deport Lennon because of his antiwar activism. The film tells the story of the United States Government’Äôs attempt to silence John Lennon and how in the midst of one of the most tumultuous times in American history, Lennon refused to be silenced and courageously won his battle with the U.S. Government.
May 30, 3 pm
July 1, 9 pm
Across the Universe
Dir. Julie Taymor (USA, 2007) 133 mins PG13
A fictional love story set in the 1960s amid the turbulent years of antiwar protests. An original musical film, the title and main characters are named after various songs by The Beatles. A dock worker Jude travels to America in the 1960s to find his estranged father. There he falls in love with sheltered American teenager Lucy. When her brother Max is drafted to fight in the Vietnam War, they become involved in peace activism. Star-crossed lovers, Jude and Lucy are swept up into the emerging anti-war and counterculture movements. Tumultuous forces outside their control ultimately tear the young lovers apart, forcing Jude and Lucy to find their way back to each other.
May 27, 29 & July 1, 7 pm
Imagine
Dir. Steve Gebhardt, John Lennon and Yoko Ono PG13
A very personal and emotional scrapbook of the life of John Lennon. The documentary begins in 1971 at Tittenhurst Park in England, where John and Yoko lived and were then working on Lennon’Äôs Imagine album. Comprised from hundreds of hours of Lennon interviews and personal home movies, Lennon narrates the film and through his memories he recounts the time of his birth, his rise to fame with the Beatles, the breakup of the group, meeting Yoko Ono, all of the exploits of John and Yoko through the late sixties and seventies, his retirement, and ultimately his comeback into the limelight in the late 80s.
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CAMPBELL HOUSE MUSEUM
160 Queen Street West
Toronto, ON M5H 3H3
E: campbellhouse@bellnet.ca
Gallery Hours: Tuesday to Friday, 9:30 am - 4:30 pm; Saturday, noon - 4:30 pm
Sunday, 12:00-4:30 pm, between Victoria Day in May and Thanksgiving Day in October
June 1 to June 20, 2009
James Bentley Paintings
ARTIST'S STATEMENT
It is not a pretty picture I am interested in, but truth: how I see things. With each subject, I try to paint as honestly as I can, to paint what I am looking at, to understand what seeing really is. To do this, I become conscious of what I sense when looking, which allows me to work instinctively.
Although the individual features are important, it is a matter of trying to see what's beneath the surface: to see the whole structure fitting together in space. This requires both a connection to, and a degree of detachment from, the subject.
This reaction becomes the Painting.
ABOUT CAMPBELL HOUSE
Built in 1822, Campbell House was the home of Sir William Campbell, Sixth Chief Justice of Upper Canada, and his wife Lady Hannah. It is the last remaining brick home from the old Town of York, saved from demolition in 1972, when it was moved to its present site at the corner of University Avenue and Queen Street (at Osgoode Subway Station). An oasis in the downtown core, the elegant Georgian house is set in a beautiful garden. The art gallery, in the 19th-century ballroom, is free and open during museum hours. The museum also offers guided tours, cooking demonstrations in the working historic kitchen, and special public events. The museum is funded by The Advocates' Society, the City of Toronto, and the provincial Ministry of Culture. See the art exhibition schedule, below.
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CONVENIENCE
24/7 window gallery
58 Lansdowne Avenue,
Toronto ON M6K 2V9
(at Seaforth Avenue, one block North of Queen)
May 25 to June 21, 2009
Khoury Levit Fong: MyCity
real-time projection, 2008
Design and installation team: Rodolphe el-Khoury and James Dixon
Programming: Mark Jones (Emergent Software)
Technical consultant: Nashid Nabian
MyCity belongs to a series of projects by Khoury Levit Fong that align architecture with information technology to empower the sensate body and its spatio-temporal envelope as the intimate locus of social connection.
MyCity explores in a modest application the capacity for environments to respond precisely and intimately to a subject¹s actions and characteristics. The individuated connectedness is meant to expand the subject¹s sphere of influence, projecting in this case the personal Flickr gallery of any willing participant onto public space. This is achieved simply with the help of a cellphone that allows an individual to identify his or her Flickr account and trigger the public display of selected personal images. To see your Flickr slide show instantly projected in the convenience window, send an e-mail to mycity416@gmail.com with your Flickr account name in the subject line.
MyCity encourages individuals to translate their web-presence into a physical reality allowing them to appropriate public space for their own use and expression.
Khoury Levit Fong brings together three partners with diverse academic and professional backgrounds to align innovative research with practice. The firm adopts multi-disciplinary methods to collaboratively approach design challenges and opportunities around the world. It uses new media and technology to produce a rich and sustainable built environment. Projects vary in scale and scope from small buildings to urban plans.
convenience is a window gallery that provides an opening for art that engages, experiments, and takes risks with the architectural, urban, and civic realm.
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CORKIN GALLERY
Distillery District
55 Mill St. bldg 61
Toronto ON M5A 3C4
(416) 979-1980
Hours: Tues-Sat 10 am - 6 pm, Sun noon - 5 pm
Mar 28 2009 - May 31 2009
Ramón Serrano: New Works
An exhibition of new works by Refugee Cuban artist Ramón Serrano. Ideales explores the romantic motifs and styles inherent in Cuban architecture for Serrano. These particular historic locations serve as stages for the conflict between ideas and reality.
Rarities
An exhibition of rare photographs. Works by Margaret Watkins, Alfred Stieglitz, Heinrich Kühn, Pierre-Louis Pierson, Eugene Atget, Claude Cahun, Margaret Bourke-White, and Ansel Adams.
From Kühn's European Modernism to the founders of the American Modernist School and their successors, this exhibition presents iconic photographs from the beginning of the twentieth century.
David Urban: Works on Paper
Corkin Gallery is pleased to announce an exhibition of new works by artist David Urban. Works on Paper consists of seven paintings that explore his ongoing relationship with representational traditions.
Layering of paint is an intergral feature the process Urban uses to create his paintings. Seemingly static against visually moving elements are juxtaposed, finding the interplay between representation and abstraction.
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DIAZ CONTEMPORARY
100 Niagara Street
Toronto, ON M5V 1C5
416.361.2972
E: laura@diazcontemporary.ca
Gallery hours: Tuesday to Saturday 11 to 6, or by appointment
14 May to 20 June 2009
Robert Youds: Jesus Green Tofino Sunset
Diaz Contemporary is pleased to present the works of Elizabeth McIntosh and Elspeth Pratt. Both McIntosh and Pratt utilize the language of abstraction to question the inherent nature of their media, painting and sculpture respectively.
ARTIST STATEMENT
What if every life had only five episodic markers and everything else occurred in relational links to these events? And what if we called these markers X,Y,Z,A,B? It turns out that X,Y,Z,A,B can be digitally captured and replayed in a continuous repeating six minute cycle. A dull alternating Orange-Rose light of morning followed the darkest Phalo-Blue ever experienced as night. Mid-day is always Turquoise until it changes to afternoon Purple followed by an evening Green.
X: Sleeping took place in two minutes, but it was all you needed.
Y: Work required two minutes, but seemed twice as long.
Z: Pleasure is more difficult to measure because of occurring in nano time, but it came with such irregular synaptic frequency it most always totaled thirty seconds.
A: Gaps here and there where episodes of Mash run non-stop, Curb Your Enthusiasm is much harder to locate, Sonic Youth play another art opening, fifteen seconds.
B: Experiences of icebergs the size of your cat, arriving home to dinner, not naming, describing something you had never seen before, faking interest, shaking hands, sounds not music, air, water, love, death... the time separating you from everything else, one minute and fifteen seconds.
Robert Youds, 2009
Robert Youds' recent work includes a combination of light pieces and visually active objects. Youds' art situates itself beyond the conventions of sculpture and painting, resulting in what he refers to as structures. These built structures utilize architecture, design, and picture vernacular in a way that is intended to complicate the beholders' subjective experience of the real. The material specificity of his structures opens up into sites for the illusory and poetic which extend beyond the object. This can be evidenced in one of Youds' new light works, For Everyone a Window, which takes us through a six-minute cycle of shifting colour and time sequences that suggests a much longer durational period.
