Upcoming Events April 29 - June 28

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Published on : 2014-04-29 01:00:00


UNIVERSITY OF TORONTO ART CENTRE PRESENTS

Upcoming Events //
Through the Body: Lens-based Works by Contemporary Chinese Women Artists
29 April to 28 June 2014

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Chun Hua Catherine Dong, Husbands and I, 2010. Photo: Ruth Skinner, Chad Durnford, Denise Gaudreault, Bernie Lee. Courtesy of the artist.


Thursday 15 May, 2014. 6:00 – 8:00 pm //
Exhibition Reception
Held jointly with the Justina M. Barnicke Gallery’s opening of Kwe: Photography, Sculpture, Video, and Performance by Rebecca Belmore.

Remarks // 7:00 pm at the University of Toronto Art Centre’s Art Lounge.

Thursday 15 May. 6:00 – 8: 00 pm
Friday 16 May. 12:00 – 4: 00 pm
Saturday 17 May. 12:00 – 3:00 pm //
In conjunction with the opening reception for Through the Body artist Chun Hua Catherine Dong will perform Husbands and I. Jump into bed with Chun Hua Catherine Dong - take a nap, talk about your day or share an intimate moment - whatever kind of interaction, it's up to you.

The performance may be documented for the artist's archive

Saturday 17 May. 3:00 – 4:00 pm //
Playing Around: Representations of Sexuality and Gender in Contemporary Chinese Work: A bedtime conversation with co-curator Matthew Brower and artists Chun Hua Catherine Dong and Fan Xi.

Tuesday 27 May. 7:00 – 9:00 pm //
This Woman's Work: Intersections of Gender and Culture in Contemporary Chinese Art: A panel discussion with artists Jin Hua, Yam Lau and co-curators Matthew Brower and Yan Zhou.

Reception to follow


Generously Supported by:
UTAC’s Supporting Sponsor: Manulife Financial
CONTACT's Primary Exhibitions Supporters: Celebrate Ontario, Canada Council for the Arts and Ontario Arts Council



Upcoming Events //
Archiving Public Sex
29 April to 28 June 2014

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Geoff George, Carey Gray and partner at Morpheous Bondage Extravaganza, 2010. Courtesy of Marc S. Bonham Centre for Sexual Diversity Studies Sexual Representation Collection.


Opening Reception: Wednesday 21 May, 2014.  6:00 – 9:00 pm

6:00-7:00 pm //
A Pecha Kucha inspired talk series by the artists and activists featured in Archiving Public Sex, including: Max Allen, Lorraine Hewitt, Carlyle Jansen, Carrie Leigh, Morpheous, Tristan Taormino.

7:00-9:00 pm //
Opening Reception


Generously Supported by:
Marc S. Bonham Centre for Sexual Diversity Studies, University of Toronto Faculty of Information, Manulife Financial, Social Sciences and Humanities Research Council, , and the Valerie Jean Griffiths Student Exhibitions Fund in Memory of William, Elva and Elizabeth


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Location: 15 King's College Circle, Toronto, ON M5S 3H7
utac.info@utoronto.ca | www.utac.utoronto.ca

Exhibition Hours: Tues to Fri 12-5 | Wednesday 12-8 | Sat 12-4 | FREE Admission

For more information contact: Maureen Smith, Business and Programs Coordinator or 416-946-7089.

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Through the Body: Lens-based works by Contemporary Chinese Women Artists

Feed : Akimbo exhibitions feed
Published on : 2014-04-29 01:00:00


UNIVERSITY OF TORONTO ART CENTRE PRESENTS

Through the Body: Lens-based works by Contemporary Chinese Women Artists

Chen Zhe, Chun Hua Catherine Dong, Fan Xi, Fang Lu, Jin Hua, Ladybird Theatre, Lei Benben, Li Xinmo, Ma Qiusha, Ye Funa

A Primary Exhibition of the Scotiabank CONTACT Photography Festival
Organized by UTAC and CONTACT
Curated by Matthew Brower, Fu Xiaodong, Yan Zhou

29 April to 28 June, 2014

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Li Xinmo, The Death of the Xinkai River, 2008. Digital chromogenic print. Courtesy of the artist.

