SAVAC Presents: Monitor Reruns

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Published on : 2014-03-28 01:00:00

10 Years of Monitor: South Asian Experimental Film + Video


Fire Fences and Flight by Ayesha Hameed Canada, 2007 (5:10)


SAVAC (South Asian Visual Arts Centre) is proud to present a series of programming to mark a decade of critical and innovative experimental film and video. Over the past 10 years, Monitor has explored the transnational currents depicting the varied linguistic, social and historical landscapes that define the South Asian subcontinent.

Shai Heredia, founder of Experimenta, India's first experimental film festival, has curated Monitor Reruns, an exhibition that draws from the Monitor archives and Monitor 10, a screening of contemporary selections.

Monitor Reruns

March 28 – May 3
A Space Gallery

In partnership with A Space Gallery and Images Festival, Monitor Reruns brings together five Canadian artists whose works represent the last decade of Monitor. Engaging with themes ranging from personal narratives of trauma to accounts of colonial history, migration and queerness, the artists have written a reflective text to accompany the re-installation of their films/videos. Monitor Reruns looks to the past to reinterpret the politics, histories and identities that continue to shape the South Asian diaspora and subcontinent. Full event listings below.

Monitor 10: South Asian Experimental Film + Video

24 April 2014
7:30 – 9:30pm
Jackman Hall, AGO

Shai Heredia brings together works from South Asia and neighbouring regions to present Monitor 10, a programme of experimental works.

'Melodrama is the place where behavior and theater meet,' notes Yvonne Rainer. Monitor 10 is an exploration of this idea through works that engage the politics of drama. From found footage to performance video; reality television to observational documentary, this set of videos is an investigation into how artists' moving image performs the political. - Shai Heredia

The programme features works from artists Shambhavi Kaul, (India/USA), Wala + Kush (India), Bee Thiam (Singapore), Priya Sen (India), Anahita Nourozi (Iran/Canada), and The Youngrrr (Indonesia).

Highlights of Monitor 10 include:

Anahita Nourozi's performance documentation, Tehran, the Apocalypse. In this short video, Nourozi performs the ritual killing of a goat set amidst the backdrop of Tehran. Her work speaks to her complicated relationship to violence; personal and state-instituted.

Indonesian duo, The Youngrrr's Another Colour TV depicts the economic and cultural conditions of a suburban family in Indonesia, through the escapist tendencies and desires of the matriarch. This split-screen video contrasts Indonesian popular television with the lives of those watching the "colour TV."

Delhi-based collective, WALA + Kush's We in a One Room Kitchen Field (W1RKF) produces and relays a series of conversations taking place between collective members. Developed over the course of 9 months, W1RKF engages with the city through perspectives of development, history and waste, employing locations such as a river bed of trash, a reclaimed fort, a rooftop of an apartment block, a launch of a political party and the site of Delhi's announcement as capital on the city's birthday.

Event Listings

28 March - 3 May 2014 | A Space Gallery

Gallery Hours
Tues - Fri 11am - 5pm
Sat 12 - 5pm

11 April 2014 | 3 - 4pm | A Space Gallery

Shai Heredia and award-winning curator of the Art Gallery of Windsor, Srimoyee Mitra, will discuss Monitor Reruns. Srimoyee will describe the history and development of the Monitor program, while Shai explains the linkages between selected works in the Monitor archive and contemporary modes of film/video production.

This talk will be followed by the opening reception for Monitor Reruns, featuring short eats by Chef le Tigre. 4 - 6pm.

24 April 2014 | 7:30 - 9:30pm | Jackman Hall, AGO

General Admission: $10
Students: $5
SAVAC Members: free

Monitors 1-9 are now available for distribution through Vtape. The editions will be available for screening at Vtape March 28 - May 3.




For the past 20 years, SAVAC (South Asian Visual Arts Centre) has been presenting evocative, critical, challenging and innovative work locally, nationally and internationally. SAVAC showcases work by South Asian artists in a variety of spaces and locations, ranging from the unconventional space of a taxi-cab, to the institutional space of a public museum. SAVAC plays a vital role in the visual arts sector in Canada by advocating for South Asian artists and culturally diverse issues and practices.