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DRAKE HOTEL
1150 Queen Street West
Toronto, ON
mia@thedrakehotel.ca
April 30 - June 27, 2009
Its Time: Curated by Mia Nielsen
Contact Festival - Featured Exhibition
Photographs by their very nature alter our perception of time. Snatched from the narrative of our daily lives, the photographic moment allows a viewer to step outside themselves, pause and contemplate an image in their own time. This exhibition considers the push and pull of time within the context of photography by examining a variety of photographic practices.
Elaine Stocki's portraits capture a fraction of a second, from a sitting that stretched for hours. Brooklyn-based artist Anne Arden McDonald augments her photochemistry with household solutions such as bleach, aspirin and lemon juice to create contact prints that appear more painterly than photographic. Digital tools enable The Gao Brothers from China to seemingly stretch time in their monumental piece The Forever Unfinished Building. While Osheen Harruthoonyan's installation turns the camera obscura inside out, bringing the camera to life in the Drake's front entrance.
This sensation is continued on the front of the building with a dynamic slide projection of archival photographs that will flow like a stream of consciousness every night in May. Curator Catherine Dean's installation, entitled Everyday Nameless Spectacle, takes the theme of time one step further. Inspired from the iconic 1962 French film La Jeteé, this cine-roman film was shot as a series of stills and considers a post-apocalyptic future, time travel and the rise and fall of civilizations.
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GALLERY 345
345 Sorauren Avenue
Toronto
T: 416.822.9781
Hours: Mon - Fri 12 pm - 6 pm
May 1 - 31, 2009
Clara Gutsche and David Miller: Reconsidering Rome
In 2002, Gutsche and Miller photographed Rome over a period of six months. Retour de Rome is focused on a complex history marked by pervasive change. The work, though grounded in architecture, is chiefly about human relationships to man-made spaces and buildings. The images captured by the two photographers distill the chaos, richness and surfeit that is Rome, suspending moments in time and history.
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GALLERY 44 CENTRE FOR CONTEMPORARY PHOTOGRAPHY
401 Richmond Street West, Suite 120
Toronto M5V 3A8
T 416.979.3941
F 416.979.1695
E info@gallery44.org
Hours: Tue - Sat, 12 noon - 5:00 pm
May 2 - 30, 2009
Group Exhibition: Looking Forward, Looking Back
Artist talk: Saturday May 30, 3 pm at Gallery 44
As a Feature Exhibition of CONTACT Toronto Photography Festival, Gallery 44 is showcasing the works of ten contemporary Canadian photographers in commemoration of its thirtieth anniversary as an artist-run centre.
Looking Forward, Looking Back asks the viewer to consider the changes that photography has seen since its inception over 170 years ago. As a medium in technological flux, photography has incited artists to respond in myriad ways, and this show highlights many of those developments.
Featured works use historic and contemporary techniques. April Hickox uses a scanner to photograph objects instead of using a traditional camera. Contemporary themes prevail in the dark and theatric tableaux of Dianne Davis and in the constructed scenes of Alex Kisilevich. Chris Shepherd photographs vacant storefronts, while Paul Till's photographs capture nostalgia. Documentary practices are celebrated in Marco Buonocore's gelatin silver prints and in Heidi Leverty's magnified study of discarded paper, while Charlene Heath questions the documentary approach through her photographs of webcam images. From ambrotype and tintype by Rob Norton, to cyanotypes printed on silk organza by Sally Ayre, traditional photographic methods are juxtaposed with contemporary prints. Catherine Dean, Sophie Hackett, and Peter Higdon juried this exhibition. The exhibition brochure text is written by Persilia Caton, Festival Coordinator for Contact. It is available in the gallery and on the Gallery 44 website.
IN THE VITRINES
Sabrina Russo will be showing work from the series Untitled (all that I can carry). Russo is the recipient of the annual Verant Richards award, which is co-presented by the Ontario College of Art and Design.
June 5 - July 4, 2009
Margarida Correia, Kegan McFadden, Kim Waldron: The Make Station
Opening Reception: Friday June 5, 6 - 9 pm, artists in attendance
Artist talk: Friday June 5, 6 pm at Gallery 44
Artists in The Make Station exhibition use the tropes of family photography to explore the ways we contextualize vernacular imagery in contemporary visual culture. Kim Waldron's The Dad Tapes / The Mom Photographs is a photography and video installation, incorporating moving and still images taken by her parents. Kegan McFadden's installation unclaimed archive consists of instamatic photographs found abandoned in a Winnipeg Photo-Mat. The artist categorizes the photos, drawing attention to how we assign appreciation to certain life events and photographs, while discarding others. Margarida Correia studies two individuals in depth by photographing the interior spaces where they live. She focuses on the symbolic objects that present clues about the lives of the families that treasure them.
Heather Diack, the exhibition brochure writer comments, "in an era characterized by an unprecedented casualness towards picture making, public and private images have become elided. In turn, family snapshots, found photos, even staged photographs, are in many ways interchangeable. The Make Station is an exhibition that combines the work of three artists in a dialogue that pivots on how one relates to images, playing on the effects of distance across time and familiarity. Margarida Correia, Kegan McFadden, and Kim Waldron each question the correlation between proximity and intimacy through photographic means. Nothing is sacred and yet everything is habitual." The full text and exhibition brochure are available on the Gallery 44 website.
On Friday June 5, at 6pm, Gallery 44 will host an artists' talk with Kegan McFadden, Kim Waldron, and Erika DeFreitas.
IN THE VITRINES
Erika DeFreitas' work will be featured in the Gallery 44 Vitrines. Her large colour photographs show a collaboration between the artist and her mother.
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GALLERY TPW
56 Ossington Avenue
Toronto, ON M6J 2Y7
T: 416.645.1066
E: info@gallerytpw.ca
Hours: Tues to Sat, 12pm - 5pm
May 8 to June 13, 2009
In May (After October)
Opening Reception: Friday, May 8, 7:00 pm to 9:00 pm
Artists: Andreas Bunte, Duncan Campbell, Thea Djordjadze, Matias Faldbakken, Claire Fontaine, Luca Frei, Cyprien Gaillard, Luis Jacob, Pia Rönicke, Nora Schultz
Organized by Kathrin Meyer and Tim Saltarelli
In May (After October) takes its title from two revolutionary moments in Western history, the Russian October Revolution of 1917 and the French student protests of May 1968. Importantly, it also makes reference to the social and political change that many hope will follow from the recent American Presidential election. This widespread call for ongoing change provides a platform for a consideration of the political currency of aesthetic practice. In particular, this exhibition focuses on photographic images, videos and films all working to articulate a productive refusal. From virtual abstraction to appropriated archival images and experiments with narrative structure, this international group of artists moves beyond creating easily consumed and didactic depictions. Together their works raise questions, asking how we can find new ways to say 'no' and form suggestions for alternatives, both politically and aesthetically.
ABOUT THE ORGANIZERS
Kathrin Meyer lives in Berlin, Germany, where she works as an editor for argobooks. She has worked on several artist books and exhibition catalogs and was a curatorial assistant for the exhibition project Between Two Deaths at ZKM in Karlsruhe, Germany, in 2006. Tim Saltarelli is an artist and curator living in Brooklyn, NY. He is a graduate of the Image Arts program at Ryerson University, Toronto, holds a Master of Fine Arts degree from the School of the Museum of Fine Arts, Boston and works at Elizabeth Dee Gallery, New York, where he organizes exhibitions.
In May (After October) is presented in association with the Goethe-Institut, Toronto and the Contact Toronto Photography Festival.
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GLADSTONE HOTEL
1214 Queen Street West,, Room 208
Toronto, ON
Apr 30 - May 30 2009
Still Motions Exhbition (video installation)
2-5 pm Daily - 3rd Floor, 4th Floor
Still Motions traces the tension between the still and the moving image, presenting works that critique the logic of traditional photography via its successor media, film and video. Each work contains a degree of stillness that is in some way destabilized to disrupt the notion of a photograph as a suspended moment in time. The interaction of the three media allow for hybrid forms of moving images to emerge, generating the uncanny within the familiar while adding a sensorial, even visceral dimension to our appreciation of the still image.