Through the Body will be the largest exhibition of lens-based work by contemporary Chinese women artists to be mounted outside of China. Focusing on photography and video, the exhibition is structured by the Chinese concept Ti Shi, which can be defined as the act of learning through bodily experience.

Each of the selected artists creates works that make visible an emerging range of Chinese femininities and offer new models for the contemporary experience of Chinese women. Gesturing toward new possibilities, this show foregrounds contemporary Chinese women's situations and articulates new gender identities informed by the rapid changes in China's traditional values and social and economic structures.

Thursday 15 May, 6-8 pm (Remarks at 7:00 pm)

The exhibition reception will be held jointly with the Justina M. Barnicke Gallery, which also features a Scotiabank CONTACT Photography Festival exhibition, KWE



Public Programming

Curatorial Tour with Matthew Brower, Fu Xiaodong and Yan Zhou
Wednesday 7 May, 2014 6-7 pm

Performances by Chun Hua Catherine Dong, Husbands and I
Thursday 15 May 6-8 pm, Friday 16 May 12-4 pm, Saturday 17 May 12-3 pm

Panel: This woman's work: intersections of gender and culture in contemporary Chinese art with Jin Hua, Yam Lau, Matthew Brower and Zhou Yan
Tuesday 27 May, 2014 7-9 pm


Generously Supported by:
UTAC's Supporting Sponsor: Manulife Financial
CONTACT's Primary Exhibitions Supporters: Celebrate Ontario, Canada Council for the Arts and Ontario Arts Council


Archiving Public Sex
A Featured Exhibition of the Scotiabank CONTACT Photography Festival

Curated by Nicholas Matte with Lisa Kadey and Masters of Museum Studies Students: Jessica Martin and Ana Martins.

29 April to 28 June, 2014

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Geoff George, Carey Gray and partner at Morpheous Bondage Extravaganza, 2010. Courtesy of Marc S. Bonham Centre for Sexual Diversity Studies Sexual Representation Collection.

Focusing on erotic art, censorship, and large public sex events staged such as the Feminist Porn Awards and Morpheous Bondage Extravaganza, Archiving Public Sex will showcase materials from the Sexual Representation Collection of the Marc S. Bonham Centre for Sexual Diversity Studies. Visitors will be invited to think about sex not only as personal and pleasurable but also as social, cultural and political, especially with regards to censorship, activism, GLBT (gay, lesbian, bisexual and trans) people, kink, and the representation of women. The exhibition includes a range of media from classic pulp novel publications to archival letters, from documentary and art photography to documentary and performance art video, featuring the work of Annie Sprinkle and Coco LaCreme, as well as Geoff George, Carrie Leigh and others. Archiving Public Sex is also a feature exhibition of World Pride 2014.

Warning: This exhibition contains nudity and explicit sexuality.

Opening Reception: Wednesday 21 May, 2014. 6:00 – 9:00 pm

6:00-7:00 pm A Pecha Kucha inspired talk series by the artists and activists featured in Archiving Public Sex, including: Max Allen, Lorraine Hewitt, Carlyle Jansen, Carrie Leigh, Morpheous, Tristan Taormino.

7:00-9:00 pm Opening Reception

Generously Supported by:
Marc S. Bonham Centre for Sexual Diversity Studies, University of Toronto Faculty of Information, Manulife Financial, Social Sciences and Humanities Research Council, , and the Valerie Jean Griffiths Student Exhibitions Fund in Memory of William, Elva and Elizabeth


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Location: 15 King's College Circle, Toronto, ON M5S 3H7
utac.info@utoronto.ca | www.utac.utoronto.ca

Exhibition Hours: Tues to Fri 12-5 | Wednesday 12-8 | Sat 12-4 | FREE Admission

For more information contact: Maureen Smith, Business and Programs Coordinator or 416-946-7089.