For more information please contact:

Sharlene Bamboat, Artistic Director
401 Richmond St., West, Suite #450
Toronto, ON, M5V3A8




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2014 MFA in Visual Arts: Thesis Exhibitions

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Published on : 2014-03-27 01:00:00

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Faculty of Fine Arts, York University
2014 MFA in Visual Arts Thesis Exhibitions


Gord Bond
Trying Not to Die
March 27-April 6
AWOL Gallery
78 Ossington St.
Hrs. Thurs.-Sat. 12-6pm, Sun. 1-5pm
Opening: Fri. March 28, 7-10pm

Teresa Carlesimo
as we write, so we build
April 3-11
Gales Gallery
105 Accolade W., York University
Hrs. Mon.-Sat. 11-4pm, or by appointment  
Closing Reception:  Fri. April 11, 4-8pm

Mike Hoolboom  
Your Face Arrived
April 4-June 7
Niagara Artists Centre
354 St. Paul St. E.
St. Catharine’s ON
Hrs. Wed.-Fri. 10am-5pm, Sat. 12-4pm
Opening: April 4, 8pm sharp (film screening)

Christie Kirchner
Chain of Days
April 15-27
Milk Glass Co. Gallery
1247 Dundas St. W.
Hrs. 12-7pm, Sun. 12-4pm
Opening: Thurs. April 17, 6-9pm

Amanda Clyne
Excavating Artifice
April 9-May 3
p|m Gallery
1518 Dundas St. W.
Hrs. Wed.-Sat. 12-5:30pm
Opening: Thurs. April 10, 6-9:30pm

Mary Grisey
Of Becoming
April 7-18 Special Projects Gallery
Joan & Martin Goldfarb Centre for Fine Arts, York University
Hrs. Mon.-Fri. 10:30am-4:30pm,or by appointment
Opening: Fri. April 11, 4-8pm

Amélie Jérôme
Way and Weighing
April 5-14
Beaver Hall Gallery
29 McCaul St.
Hrs. 1-6pm
Opening: Sat. April 5, 6-9pm

Milena Roglic
In Transition
April 16-27
Gallery 1313
1313 Queen St. W.
Hrs. Wed.-Sun. 1-6pm
Opening: Thurs. April 17, 7-10pm

Full directions and listings at

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Pierre Dorion

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Published on : 2014-03-27 01:00:00



Pierre Dorion
Close to the edge
27 March to 26 April 2014
Reception Friday 28 March from 6 to 8

Pierre Dorion's paintings occupy a wondrous space between the flatness of formal abstraction and a seductive spatial depth often tangible of photorealism. His second solo exhibition with the gallery presents a suite of new works that emphasize even further his preoccupation with the depiction of light. Dorion's minimalist compositions of interior architectural details act as a stage for luminous reflections, radiant streaks and gentle glows. The prominence of light featured in Dorion's paintings also sustains the works' relationship to their photographic source imagery.

Occupying Dorion's works is an affective sense of absence, creating an intriguing dissonance with the depicted light's warmth and seduction. Yet it is Dorion's treatment of light and how it is ultimately perceived that remains the artist's focus. The largest work, Sans titre (DB), simultaneously depicts numerous points of view of a close-up of an object (in this case, a vase by Daniel Buren) lit by natural light on one side, and artificial light on the other.

Montréal-based Pierre Dorion has exhibited widely throughout Canada and Europe, with notable solo exhibitions at: Musée des beaux-arts de Montréal, Dalhousie Art Gallery in Halifax, Macdonald Stewart Art Centre at the University of Guelph, Art Gallery of York University, Centre international d'art contemporain de Montréal, and Musée d'art contemporain de Montréal in 2012, which was accompanied by a full-colour 181-page catalogue. Dorion's work is featured in many significant institutional, corporate and private collections, including National Gallery of Canada, Musée d'art contemporain de Montréal, Musée des beaux arts de Montréal, Musée national des beaux-arts du Québec, Prêt d'oeuvres d'art du Musée du Québec, City of Montréal, Toronto Dominion Bank, Royal Bank of Canada and Caisse de Dépôt et placement du Québec.

For more information please contact us:

Diaz Contemporary
100 Niagara Street (at Tecumseth)
Toronto, ON M5V 1C5

Gallery Hours: Tuesday to Saturday 11 to 6, or by appointment


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Western Open Studios

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Published on : 2014-03-27 01:00:00

Western University Arts & Humanities and the Visual Arts Department
present the 2014 MFA/PhD Open Studios



Western Open Studios
Thursday, March 27 & Friday, March 28, 2014
John Labatt Visual Arts Centre, Western University, London, Ontario

The Open Studios event runs in conjunction with an ART NOW! artist talk by 2013 Sobey Art Award recipient Duane Linklater, as well as the INSIGHT: Visual Arts Forum featuring research presentations by MAs, PhDs, and studio faculty members. Also on view is the BFA graduating exhibition, "What Plants Crave" in the ArtLab gallery. 