Curated by Mark Andre Pennock, coordinated by Karen Kraven.
May 8 2009 to May 31 2009
Repro Exhbition
12-5 pm Sat & Sun Only, Weekdays: By Chance - Art Bar
Emerging artists Michelle Crockett and Walter Segers explore the ideas of evolution, reproduction and revolution within society. Crockett addresses transitional stages within the life of a woman. Segers investigates the transformation of the male body through evolution, technology and robotics by romanticizing the industrial revolution and the next generation of androids.
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HARBOURFRONT CENTRE
235 Queens Quay W, York Quay Centre
Toronto M5J 2G8
T 416.973.3000
F 416.973.4859
Hours: Tues - Thur & Sun, noon to 6 p.m.; Fri and Sat, noon to 8 p.m.; closed Mon.
SUMMER VISUAL ART EXHIBITIONS
June 26 - October 12, 2009
Respect: A Photo Odyssey Celebrating Canada's Boreal Forest
Harbourfront Centre is proud to present the unparalleled outdoor photo exhibition Respect: A Photo Odyssey Celebrating Canada's Boreal Forest. More than 70 giant-sized aerial photographs of Canada's boreal forest will occupy the grounds of Harbourfront Centre, from June 26 through October 12, 2009. The exhibition is free and open to the public seven days a week, 24 hours a day. This impressive exploration of one of Canada's most important natural resources is presented in partnership with Montréal-based Boreal Communications and SAJO.
Respect is the result of a journey that began in 2006 to document and capture the quintessence of Canada's boreal forest in order to raise awareness for the preservation of our natural environment, and promote the boreal region as one of the Earth's most crucial resources. Outstanding works from a team of 9 renowned photographers demonstrate the complexity and beauty of the boreal region. The exhibition at Harbourfront Centre will feature exclusive, never-before-seen photographs of the Far North of Ontario taken between October, 2008 and June, 2009.
Respect allows visitors to Harbourfront Centre the opportunity to discover Canada's boreal region - the forest, the land, the people and the thriving biodiversity that occupies the vast area to our north. "Millions of Canadians and visitors will experience the astonishing beauty of our boreal forest as they visit the Harbourfront Centre site this summer," said William J.S. Boyle, Chief Executive Officer of Harbourfront Centre. "It will stimulate a profound understanding about the importance of Canada's natural resources."
Financial support through the Ontario Cultural Attractions Fund is helping to promote this unique exhibition to tourism markets. Natural Resources Canada has also provided support for the exhibition at Harbourfront Centre. A new component to the ongoing Respect project is photographs of the Far North of Ontario.
Respect is a major project that was developed by Louise Larivière, president of Boreal Communications, a Montréal-based organization that specializes in developing and mounting predominantly large-scale outdoor photography exhibitions that are open to the public.
"Respect is truly a journey as we discover our own land, seen through the eyes of photographers who fly with the pilot," said Larivière. Respect is an adventure we want to share with Canadians, especially people living in the city...if those urbanites don't go to the forest, the forest will come to them. Respect will reach millions; it's awesome, exciting and quite a challenge to produce."
Larivière interviewed indigenous and non-indigenous people living in the Far North of Canada for the accompanying multimedia and film documentary Take me to the River, part of the Respect program. In addition to the aerial photography, Take me to the River features footage of a canoe expedition along the Albany River with Eabametoong First Nation, depicting Native traditions and historical sites. The Ontario trek follows the Albany River to Moosonee, on James Bay.
In addition to the outdoor photographs and Take me to the River, visitors to Harbourfront Centre can also see the accompanying exhibition People We Met Along the Way: a photo essay on the boreal forest of Canada and those who live there, which provides intimate portraits of First Nations people that the team met as they crossed Canada in 2007, and more recently as they travelled through the Far North of Ontario. This complementary exhibition and the film documentary form part of Harbourfront Centre's Planet IndigenUs, a 10-day festival August 14-23, 2009, exploring contemporary expressions of world indigenous cultures.
Montréal-based SAJO has worked closely with Boreal Communications since the beginning of this project generously providing financial and in-kind support. SAJO also designed and built the stands on which the photographs are showcased. Epson Canada and Seal Graphics are corporate partners working on the production of the exhibition.
Prominent photojournalists Allen McInnis, Kazuyoshi Ehara, Jim Ross, John Woods, Todd Korol, Dan Riedlhuber, Jeff Bassett, Chris Young and Andy Clark are the lens through which the public will see the boreal region of Canada.
ABOUT THE BOREAL FOREST (*Source MNR):
The boreal forest is a worldwide band of conifer-dominated forest that typically stretches across the 50th and 60th parallels of Scandinavia, Russia, Alaska and northern Canada covering an estimated 1.7 billion hectares. These boreal regions store more freshwater in wetlands and lakes and more carbon dioxide in trees, soil and peat than any other terrestrial ecosystem. Within Canada, the boreal forest region covers more than 290 million hectares. Ontario’s portion of the boreal forest extends from the northern limits of the Great Lakes-St. Lawrence Forest to the Hudson Bay Lowlands. With an area of 50 million hectares, this forest region contains two-thirds of Ontario’s forest.
The Ontario expedition for Respect was made possible through the support of the Ontario Ministry of Natural Resources (MNR). The MNR sees this as an opportunity for Southern Ontario residents to recognize the significance of the Far North boreal region of Ontario, and its many First Nations communities. The Wasaya First Nations Group has also been instrumental in making the Northern Ontario journey a success.
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HART HOUSE - UNIVERSITY OF TORONTO
Justina M. Barnicke Gallery
7 Hart House Circle, Toronto
Toronto, ON M5S 3H3
T:416.978.8398
E: jmb.gallery@utoronto.ca
Hours: Monto Wed 11-5, Thu to Fri 11-7, Sat to Sun 1-5
The Gallery is closed on all statutory holidays.
May 28 - August 23, 2009
Opening Reception: Thursday, May 28, 5-7 p.m.
Shuvinai Ashoona and Shary Boyle, with work by Shuvinai Ashoona and Shary Boyle: Noise Ghost
Curated by Nancy Campbell
The Noise Ghost is an Inuit poltergeist, an arctic auditory phenomenon of incorporeal guile. This unseen, unbodied noise ghost may announce his haunting visitation by curling around a northern house on a cold quiet night and emitting a small, high-pitched hissing.
The Noise Ghost circles the igloo and, always the constrictor, wraps the fragile ice in singing folds of death. The hiss susurrates, skitters about the room, swooping on the face of a screaming terrified child. Its high buzz mingles with gasping whispers a low, obscene anticipatory gurgling as of a meat-lusting animal in full slobber. Sometimes you can see the raw noise itself, curling impudently in the cold air. - William Gordon Casselman, 2006
This tale is a fitting introduction for the two-person exhibition of Toronto artist Shary Boyle and Cape Dorset artist Shuvinai Ashoona. Boyle is a performance artist, sculptor, painter, and filmmaker whose work provides deeply personal, physiologically moving imagery that recalls the bittersweet fantasy worlds of childhood. Boyle's projections are whimsical and dynamic, employing obsolete overhead projectors. Works such as Skirmish at Bloody Point (2007) present a delicately layered narrative--both real and imagined--that subtly reveals the struggles of indigenous peoples to establish land claims.
Similarly, Shuvinai Ashoona's drawings are both personal and dream-like, suggesting altered states of mind and shifting perceptions. Her work ranges from closely observed, naturalistic representations of her Arctic home, to fantastical, monstrous, and strange visions. Her vivid and often inexplicable imagery is disturbing, presenting man-eating beasts, monsters, and dark, fantastical landscapes. Ashoona sources images from both her imagination and residential environs, infusing these with her fascination for horror films, comic books, and television. Ashoona and Boyle's imagery recalls and articulates the anxieties of life.
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INDEXG
50 Gladstone Avenue, Toronto
Toronto, ON
T 416 535.6957
Gallery Hours: Tuesday to Sunday, 1-6 pm
June 20 - July 26, 2009
Leung Ping-Kwan, Patrycja Orzechowska, Sang-Taek Oh: Alice's Mad Tea Party and Two Other Stories
Poetry by Leung Ping-Kwan, Photographs by Patrycja Orzechowska, Sang-Taek Oh
Alice's Mad Tea Party refers to parties of our world. Some staged, looking real; some real but looking staged.
Leung Ping-Kwan's poem Alice's Mad Tea Party was originally a commissioned piece for a hotel in Shenzhen (China) displaying on a wall along with some celebrity photographs. The juxtaposition itself is a party. The poem here at the exhibition leads us to two bodies of photographic work, one by a Polish artist Patrycja Orzechowska and the other by a Korean artist Sang-Taek Oh. Both artists work in the realm of staged photography but in different directions. Patrycja Orzechowska works from the dreamlike inner world, whereas Sang-Taek Oh stages the businessmen in the open world with a sense of surrealism and black humor.
The exhibition has been organized in memory of our friend Ireneusz Zjezdzalka who introduced Patrycja Orzechowska to the gallery. Ireneusz passed away in 2008 at the age of 36. He was the chief editor of Kwartalnik Fotografia - the Polish contemporary photo magazine. The world is a mad tea party. The party is also of relationships, some close, some at a distance.
The exhibition also launches HALF PICTURE PRESS - an Ocean & Pounds' venture of ebook publishing. The premier publication - Leung Ping-Kwan's "Alice's Mad Tea Party" is issued in both Chinese and English edition. The poem was originally written in Chinese and was later translated into English by LUO Hui. "Luo Hui captured the playful tone so marvelously. Well done!" Remarked by Ping-Kwan after reading the translation.
ABOUT THE ARTISTS
Leung Ping-kwan, a noted Hong Kong writer and poet, has published more than ten volumes of poems, including bilingual editions such as: City at the End of Time (1982), Foodscape (1997), Clothink (1998) and the more recent Travelling with a Bitter Melon(2002). He was writer-in-residence in Berlin in 1998 and has two volumes of poems translated into German.
He also writes fiction and has published a novel and four collections of stories, among them the collection Îles et Continents was translated into French and published by Gallimard in 2002. He was awarded The Hong Kong Urban Council¹s Biennial Award for Literature in 1991 (Fiction) and 1997 (Poetry). He teaches literature and film studies at Lingnan University and has published extensively on urban culture and film studies, among them are Hong Kong Culture (1995 ) and Hong Kong Literature and Cinema (2005). He has collaborated with various visual and performing artists, fashion designers and cultural workers, and had his poetry and photograph exhibition ³Food and the City² and ³East West Matters² in Hong Kong, Frankfurt and Bern.
Patrycja Orzechowska was born in Bydgoszcz in 1974. She received her diploma with an award of merit at the Academy of Fine Art in Gdansk. A young and emerging artist, her work has been shown in many cities in Poland, in festivals and major galleries. She practices photography, graphic design, illustrations and has three monographs published on her photographic projects: Patrycja Orzechowska fotografia (2002), Nos Duo (2004) and Gabinet (2006).
Sang-Taek Oh is based in Seoul, South Korea. He obtained his MFA at San Francisco Art Institute in 1996. His work is featured in group shows and solo shows in the United States and Korea.
ABOUT THE ARTIST:
Leung Chi Wo is a Hong Kong (China) based photo and installation artist. He was trained in Italy in the early nineties and obtained his MFA at the Chinese University of Hong Kong in 1997. His photographs are exhibited widely in Hong Kong and overseas. He won the First Prize and the award for 'Most Promising Artist' (Sculpture, Modern Art) from the Philippe Charriol Foundation in 1995 and Urban Council Fine Arts Award in 1996. He was also the recipient of an Asian Cultural Council Fellowship in 1997. In 2001, he represented Hong Kong for its first pavillion in Venice Biennale. His recent exhibitions include Busan Biennale, Korea(2006), "Reversing Horizons" in Museum of Contemporary Art, Shanghai(2007), "Lights Out" in Museu da Imagem e do Som, São Paulo(2008) and Guangzhou Triennial, China (2008)
June 20 - July 5, 2009
Leung Kui Ting: Words From The Stones
Recent ink paintings and photographs
The Hong Kong based artist Leung Kui Ting has an artistic career that ties closely with the New Ink Painting Movement in Hong Kong started around the early 70's. He studied under the Ink Painting luminary Lui Shou-kwan (1919-1975) from 1964 to 1975.
Active since the mid seventies Leung's work has embraced paintings, mixed-media and installations, working in a direction that merges tradition Chinese painting with postmodern thinking. In the exhibition "Words From The Stones" at the INDEXG PRINTROOM, Leung will show his recent ink paintings on silk and photographs as well as earlier print-works.
Over the years, Leung Kui Ting has received numerous awards and exhibited both locally and overseas. Recent solo exhibitions was held in Hanart Gallery (2007) Hong Kong. Leung also participated in numerous exhibitions included The 2nd Exhibition of the Shuimo Union of Song Zhuang, Beijing, the Chinese Ink Painting Document Exhibition 1976-2006 in Nanjing, ³Reboot², the Third Chengdu Biennial 2007 in Chengdu, the 5th International Ink Painting Biennial of Shenzhen 2007 in Shenzhen. Artist Reflections of the Hong Kong Handover 10th Anniversary 2007 in Shanghai.
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JESSICA BRADLEY ART + PROJECTS
1450 Dundas Street West
Toronto M6J 1T6
416.537.3125
Hours: Wed to Sat, noon - 5 pm
May 13 to June 30, 2009
Gwen MacGregor: Going
Opening reception and catalogue launch, WedMay 13, 6 to 8 pm
Known for her sculptural installations, photographs and video, Gwen MacGregor's focus is on her immediate environment. Whether at home or abroad she observes small dramas and overlooked details, revealing them as subtle markers of the fleeting moment. Ever present but also elusive, time challenges representation only becoming tangible in its effects.
Entitled "Going", this exhibition explores the theme of time through natural phenomena. MacGregor brings photographs and video together in a relationship intended to affect the viewer's experience of time as a layered unfolding rather than a linear progression. The photographs document the surreal results of a freak weather pattern that transformed the landscape over a single day, while her videos one a new collaboration with Lewis Nicholson and the other recently made during a residency in France - explore the transformation of her subjects as lighting conditions change. The recently published catalogue for MacGregor's exhibition Disappearing Things (2008, Rodman Hall, Brock University, St. Catharines) will be launched at the opening of Going. This fully illustrated publication, designed by Lewis Nicholson, captures MacGregor's work through images interspersed with a meditative text by Jacob Wren.
Gwen MacGregor's work was seen most recently in Maps in Doubt, a collaboration with Sandra Rechico curated by critic and scholar Dan Adler for Mercer Union, Toronto, in 2008.
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KOFFLER CENTRE OF THE ARTS
4588 Bathurst Street
Toronto ON M2R 1W6
T: 416.636.1880 x 269
June 27, 2009 to January 3, 2010
Joshua Neustein: Margins, Contemporary art unraveling the Dead Sea Scrolls.
Curated by Mona Filip and Francisco Alvarez
Presented at the Royal Ontario Museum by the Institute for Contemporary Culture and the Koffler Gallery.
Concurrent with the ROM's major exhibition Dead Sea Scrolls: Words that Changed the World, Margins is a newly commissioned installation and the first Canadian exhibition by acclaimed New York-based artist Joshua Neustein. Engaging visual art in a poetic reflection on writing, religion and archaeology, Neustein's project shapes a dialogue with the historical and cultural contexts of the Scrolls. Among these ancient manuscripts are the oldest-known copies of the Hebrew Bible, hymns, prayers and other writings providing a link to the origins of Judaic, Christian and Islamic faiths.
Positioning the thematic of the Scrolls within a contemporary discourse, Margins also references prominent Jewish thinker Edmond Jabès and his critical texts concerned with the nature of writing, of silence, of God and the Book. Jabès's mysterious meditations, the revealed knowledge of the historical texts and Neustein's own visual vocabulary converge in an installation that conveys the passion and impossibility of writing.