Free parking on Thursday evening in Lot Y.
Find a campus map and parking information here.

Event Schedule:

Thursday, March 27th
5 pm: Open Studios
7 pm: Artist talk by Duane Linklater
8:30 pm: Open Studios
9:30 pm: Food/Cash bar/Music by DrDJPhD
"What Plants Crave" @ ArtLab until 11:30 pm

Friday, March 28th
1 pm: Open Studios
3 pm: INSIGHT: Visual Arts Forum
5:30 pm - 7 pm: Open Studios

Department of Visual Arts
John Labatt Visual Arts Centre
Perth Drive, Western University
London, Ontario N6A 5B7




western           western



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Conscious Consumption: Origins

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Published on : 2014-03-27 01:00:00

Conscious Consumption: Origins
A Textile Museum of Canada Series


This spring, the Textile Museum of Canada presents Conscious Consumption, a stimulating new series of pop-up events that takes contemporary conversations about sustainable practices into Toronto's most innovative workshops and spaces. Some of the city's most inspired designers, makers and thinkers will take on big questions about the politics and ethics involved in making and consuming everyday goods today.

Challenging you to "know your stuff," Conscious Consumption starts with the premise that consumption is an everyday activity that benefits from social awareness. The local entrepreneurs who will share their philosophies and personal stories of sustainable practices and artisanal production include Sydney Mamane of Sydney's menswear boutique, St. John's Bakery, Gabrielle Nasri of Ça Va De Soi knitwear, Hoda Paripoush of Sloane Fine Tea Merchants, Laura Slack of Laura Slack Chocolates, Trish Ewanika of fashion label EWANIKA, and Farah Malik of A Peace Treaty clothing line.

Individual event tickets $20
VIP series pass $100 *includes all five pop-up events and the final panel discussion
Tickets are available online at or by phone at 416-599-5321 x2246.

Conscious Consumption: Origins | Program Details


Mar 27 | The Roots of Raw Denim @Sydney's
Meet designer and self-described "fabric nerd" Sydney Mamane at his sartorial Toronto menswear boutique where we chat about why Japanese denim is so coveted, what the wabi-sabi philosophy of transience and imperfection has to do with it and exactly how one makes a handmade living in North America.

Mar 29 & April 5 | The French Method @St John's Bakery

Exploring St. John's commitment to the traditional French method of breadmaking, we ask about France's special relationship with bread, why organic, natural and local ingredients make a difference and why St. John's see breadmaking as restorative and healing, providing more than a salary to its employees who are in need of a helping hand up.

April 3 & 17 | The Terroir of Fabric @Ça Va De Soi
An intimate chat with Gabrielle Nasri, part of a Montreal family that has devoted itself to the art of slow fashion and an insistence on sourcing the best fabrics around the world for generations. Why should cotton come from Egypt and wool from Australia and Scotland? And how does partnering with a Hong Kong manufacturing family sustain Ça Va's quest for quality craftsmanship?

April 10 | The Art of Tea @Sloane Fine Tea Merchants/Laura Slack Chocolates

Join Hoda Paripoush of Sloane Fine Tea Merchants and Laura Slack at the Textile Museum of Canada for a special tea and truffles tasting. Be inspired by a singular passion for the tradition and craftsmanship of individually blended teas sourced from tea gardens around the world paired with handmade chocolate. We start with a tour of From Geisha to Diva: The Kimonos of Ichimaru, and explore what authenticity means to us today in the context of some of the world's oldest global exchanges – tea, chocolate and textiles. To celebrate this special tasting, Sloane debuts a golden-ivory Sencha green tea infused with the delicate sweetness of Japanese cherry blossoms.

April 24 | The Luxury of Tradition @A Peace Treaty/EWANIKA

One of Toronto's smartest fashion labels, EWANIKA, joins one of New York's, A Peace Treaty, to explore a new philosophy of luxury: modernity informed by craft. We chat with Trish Ewanika about her aesthetic and what she looks for in the artisanal labels she introduces to Toronto. Trish is joined by one of her finds, A Peace Treaty co-founder Farah Malik, who shares frontline stories about the challenges – and rewards – of reinvigorating the disappearing textile traditions of Asia, South America and Africa.

May 1 | Provenance and Prejudice @Textile Museum of Canada

What ideas and on-the-ground realities can help us arrive at a personal code of consumption fit for the 21st century? A panel event featuring "makers" and "thinkers" explores how notions of origins, provenance, globalization and authenticity affect our patterns of consumption in subtle and not-so-subtle ways


Textile Museum of Canada
55 Centre Avenue
Toronto ON M5G 2H5

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Nation Estate, a "vertical solution to Palestinian statehood"

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Published on : 2014-03-26 11:25:49

Larissa Sansour, Nation Estate (Olive Tree), 2012

Tomorrow FACT in Liverpool is opening Science Fiction: New Death, an exhibition which explores how advances in technology are making everyday lives feel increasingly similar to universes so far heralded by science-fiction.

One of the works in the show is a spectacularly seducing short film by Larissa Sansour. Nation Estate proposes a vertical solution to Palestinian statehood. Instead of navigating their currently heavily fragmented and controlled territory through dispiriting screening processes and check points, Palestinians living in an undetermined future would be housed inside a colossal high-tech skyscraper. Each city (Jerusalem, Nablus, Ramallah, etc.) would have its own floor. The building is surrounded by concrete walls but its inhabitants would be able to travel in and out of their country using a highly efficient subway system and go from one Palestinian city to another using an elevator.

Nation Estate (clip)

As i wrote above, the images in the film are very seducing. Their sleek aesthetics is full of irony and humour but the dystopian scenario also alludes to the absurdity and complexity of every day life for Palestinians.

Conceived in the wake of the Palestinian bid for statehood at the United Nations in 2011, the work comments on the shrinking territory of the Palestinian state and the difficulty for its inhabitant to move from one city to another. In 2011, the work was nominated for a prized sponsored by Lacoste at the Musée de l'Elysée in Lausanne. The nomination was then revoked as the sponsor found that the work was "too pro-Palestinian." Furthermore, Sansour was asked her to sign an agreement saying that she had chosen to withdraw herself from the competition.

The censorship attracted the attention of the press and the museum eventually took the decision to side with the artist, breaking off their relationship with Lacoste.

What makes Nation Estate so powerful is that you can very well imagine that the whole Palestinian population might one day be confined to a sole high-rise building. And what makes Nation Estate even more powerful is that you can just well imagine that they won't even be allowed to do that. At least, not on what is left of their own land.

Larissa Sansour, Nation Estate (Poster), 2012

Born in Jerusalem, Larissa Sansour studied Fine Art in Copenhagen, London, New York. Her work is interdisciplinary, immersed in the current political dialogue and utilises video, photography, installation, the book form and the internet. I'm thrilled that she accepted to answer my questions about her work:

Hi Larissa! Why did you decide to give Nation Estate a sci-fi, futuristic treatment? What does sci-fi and a dystopic approach bring to your work that a setting in a realistic present wouldn't allow?

I feel that Palestinians are currently living through a stretch of post apocalyptic history. Politics on the ground is so surreal, that it is sometimes hard to comment on what is going on there in just a straight forward way. Sci-fi often predicts humanity's future and future concerns. The world that sci-fi films and literature usually build, reflects our unease with progress and technology and its clash with organic matter in the world. In the same way, I think Palestine has been undergoing a very harsh and fast shift in their reality under the rational modernist Construct of the Israeli State and all of the calamities that that entailed for Palestinians. As the international community is still struggling to reinforce the law on the expanding Israeli settlements and other violations of human rights by the state of Israel, the Palestinian people have been pushed to living under subhuman and often very surreal conditions. It only feels appropriate to reflect that reality in a visual language that matches that other worldliness lived by Palestinians.

0aaaaa4. NE - Main Lobby (small).jpg
Larissa Sansour, Nation Estate (Main Lobby)

Larissa Sansour, Nation Estate (Jerusalem Floor)

0a5. NE - Manger Square (small).jpg
Larissa Sansour, Nation Estate (Manger Square)

I saw an extract of Nation Estate a few weeks ago during a talk you gave at the Institute of Contemporary Art in London. I was particularly interested in the transport system the film portrayed. Could you explain how the subway and elevators work? And why you have people move underground or vertically?