Through drawing, sculptural and textual elements, Neustein's installation re-enacts the emergence of the word piercing the silence with luminous presence. A sumptuous chandelier embedded into the gallery wall radiates as the core of the work - a strange archaeological relic excavated into visibility. Unraveling towards its brightness, transparent acrylic sheets lay collapsed on the floor, bearing shimmering texts. Drawn out by light, handwriting becomes typography, coalescing words into crystallized form. The script escapes the page, crossing margins into the space where writing struggles to uncover the unwritten.
Archaeology unearths dormant traces of history. Writing pushes at the edge of silence to bring forth the unsaid. Similarly, Margins explores manifest and concealed ideas of the Dead Sea Scrolls, exposing them to the light of our times.
The Koffler Gallery of the Koffler Centre of the Arts gratefully acknowledges the support of its patrons and members, Cultural Season Sponsor CIBC Wood Gundy, the UJA Federation of Greater Toronto, the City of Toronto through the Toronto Arts Council, the Ontario Arts Council and the Canada Council for the Arts. Margins is generously supported by the Hal Jackman Foundation.
ABOUT THE ARTIST
Born in Poland in 1940, Joshua Neustein currently lives and works in New York. He is known primarily for his environmental installations and Post Minimalist torn paper works, as well as his series of large-scale map paintings. After immigrating to Israel in 1964, Neustein made a significant impact on the local cultural scene, being considered among the founding figures of Environmental and Conceptual Art in the country. In 1995, Neustein represented Israel at the Venice Biennale with a monumental intervention that encased and intruded into the contents of the state's national library transferred overseas. He has exhibited in museums and galleries around the world including the Grey Art Gallery NYU (New York), Chelsea Museum (New York), Jewish Museum (New York), Barbican Ars Cetre, (London England) Mary Boone Gallery (New York) Israel Museum (Jerusalem), SECCA (Winston Salem North Carolina), Albright Knox Gallery (Buffalo, New York), Los Angeles County Museum of Art (Los Angeles, California), MOCA (Los Angeles, California) MAK (Vienna Austria), Museo D'Art Contemporani, (Barcelona Spain) Museum of Contempoarry Art (Tokyo Japan), Rose Art Museum (Waltham, Massachusetts), Tel Aviv Museum (Tel Aviv), and Zacheta National Gallery of Contemporary Art (Warsaw Poland). Gropiusbau Museum (Berlin, Germany).
ARTIST TALK | FREE
Joshua Neustein will discuss his concurrent Toronto exhibitions Margins and Drawings from Qumran presented at Julie M. Gallery
Thursday, June 25, 7 PM | Julie M. Gallery | The Distillery District, 15 Mill Street, Building 37, Suite 103
GUIDED BUS TOUR | FREE
Departing from the ROM to AGYU, Doris McCarthy Gallery and Blackwood Gallery
Sunday, September 27, Noon to 5 PM | RSVP 416.636.1880 x270
EXHIBITION LOCATION & HOURS
Royal Ontario Museum | Level 3, Centre Block | 100 Queen's Park, Toronto
Monday to Sunday 10 AM-5:30 PM | Friday open late until 9:30 PM
For admission rates, please check www.rom.on.ca/visit
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LOOP GALLERY
1174 Queen Street West (one block east of Gladstone)
Toronto, ON, M6J 1J5
T: 406.516.2581
loopgallery@primus.ca.
Gallery Hours: Wed - Sat 1 to 5 pm, and Sun 1 to 4pm. Artist is in attendance on Sundays.
May 30 - June 21, 2009
Candida Girling: The brawling of a sparrow in the eaves
Opening Reception: Saturday, May 30th, 2009, 2 - 5 pm, Artists in attendance
Candidna Girling is a South African-born artist whose work has been shown in Canada, the United States, the U.K. and Denmark. She works in a variety of media, including painting, drawing, fashion and installation. Girling currently teaches at the Ontario College of Art & Design in Toronto, and is a founding member of Loop Gallery.
In the painting series The brawling of a sparrow in the eaves, Candida Girling turns to Yeats and the dilemma of quieting the mind amidst the chatter that both propels and enervates us. Girling's women have a brawling in their heads born of melancholy or chaotic whimsy.
Kelly Cade: In Between
Kelly Cade's exhibition of recent paintings move from 'washi' (Japanese paper) to canvas and offer a glimpse of a floating, transient world. Cade invites us to shift focus between material and ephemeral experience, as we examine our connections to nature within daily life.
Kelly Cade, is a Toronto based artist and graduate of the Ontario College of Art & Design, who has exhibited in numerous solo and group shows. Her work can be found in private and public collections throughout Canada, the United States and the U.K.
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MAGIC PONY
694 Queen St W
Toronto ON M6J 1E7
T: 416.861.1684
E: contact@magic-pony.com
June 18 - July 26, 2009
Junko Mizuno: Red Tresses and Freckles
Opening Reception: Thursday, June 18 from 7-10 pm, artist will be in attendance.
Location:
Narwhal Art Projects
680 Queen St. West
Toronto, ON, Canada
647.346.5317
Known for her gothic kawaii style, Japanese artist Junko Mizuno combines cuteness, gore and eroticism within an oeuvre that includes comics, painting, drawings, animation and toys. Influenced by vintage shojo manga, folktales, horror and pop art, Mizuno creates candy-coated fairy tales where deliciously adorable pin-ups prance merrily through psychedelic worlds, warmly cohabiting with the dark magic that surrounds them.
Red Tresses and Freckles is Junko Mizuno's premiere Canadian solo exhibition. Injecting her unique style of kawaii noir into beloved Canadian folklore, Mizuno creates bewitching portrayals of female fortitude and fantasy.
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THE MARKET GALLERY
South St. Lawrence Market
95 Front St. E., Second Floor
Toronto, ON M5E 1C2
T 416 392-7604
E marketgallery@toronto.ca
Hours: Tue - Fri, 10 am - 4 pm, Sat, 9 am - 4 pm, Closed Sundays, Mondays and Holidays
June 20 - September 26, 2009
Toronto Island Narratives, Past and Present
Guest Curator: Delwyn Higgens
The works of Toronto Island artists Anne Barber, Colin Brodie, Manuel Cappell, Helah Cooper, Jerry Englar, Mitchell Fenton, Tyler Granton, Brad Harley, Warren Hoseltron, Gaye Jackson, Joanna Kidd, Gail Read Labonte-Smith, Ian Trites, Maurice Vellekoop and Ella Weber.
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MERCER UNION
1286 Bloor Street West
Toronto, (Lansdowne TTC Station)
T: 416.536.1519
E: info@mercerunion.org
Hours: Tue - Fri, 10 am - 4 pm, Sat, 9 am - 4 pm, Closed Sundays, Mondays and Holidays
May 1 - Jun 13, 2009
Group Exhibition: Goodbye to Romance
Artists: Katie Bethune-Leamen, Dave Dyment, Lars Laumann, Jimmy Limit, Tony Romano
Curated by Elaine Gaito
Popular music is rife with fan-generated legends and myths pertaining to premature exits and mortal excess. Invoking the logic of paranoia, the group exhibition Goodbye to Romance brings together works that harness obsessive musical fandom and highlight the romantic futility of conspiracy theory. Going beyond simple narrative explication, the artists assembled employ conspiracy and coincidence as a means of amplifying latent meaning and of framing contemporary aesthetic experience. Seemingly disparate musical genres and their associated subcultural iconographies become linked by subtle synchronicities, arcane speculation, and a labyrinthine network of cabalistic connections. The darkly parallel worlds created commemorate a perfect time that never was—threnodic lamentations for lost potential and the commodification of adolescent desire. These baroque embellishments on the official story exploit the tension between surface detail and paranoid exp lication, material and concept, representation and reality, all in an effort to show that indeed "everything is connected.
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MUSEUM OF CONTEMPORARY CANADIAN ART (MOCCA)
952 Queen Street West
Toronto ON M6J 1G8
T: 416.395.0067
E: info@mocca.ca
Gallery Hours: Tue, Wed, Sat & Sun 11-6. Thur and Fri 11-9 - Pay What You Can
May 1 - June 14, 2009
Still Revolution: Suspended in Time
Artists: Barbara Astman, Walead Beshty, Mat Collishaw, Stan Douglas, Idris Khan, Trevor Paglen, Martha Rosler, Mikhael Subotzky
Curated by David Liss and Bonnie Rubenstein
It is the advent of the photograph... which divides the history of the world.
- Roland Barthes, Camera Lucida
Photography engendered awe and trepidation in 1839 when the daguerreotype, an image produced on a chemically treated silver plate, astonished the public with its veracity and power to arrest time. Before long, an obsession to possess photographic that could be held in the palm of one's hand swept through society. Since then, each significant innovation in photography's evolution has radically altered the creation and consumption of images, irrevocably changing the history of visual representation.
Today, the proliferation of photographic technologies is laden with infinite possibilities for image production, reflecting our rapidly changing world and burgeoning global culture. Meanwhile, historical precedents in the medium continue to extend substantial influence. Still Revolution: Suspended in Time looks back to the revolutionary foundations of photography to explore the current innovations that continue to transform the medium. The exhibition presents eight Canadian and international artists whose photographs mirror a complex history marked by pervasive change. From documentary to abstraction, choreographed fact to constructed fiction, the works in this exhibition implicate photography's catalytic role in social and political change. Suspending transitory moments in time, the evolving manifestations of photographic imagery overwhelmingly influence the way that we see the world today.
With the development of photographic technologies in the late 19th century came the power to isolate the mechanics of movement. Eadweard Muybridge's groundbreaking studies of animal and human movement from the 1880s demonstrate photography's ability to apprehend an instant in time and anticipate the invention of the moving image. British artist Idris Khan uses digital technology to mimic and then reverse the static character of still images. In Rising Series... After Eadweard Muybridge "Human and Animal Locomotion" (2005), Khan re-photographed and digitally overlaid five of Muybridge's sequential studies. By creating an image of simultaneity, Khan essentially "unfroze" the single image and distilled the illusion of movement in a new way. As a playful assault on the characteristics of analogue photography,Khan has appropriated and digitally reconfigured a number of iconic images and theoretical writings that are central to photographic history.
MOCCA's Hal Jackman Foundation Extended Hours are every Thursday and Friday until 9 p.m., from May 1 to June 14, 2009, during the exhibition Still Revolution: Suspended in Time. Opening hours will also be extended during the upcoming exhibitions Pulp Fiction (June 27 - August 23) and Arena: Road Game (September 10 - November 1).
Extended opening hours are intended to increase opportunities for audiences to experience and participate in the exhibitions and activities at one of Toronto's most exciting cultural institutions. Embedded within Toronto's West Queen West Art + Design District, MOCCA is centrally located amongst a diverse range of shops, restaurants and nightclubs that can also be enjoyed by our visitors.
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O BORN CONTEMPORARY
710 Yonge Street, upstairs
Toronto, ON M4Y 2B3
E: info@oborncontemporary.com
T: 416.413.9555
April 18 - May 30, 2009
Raphael Goldchain: I am my Family
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OAKVILLE GALLERIES (two locations)
Oakville Galleries at Centennial Square
120 Navy Street
Oakville, ON
905.844.4402
Gallery Hours: 12 to 9 pm Tuesday to Thursday; 12 to 5 pm Friday; 10 am to 5 pm Saturday; and 1 to 5 pm Sunday.
AND
Oakville Galleries in Gairloch Gardens
1306 Lakeshore Road East, 2 km east of downtown Oakville
Oakville, ON
Gallery Hours: 1 to 5 pm Tuesday to Sunday.
IN GAIRLOCH GARDENS
20 June - 6 September 2009
Micah Lexier: Two Parents and Three Children
Curated by Marnie Fleming.
While the search for identity has always been paramount to Lexier's practice, his work has never fit easily into the genre of traditional portraiture. Unlike most portraiture, Lexier does not rely on the appearance of the sitter, but rather a refined sense of materials that are everyday and familiar. Two Parents and Three Children focuses on the artist's portraits of his immediate family. Seen within the context of Gairloch estate, this exhibition allows the artist to explore more fully a familial discourse.
25 May - 1 November 2009
Alex Metcalf: Tree Listening Installation
Curated by Marnie Fleming.
Alex Metcalf's Tree Listening Installation links science and art to provide a fascinating new way of understanding trees. A sensor and amplifying device designed by the artist provides access to a tree's 'voice', allowing visitors to hear the subtle soundscapes created by a tree's internal workings. In so doing, Metcalf not only invites consideration of trees' visual pleasure, but also opens up larger questions about our ability to take cues from our environment.
AT CENTENNIAL SQUARE
20 June - 6 September 2009
Vid Ingelevics: hunter/gatherer
Vid Ingelevics, Woodpile 1A, 2006
Curated by Joan Stebbins. Circulated by the Southern Alberta Art Gallery and the Tom Thomson Art Gallery.
hunter/gatherer brings together photographs from two of Vid Ingelevics's most recent bodies of work: one of hunting platforms scattered in the countryside, the second of woodpiles. Capturing structures that seem to exist outside of any recorded history, his large-format photographs draw into tension the paradox of documenting without historicizing, of recording sites of collective memory without disturbing them.
This exhibition is made possible through the generous support of the Canadian Tree Fund and Maple Hill Tree Services.
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ONTARIO COLLEGE OF ART AND DESIGN
100 McCaul Street, Level 2
Toronto ON
T: 416.977.6000 Ext. 265
Hours: Wed. to Fri. 1 to 7 p.m; Sat. and Sun. 12 to 6 p.m.
May 21 to June 6, 2009
Opening reception: Thursday, May 21, 6 to 10 p.m.
OCAD Graduate Exhibition Space
Room 104, Ground Level, 205 Richmond Street West
(entrance on Duncan Street just south of Richmond West)
Interduction [sic]
The Interdisciplinary Master's in Art, Media and Design program at the Ontario College of Art & Design (OCAD) is pleased to present Interduction [sic], an inaugural exhibition of works by the university's first cohort of graduate students, from May 21 to June 6.
Produced in the graduate students' first year of studies at OCAD, the works in this exhibition interrogate disciplinary brackets of art and design practice and illuminate the adventures of interdisciplinary thinking and making. The exhibition also features Eventings [sic] - special performances and screenings on Saturday, May 23 - and a graduate student publication.
The exhibition features works by Robert Appleton, Sarah Beck, Philippe Blanchard, Danielle Bleackley, Guillermina Buzio, David Green, Sandy Groebner, Karen Justl, Sean Martindale, Hazel Meyer, Sean Procyk and Hilary Roche.
For more information about The Interdisciplinary Master's in Art, Media & Design program and activities surrounding the exhibition please visit www.ocad.ca > Academic Programs > Graduate Studies.
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PARI NADIMI GALLERY
254 Niagara
Toronto , ON , M6J 2L8
tel: 416.591.6464
info@parinadimigallery.com
Gallery hours: Wed - Sat 11am - 5pm or by appointment
May 9June 27, 2009
Romeo Gongora: Sin Island
For his first exhibition at Pari Nadimi Gallery Romeo Gongora will present a new series of work entitled Sin Island. Here, in his most significant installations to date, the Berlin-based Canadian/Guatemalan artist includes photographs, sculptures, silkscreen, sound and performance, inspired by Amsterdam late nineteenth century archival visual documents.
The installation brings together animals made of "papier-maché" performing seven "tableaux vivants" (living pictures) inspired by "The fall of Sin Island", an 1894 theater play by August Mahieu, never performed, recalling Lombok's military expedition. Gongora has used Cjakranegara Marsch (1894), a military march celebrating the expedition, as sound for the performance. The exhibition also includes 7 photographs depicting the 7 tableaux-vivants. Gongora's installation addresses issues related to the West's colonial ambitions and engages with New Imperialism, a controversial moment of Western history. Hence, it questions the functions that exoticism and authenticity still play today, highlighting how the political and the particular intertwine.
Gongora works with concepts of representation as they relate to emotion, language, and difference. His installations, photographs and video installations, show human beings confronted with situations that are loaded with emotions. The narrative generally originates in events that have been experienced by nonprofessional participants, now reliving these situations in the context of the work. Mourning, adolescence crisis, guilt related to felonies or adulteries, and incommunicability are among the topics previously addressed.