Nation Estate posits and imagines a Palestinian state in the future. As it becoming harder and harder to understand what a viable Palestinian state would look like, seeing that Israeli settlements are slowly eating away at what is left of Palestinian territory, the film suggests that the only way we can imagine a feasible Palestine is in vertical form rather than horizontal, due to there being no more land left for Palestinians. Nation Estate is a highly futuristic technically advanced skyscraper that houses the entire Palestinian population. Each floor represents a different Palestinian town, Ramallah on the 3rd floor, Jenin on the 5th, Jerusalem on the 7th, Bethlehem on the 21st and so on. So, trips between towns that at present are very hard to make due to Israeli checkpoints would become so easy, as they are made by way of an elevator. The building also features a great development for Palestinians and that is the ease of movement between Jordan and Nation Estate.

Palestinians are currently not allowed to use the Israeli airport, which would make trips from and to the outside world easier. Instead all Palestinians have to enter Palestine through Jordan which makes it a much longer journey. In Nation Estate, a new line between Amman and Palestine is constructed, the Amman express underground, which only takes 15 min.

0a6. NE - Window (small).jpg

During that same presentation you also mentioned the fact that, as a Palestinian artist, you had to deal a lot with attention fatigue. Could you expand on this?

I think the world has grown weary to news footage that is coming out of the Middle East and especially to news coming out of Israel and Palestine. The problem at hand is more than 60 years old and it is most often than not represented as a conflict, the Israeli-Palestinian conflict. So, people get the impression that it is a conflict between two equal powers that just can't get along and the reasons are most often ascribed to religion, whereas in reality what is happening in Palestine is another form of colonialism. Not coming to terms with that unfortunately only feeds the desperation for any solution to be found and continues the cycle of blaming the two sides, while the stronger side keeps getting stronger and the tragedy just keeps getting worse. And I think audiences from outside of Palestine have grown immune to any information coming out of that region as all the news seems repetitive and the situation at hand seems to be futile and beyond help.

I would also expect that, once again as a Palestinian artist, you meet with politically-motivated pressure. The Lacoste sponsorship is the obvious example but could you give more examples of this sort of censorship?

What was disturbing about the Lacoste sponsorship is how blatant the censorship was. I was basically told, we decided to remove your name from the 8 nominees list. Also, what made it even more sinister is that I was asked the next day, to sign a paper saying that I left the competition according to my own personal decision to seek other opportunities. It is was very clear that Lacoste did not think that an artist has any power to battle such a giant fashion company like themselves. Fortunately, things did not go according to their plan.

But I did experience other forms of censorship. I guess one cannot call them censorship as such as it is more subtle than that. But many Palestinian artists are just simply not selected, or subjected to systematic silencing. Several times, I was asked to change the titles of my shows because they sounded too problematic, politically speaking. Several years ago, a group show I was in in the US, nearly closed down before opening night, simply because it featured too many Palestinian artists. The show was finally allowed to open on the condition that the catalogues that accompanied the show were not made public. So, these various forms of silencing unfortunately happen often.

0j07. NE - Food (small).jpg
Larissa Sansour, Nation Estate (Food), 2012

How do Palestinian people react to this vision of the future nation that your film gives?

I am happy that Palestinians usually respond really well to my work. I think Palestinians can identify quickly with the surreal and dystopic elements in my films since we all had to deal with the surreal and absurd realities that the Israeli occupation has imposed on us.

A Space Exodus

I also saw Palestinauts at Cornerhouse in Manchester two years ago. It was part of an exhibition called Subversion in the Arab Art world. Both Nation Estate and Palestinauts are set in the future and what strikes me is that neither of the work contain any direct reference to Isreal. Why is Israel absent from the films?

Even though Israel is never mentioned directly, it is completely present in its absence. These apocalyptic conditions that are imposed on the Palestinian people, whether in the form of outer space or architectural displacement, are all a direct result of the Israeli occupation. And since that is very obvious, I would only be resorting to direct documentary style form if I am to reiterate that. I think having Israel absent reinforces the fact that the films are projected. They function as parallel universes, rather than solutions. They address our concerns as a humanity in general, a universal angst for the future.

Larissa Sansour, Palestinauts. Installation shot at Cornerhouse. Photo credit

What do you think can be the impact of art on political issues? Which place does it have in a political dialogue? Whether we are talking about Palestine or other political issues.

It is always difficult for an artist, I think, to find a balance between the two, politics and art. I often find it uncomfortable to be put in the position of a political spokesperson devoid from the artistic context. The mere fact that my artistic work is immersed in politics should not mean that I have to resort to the same political discourse outside of art. There is a potency to art that should be preserved as unique and its impact on the political dialogue cannot be underestimated. That is why it is a difficult act for me to juggle all these positions.

Nation Estate, for example, does not propose any course of action, nor does it in any simple terms suggest any kind of right or just solution to the problems at hand. It merely responds to a completely unacceptable state of affairs and attempts to take one possible surreal, absurd and radical set of consequences of accepting the status quo.

What is next for you? What are you working on?

The project that I am working on now, is a performative counter-measure to the unearthing of artifacts in order to justify further confiscation of Palestinian lands and erasure of Palestinian heritage. In the absence of any real peace process, archeology has become the latest battleground for settling land disputes. Unearthed history is used as arguments for rightful ownership of the land today. In this project, 2-300 pieces of elaborate porcelain - suggested to belong to a future nation of hi-tech, highly sophisticated, yet entirely fictional Palestinians - are buried deep into the ground in the West Bank, for future archeologists to excavate. Once unearthed possibly hundreds of years from now, this tableware will provide physical evidence supporting the myth of the historical hi-tech people, thus justifying future Palestinian claims to their land.

The project stretches the very idea of fiction beyond its natural boundaries by not just fabricating a myth of a future hi-tech nation, but rather physically constructing evidence for this myth as informed by real events, hence providing the tools for the myth to present itself essentially as a non-fiction. The work itself becomes a historical and narrative intervention - de facto creating a nation.

Thanks Larissa!

Science Fiction: New Death, curated by Omar Kholeif and Mike Stubbs, will be open at FACT in Liverpool from 27 March till 22 June 2014.

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Joe Mendelson: Out of the Cage

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Published on : 2014-03-26 01:00:00

Mendelson exhibition


"Out of the Cage"
Mendelson Joe exhibition
Alton Mill Arts Centre
March 26 -April 19
Opening Reception Sun March 30, 2-4pm

The Bartlett Gallery presents Out of the Cage, a solo exhibition of paintings by Mendelson Joe, Canadian musician, painter and social justice advocate.

Joe has been called “the quintessential Canadian outsider artist”, poking and provoking the Canadian consciousness with images of rump-faced Prime Ministers, ironic self portraits, and the nearly 300 paintings in his compelling tribute series “Working Women.”

With a few notable exceptions, Out of the Cage will showcase a softer side of Mendelson Joe. Since 2000, he has lived in a cabin in the northern Ontario landscape of the Almaguin Highlands. This new collection of landscapes  expresses an awe for the raw power and gentle purity of nature, and serves as a reminder of all that's at stake when "human meddling" encroaches too far.

During the March 30 reception, guests will have a very rare chance to connect with the artist himself. At 3pm, Mendelson Joe will call in, via video conference.

Of his landscape painting he writes: “Come and witness my heavens.” From March 26 to April 19, The Bartlett Gallery invites you to do just that. Read More.

Alton Mill Arts Centre: 1402 Queen St., Alton village, Caledon, ON L7K 0C3
Bartlett Gallery: 519-940-0199

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Robert Burley | Phil Bergerson | Pierre Tremblay | Mary Anderson

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Published on : 2014-03-26 01:00:00

Robert Burley, Kodak Image Centre, Building 7, Kodak Canada, Toronto, Canada, 2006, pigment print mounted on dibond © Robert Burley. Reproduction courtesy of the Stephen Bulger Gallery, the artist and the Ryerson Image Centre.



Only a few weeks remain to catch the current exhibitions on view at the Ryerson Image Centre until April 13, 2014:

Robert Burley: The Disappearance of Darkness
Curated by Dr. Gaëlle Morel, the exhibition examines both the dramatic and historical demise of film-manufacturing facilities and industrial darkrooms. Burley's work strikes a subtle balance between the commemoration of film-based photography materials and the celebration of cutting-edge visual technology, including the re-appropriation of videos and photographs found on the Internet. Generously supported by the Canada Council for the Arts.

From the Archive
To complement Robert Burley: The Disappearance of Darkness, Dr. Mohamed Lachemi, Provost and Vice-President, Academic of Ryerson University, was invited to make a selection of objects from the Kodak Canada Corporate Archives and Heritage Collection. Co-presented with Special Collections, Ryerson University Library & Archives.