Gongora's completed a Master of Arts degree in visual and media art at UQAM (2005). His work has been featured in solo exhibitions organized by the Künstlerhaus Bethanien, Berlin (2009); Dazibao, Montreal (2007); Gallery 44, Toronto (2006); Optica, Montreal (2006); and Galerie de l'UQAM, Montreal (2005). His artwork has been included in several group exhibitions internationally, including : the Québec Triennial, Musée d'art contemporain de Montréal (2008); Centre Culturel de Rencontre Abbaye de Neumünster, Luxemburg (2006); Habiter, VU Centre de diffusion de la photographie, Quebec (2006); and Espaces Affectifs, Musée régional de Rimouski, Quebec (2005). His videos have been screened in several festivals, including the 10th Istanbul Biennial (2007). Gongora has participated in several residencies at institutions, including: Künstlerhaus Bethanien, Berlin (20089); Rijksakademie van beeldende kunsten, Amsterdam (20078); PRIM, centre de creation et de recherche en arts médiatiques, Montreal (20067), Centre Culturel de Rencontre Abbaye de Neumünster, Luxembourg (2006); and Centro de la Imagen, FONCA, Mexico City (2006).
The project has been carried out in collaboration with the Rijksakademie Van Beeldende Kunsten, Amsterdam Artis Zoo (Natura Artis Magistra), KITLV, Tropenmuseum (Royal Tropical Institute), Museum Bronbeek (KTOMMB), Conservatorium van Amsterdam and support of the Conseil des arts et lettres du Québec.
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PIKTO
55 Mill Street, Cannery Building
Toronto, ON
T: 416.203.3443
E: info@pikto.ca
Within "Toronto's new centre for Arts, Culture and Entertainment" in The Distillery District, Pikto's Gallery offers a space that features internationaly renowned and emerging Photographers.
Aug 26, 2008 - Sep 28, 2008
Brian Hamill: Raging Bull & Manhattan
Opening Reception: September 11, 2008 7-9 pm
Artist Talk: September 13, 2008 11am
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THE POWER PLANT CONTEMPORARY ART GALLERY
231 Queens Quay West
Toronto, ON
T: 416.973.4949
E:thepowerplant@harbourfrontcentre.com
Hours: Tue to Sun 12 - 6 pm, Fri, Sat 12 - 8 pm
Closed Mondays (Open Holiday Mondays 12 - 6 PM)
June 12 to Aug 30, 2009
Group Exhibition: Œ‘Universal Code
The Power Plant is set to open its doors and offer free admission for Œ‘Universal Code,’ a major new group exhibition featuring twenty-two of the world's leading contemporary artists.
For the fourth year running, The Power Plant is pleased to announce that it will be offering free gallery admission all summer through its ALL SUMMER, ALL FREE program, thanks to the support of the Hal Jackman Foundation and Media Partner NOW Magazine. This year, the gallery's featured summer exhibition is ‘Universal Code,’ a large-scale group exhibition presenting responses from a broad range of contemporary artists to cosmology and ideas of the universal in our current information age.
Director of The Power Plant, Gregory Burke states, "This summer, we’re delighted to present the work of some of the leading artists from around the world in ‘Universal Code.’ We’re also extremely grateful for the support of the Hal Jackman Foundation and NOW Magazine for ensuring that Toronto audiences will have free admission to the exhibition.
Burke continues, "The exhibition itself has been generously supported by Lead Donors Nancy McCain & Bill Morneau, as well as Support Donors Elisa Nuyten & David Dime, Laura Rapp & Jay Smith and Garnet & Evan Siddall. The Power Plant is extremely thankful for their integral support of Œ‘Universal Code"
ALL SUMMER, ALL FREE was introduced by The Power Plant in the summer of 2006 in an effort to increase access to the gallery for the hundreds of thousands of visitors to the Harbourfront Centre over the summer months. Since 2006, summer audiences to the gallery have increased by over 800%. Last summer alone, the gallery welcomed more than 75,000 visitors through its doors.
‘Universal Code’ is the latest in a series of summer exhibitions organized by The Power Plant that bring together Canadian and international artists from a variety of cultural positions to reflect on topics driving the development of contemporary culture. The exhibition includes artists who explore the intricate relationships between our evolving understandings of the cosmos; the production of scientific and cultural knowledge; cultural and religious belief systems; information technologies and global power relations. ‘Universal Code’ considers the response of artists to these relationships in the aftermath of globalization, reflecting the current complexity of the world we inhabit. Ultimately their response is poetic, positioning the universe as a void full of potential but also as a field riddled by elision and enigma.
Artists: Adel Abdessemed, Franz Ackermann, Angela Bulloch, Mircea Cantor, Janet Cardiff & George Bures Miller, Cerith Wyn Evans, Henrik Håkansson, Antonia Hirsch, Thomas Hirschhorn, Ann Veronica Janssens, Kimsooja, Jed Lind, Iñigo Manglano-Ovalle, Josiah McElheny, Tania Mouraud, Gabriel Orozco, The Otolith Group, Adrian Paci, Trevor Paglen, Katie Paterson, Fred Tomaselli and Keith Tyson.
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PROPELLER GALLERY
984 Queen Street W
Toronto, M6J 1H1
T: 416.504.7142
gallery@propellerctr.com
Hours: Wed-Sat 12-6, Sun 12-5 or by appointment
May 27 - June 7, 2009
Group exhibition: Washi/>
Opening Reception: Thu May 28, 6:30-10 p.m.
Propeller Centre is pleased to present "Washi 2." Many featured artists will present works focused on the Kurotani type of washi paper.
Featuring works by:
Doug Adams, Pieter Bakker, Linda Kristin Blix, Barbara Buntin, Susan Carr, Vicki Cowan, Tanya Cunnington, Dan Dodds, Natalie Drajewicz, Fran Freeman, Claus Heinecke, David Holt, Sheila Jonah, Susan Lukachko, Jo Anne Maikawa, Tai McFail, Mary McKenzie, Denise Moraze, Loree Ovens, Liz Parkinson, Frances Patella, Dominique Prevost, Birgit Ruff, Silvija Saplys, Andrea Scarlat, Toba Shapiro, Keijo Tapanainen
Peter Welch
Kurotani is the oldest papermaking village in Japan where they are still making traditional paper by hand (washi) after 800 years. Though Japanese paper has been made for over 1400 years, this village, 3 hours from Kyoto, has the longest continual history of the craft. Kurotani is renowned for the strong even quality of kozo paper in many weights it still produces in a co-operative arrangement, sharing tasks and resources.
In Kurotani, most of the paper made is from the highest grade of kozo, "nasu kozo." Once a year in the early winter, branches of the kozo bush are harvested and the long process of steaming, peeling, cooking, pounding and picking the fibre clean is carried out. Then it is mixed with viscous hibiscus root and pure river water, and the fine sheets are formed by skilful makers manipulating bamboo screens and dried on boards or stainless steel dryers.
During last year's World Washi Summit in Toronto, Shinji Hayashi, the papermaker in charge of teaching others in Kurotani, came to demonstrate the process and to meet artists outside Japan and see what they are doing with papers from his village. He was surprised and impressed with the number of artists who used washi, many in ways he had never imagined.
Recently, the last of the long line of makers in Kurotani has retired, but several younger people drawn away from the crowded city to the countryside and to the satisfaction of making paper with environmentally sound materials are committed to producing excellent sheets. Having learned from the last of the papermaking generations , they are determined to continue the reputation that has taken centuries to earn for making premium Kurotani washi.
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QUEENSPECIFIC
QueenSpecific, the window case next to Dufflet Pastries at 787 Queen Street West,
Toronto, ON
June 19 - 7 July 28 2009
Michael Klein
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RED HEAD GALLERY
115-401 Richmond St West
Toronto
T 416.504.5654
E art@redheadgallery.org
Hours: Wed - Sat, 12 noon - 5 pm
May 27 - Jun 20, 2009
Opening Reception Sat. May 30, 2-5 pm
Elaine Whittaker: Tether
How do we recognize the energy that connects and propels us?
Is it the technologically produced electricity that is transmitted through transformers and grids, powering our homes, offices, and social lives?
Or is it the physiological system of impulses produced by the network of billions of nerve cells in our body¹s circuitry?