Phil Bergerson: Emblems and Remnants of the American Dream
Since 1995, Canadian photographer Phil Bergerson has made dozens of extended road-trips, criss-crossing the United States in search of the 'American Dream'. Drawing upon the social landscape tradition, Bergerson found his material amid the melancholic detritus of the contemporary city; in modest store window displays, hand-painted murals, graffiti, and crudely-made signs.

Pierre Tremblay – Black Star Subject: Canada
Guest-curated by Don Snyder and displayed on the Salah J. Bachir New Media Wall, this exhibition features every one of the 1,853 photographs filed under "Canada" in the Black Star Collection. This includes images of agriculture, mining and industry, of every province and all major cities, images of Prime Ministers from Mackenzie King to John Turner; images of a nation undergoing unprecedented growth, defining itself in an era that led inevitably to globalization.

Mary Anderson: Wav(e)s
The exhibition includes photographs and sound recordings derived from Lake Ontario, captured with a film camera and an analog tape recorder. Wav(e)s offers a deeper consideration of the relationship between subject matter, artistic processes and representation.


FREE exhibition tours daily at 2:30pm
Tours begin inside the Great Hall of the RIC and run for approximately 45 minutes, including time for questions and comments. No registration is required.

Curator and Artist Walk-Through of Phil Bergerson: Emblems and Remnants of the American Dream
Led by guest curator David Harris and photographer Phil Bergerson. Bergerson will also be signing copies of his new book, American Artifacts (London: Black Dog Publishing, 2014)
April 9, 2014, 6pm

Noon Time Collection Talk:
Charlene Heath: The Memorial Archive of Jo Spence
April 17, 2014, 12pm
Research Centre, 122 Bond Street, RIC-241


Ryerson Image Centre
33 Gould Street
Toronto, Ontario, Canada


Media Contact:

Erin Warner
Ryerson Image Centre
416.979.5000 x7032

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Me Talking To Myself In The Future

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Published on : 2014-03-26 01:00:00



Buddies in Bad Times Theatre presents


written and directed by Marie Brassard
starring Marie Brassard, Jonathan Parant & Alexandre St-Onge

MARCH 26 – APRIL 6, 2014

In the future, a dying old woman drifts among the thoughts of someone in the present. In this fantastical dream world, a surreal portrait of our past and future selves unfolds. She delivers a collection of real and imagined reflections; childhood narratives, origins stories and apocalyptic/dystopian predictions entice blended/opposing currents of nostalgia and anticipation. Seamlessly blending music, storytelling, and cutting-edge technology, theatrical innovator Marie Brassard creates a hauntingly beautiful reflection on time and death.

"Ms. Brassard is a captivating guide through an enchanting, if unsettling, realm" –The New York Times


MARCH 26 – APRIL 6, 2014

Runs Tues-Sat 8pm, Sun 2:30pm.
Tickets PWYC - $37
Buddies in Bad Times Theatre, 12 Alexander Street, Toronto ON
photo by Tanja-Tiziana,
Media Contact: Lisa Amerongen,


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#A.I.L - artists in laboratories, episode 58: Burak Arikan

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Published on : 2014-03-25 07:45:03

The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on Resonance104.4fm, London's favourite radio art station, is aired tomorrow Wednesday afternoon at 4pm.

This week i will be talking about beautiful but also politically-revealing data mapping with Burak Arikan, a New York and Istanbul based artist working with complex networks. Burak runs social, economic, and political issues through an abstract machinery, which generates network maps and algorithmic interfaces and draws up predictions that render inherent power relationships visible, thus discussable. Arikan's software, prints, installations, and performances have been featured in numerous exhibitions internationally. Arikan is the founder of Graph Commons, a platform dedicated to providing "network intelligence" for everyone.

Truth Is Concrete Network Maps, 2012

I met Burak at the opening of the Datascape exhibition at Laboral in Gijón (Spain) where he was showing Monovacation. In this episode we will talk about the ultimate cliché holiday but also about the Networks of Dispossession, the collective mapping of data about the relations of capital and power within urban transformation in Turkey. I also had plenty of questions about Graph Commons which seems to be a brilliant tool for reporters, researchers, activists, etc.

The radio show will be aired this Wednesday 26 March at 16:00, London time. Early risers can catch the repeat next Tuesday at 6.30 am. If you don't live in London, you can listen to the online stream or wait till we upload the episodes on soundcloud one day.

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