Should it be considered parapsychic and unknowable, a life force that connects us to each other, to our ancestors and descendents, and to the earth?
Tether is a mixed media installation that reflects on the process of grief through the lens of the science of nerves and electricity. A network of salt crystallized wire grids fill the gallery connecting photographs, sculpture, and sound.
Juxtaposing the scientific with the personal, and the technological with the psychological and spiritual, Tether is a meditation on life and loss, presence and absence, tangible and etherealŠon the energy of connection.
Elaine Whittaker, a Toronto based visual artist, creates mixed media installations that intersect art with science. Her work has been exhibited nationally and internationally, and featured in literary and medical magazines focusing on science, biotechnology, and pandemics. She has been an invited participant in international residencies at the Banff Centre, and the recipient of awards and grants from the Canada Council for the Arts, the Ontario Arts Council and the Toronto Arts Council.
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RYERSON GALLERY
80 Spadina Avenue, Suite 305
Toronto, ON
alana.west@ryerson.ca
Saturday, May 9 - Saturday, June 6
Opening Reception: May 8, 6-9 pm
Jonathan Taggart: Salt and Earth
Contact 2009 Feature Exhibition
Whole Village is a self-described 'intentional community'; an ecovillage and bio-dynamic farm founded in response to a loss of genuine community in our society, increased urbanization of rural areas, and impoverishment of farmland.
I first visited Whole Village in April of 2007 after being introduced to the concept of sustainable communities by a geography professor. The idea of documenting an isolated and quasi-autonomous community appealed to not only because of the imagery I knew must exist in such a setting, but also because, like many young Canadians, I had long ago been swept up in the moderate currents of an environmental movement. I became intrigued by the idea of ³returning to the land² or living off the grid, if only it meant not sacrificing the conveniences I was born accustomed to. Salt & Earth is the result of my year-long relationship with Whole Village, during which I lived on the farm in installations, working the land to earn my keep while creating this documentary of the community.
On the surface, Whole Village has created a solution to the frustrations faced by environmentally conscious urbanites. Located on a 200-acre tract of land just an hour north of Toronto's bustling city centre, the community is made up of thirty educators, professionals, and farmers living in a 15,000 square-foot co-operative residence. In contrast with the tarpaper shack and haphazard ³free love² stereotypes associated with community movements of the 1960's, Whole Village is highly organized and surprisingly modern. The farm's main residence set a zoning precedent with a 'green' design that prioritizes personal space while preserving communal eating and recreation areas, and the membership structure that helped administer the group's farm purchase now ensures that the community is socially and financially accountable. The life being lived on the farm is one that blends traditional family values with modern ecological practices, and the result is what one member describes as being more like a ³condo on a farm² than a contemporary commune.
While the example being set by Whole Village is one that proves that the environmental and social concerns that are so prevalent today can in fact be put into practice, it is not without its drawbacks. If the elder generation has shown that it is forward-thinking and environmentally progressive, the community's youth struggles with the same stigmas faced by the 'flower children' of the 60's and 70's. Home-schooled and largely isolated from their peers, the children are at risk of not being taken seriously should the values of their parents take root. A further challenge is the financial burden placed upon those middle-aged members who do not have the benefit of a lifetime of equity with which to put their values into practice. The pressures of contributing to community life in addition to full-time employment off-property have led a number of members to engage in the bitter and heavily bureaucratic process of leaving their homes on the farm behind.
Ninety percent of ecovillages and intentional communities don't make it past the planning stage, or fail within the first year, and it is easy to see why: environmental ideals come in a variety of strengths and focuses, and the shared goals that initially unite members can later widen the rifts between them. While Whole Village has moved steadily towards its goal of self-sufficiency since its founding just a few years ago, the success of the community rests equally on achieving both social and environmental sustainability.
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STEPHEN BULGER GALLERY
1026 Queen St W
Toronto M6J 1H6
T 416.504.0575
F 416.504.8929
E info@bulgergallery.com
Hours: Tues - Sat, 11 am - 6 pm As well as by chance and by appointment.
June 6 - July 18, 2009
Sunil Gupta: Mr Malhotra's Party
Opening Reception: Thursday, June 11th, 5-8pm
The gallery is pleased to present Mr Malhotra's Party, a series of photographic portraits by Sunil Gupta that address contemporary issues of gender and sexuality in Delhi, India.
Gupta's (b. New Delhi, India, 1953) photographs, known for being political yet intimate, have chronicled the experiences of Delhi's lesbian, gay, bisexual and transgendered community since the 1980s. Gupta's series entitled Exiles presented constructed documentary images of gay men in architectural spaces in Delhi. The faces of these men were shielded or cropped in order to conceal the individual's identity. Gupta explains, "At a very basic level, gay men in India do not have an image. Literally, He believes that "photography has a big role to play in providing us with an image of ourselves. And as a maker of photographs I see it as my role to make pictures that people can relate to."
Now, almost thirty years later, people are meeting less in parks and secluded areas and more on the internet, and in "private" parties. Gay nights at local clubs in Delhi are always sign-posted as private parties in a fictitious person's name to get around Section 377, a British colonial law, which criminalizes homosexuality in India. In Mr Malhotra's Party, Gupta visualizes this latest queer space with a series of portraits of real people who identify their sexuality as queer’ in some way. These individuals confront the camera as they are now willing to identify themselves. They are situated in Delhi's crowded urban landscape, where people live and work. They are part of the vernacular, the everyday, and proudly embrace their queer identity.
Gutpa was born in New Delhi, India, and moved to Montreal with his family in the late 1960s, where his interest in photography began to develop. In the late 1970s, he lived in New York, where he studied photography at the New School for Social Research under Lisette Model. Gutpa then moved to London, England, to continue his studies at the Royal College of Art. He now works as a photographer, writer and curator out of London and Delhi. Gupta works to promote a greater understanding of questions regarding representation, sexuality, access and cultural differences.
Gupta has published numerous monographs, including Wish You Were Here (Yoda Press, 2008) and Pictures from Here (Chris Boot Ltd., 2003). His photographs can be found in the collections of the National Gallery of Canada, Ottawa; Canada Council Art Bank, Ottawa; Fine Arts Museum, Houston; Arts Council of Great Britain; National Media Museum, Bradford, UK; Queensland Art Gallery, Brisbane, Australia; amongst many others.
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TORONTO IMAGE WORKS GALLERY
80 Spadina Ave, Suite 207
T: 416.703.1999 ext 0
E: gallery@torontoimageworks.com
June 11 to 27, 2009
Opening reception: June 11 from 5 - 7 pm, artists in attendance
Tori Foster, Morris Lum and Lindsay Maynard: Doc/Now/ Intersections: Twenty-First Century Communities
Focusing on the relationships between identity and community, Intersections explores the cities we live in and the ways in which we situate ourselves within their multiple centres. Tori Foster's The Impossibility of Understanding in the Path of a Torontonian, uses twenty-first century digital processes of mapping as a means to interrogate the space between process and perception, place and the idea of place. Similarily, Morris Lum's photographic series entitled New Cultural Topographics, examines the surburban plaza as a trope signifying the pervasive fact of sprawl while reflecting the hybrid cultures they serve in. In a Walk Through Little Poland, Lindsay Maynard rediscovers the neighbourhood of her early childhood while seeking an understanding of her Polish roots.
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XSPACE CULTURAL CENTRE/XBASE
58 Ossington
Toronto ON
Hours: Tues - Sat, 12 noon - 6 pm
May 16 30, 2009
Group Exhibition: Tentacle 4
A gripping exhibit by artists from nine Alternative Secondary Schools!
Building on the success of three years of packed to the rafters salon-style shows, the fourth annual art exhibition highlights the creative work done by students who do not fit into the mainstream school experience and have chosen an alternative. This show, the result of an ongoing partnership between XPACE and a family of alternative highschools, provides a supportive educational experience for youth to learn and contribute to the local cultural community and serves as a launching pad for young artists to share their unique creative voices with the broader public. Alternative Schools in the Toronto District School Board have demonstrated over 40 years of commitment to the arts and have had a large number of students go on to post-secondary art institutions and arts-related careers in Toronto and beyond.
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