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Scott Sørli: Police Kettle

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Published on : 2014-04-28 01:00:00


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Scott Sørli
Police Kettle: Queen and Spadina, 27 June 2010
Digital print on mylar, mixed media, 2014
April 28 to June 26

Police Kettling is a recent cultural-spatial phenomenon in which the police use a line of their bodies as a cordon to encircle and hold in place up to several hundred people over an extended duration of time. The earliest well-documented police kettle occurred only 25 years ago. Since then, the spatial form of the police kettle has developed variations, including a compressive form (called a hyper-kettle), a mobile form (wander kettle), and a form where water is used as a barrier without appearing to be one (bridge kettle). Many of the material qualities of the kettle boundary are also developing quickly, in tandem with other technological advancements (surveillance, weaponry, tactical training, and so on).

Police kettles generate intense experience through the precise deployment of atmospheric and phenomenological techniques. Once a police kettle is in place, a performance begins: the sun goes down and it gets dark; temperatures fall and it gets cold; relative humidity rises, moisture condenses, and it often rains. The atmosphere—our medium of existence—is regularly augmented with tear gas, pepper spray, and electrical shocks. At a lower level, the biological organism experiences discomfort through the enforced prohibition of drinking water, consuming food or excreting waste.

Special black costumes detailed to suppress individuality are worn by the police, who, with their backlighting and sound effects, are perceived as a mass. This mass, while less tidy than the Tiller Girls’ dance formations or North Korea’s Mass Games, is equally aesthetic. The negative emotions of those kettled include anger, fear, anxiety, dread, and despair; because of its indiscriminate nature, police kettling is an example of collective punishment. As the implementation of economic austerity programs by political-corporate elites on the citizenry continues, such repressive techniques deploy­ing the aesthetic transmission of affect are expected not only to increase, but also mutate and intensify. As Benjamin writes in his famous Artwork essay, these “efforts to aestheticize politics cul­minate in one point. That one point is war.”


Scott Sørli’s transdisciplinary architectural and exhibition practice concerns itself with moments when form engages the economic and political forces that produce the city. His activism includes co-founding convenience; working with the Toronto Public Art Committee at City Hall; and chairing the peace sub-group of the Nathan Phillips Square Community Advisory Committee.

His work has been published recently in Twenty and Change 01: Emerging Toronto Design Practices; the journal Scapegoat: Architecture/Landscape/Political Economy; the magazine Horizonte: Angst; and has been exhibited at the Duderstadt Digital Media Commons: Bad Infinity; the Atomic Centre: Total Spectacle; and the Drone Research Lab: Disposition Matrix.


convenience is a window gallery that provides an opening for art that engages, experiments, and takes risks with the architectural, urban, and civic realm.

convenience
24/7 window gallery
58 Lansdowne Avenue, Toronto ON M6K 2V9
(at Seaforth Avenue, one block North of Queen)
www.conveniencegallery.com

Contact: Scott Sørli

scott.sorli@gmail.com
 

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Black Diamond. "The internet is full of loopholes and leaks"

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Published on : 2014-04-26 09:08:51

Mishka Henner has a solo show at the Carroll/Fletcher gallery right now. How come i never paid more attention to his work so far? Just like Edward Burtynsky, he looks at how industries shape landscapes. Like Trevor Paglen and Omer Fast, he is interested in (overt and covert) sites that the U.S. military deploys outside of its own borders. Just like Michael Wolf and Jon Rafman, he is a photographer using google mapping instruments instead of a camera. Yet, comparing his work to the one of some of the artists i admire the most is pointless. Henner is his own man slash artist. He uses contemporary technology to give a new twist on artistic appropriation and redefines the role of the photographer, the meaning of the photography medium and the representation of the landscape. Without ever using a photo camera.

The Black Diamond exhibition brings together four series of work, based on the collection and mediation of publicly available information sourced through the internet. Henner explains: 'I'm exploiting loopholes in the vast archives of data, imagery and information that are now accessible to us, connecting the dots to reveal things that surround us but which we rarely see or don't want to see.'

Oil Fields and Feedlots are large-scale inkjet prints taken from Google Earth's satellite imagery. The photos reveal landscapes carved by industries meeting the natural resource-devouring demands of two stalwarts of the U.S.'s hyper consumer society: oil and beef.

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Centerfire Feedyard, Ulysses, Kansas, 2013. Feedlots

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Randall County Feedyard, Texas, 2013. Feedlots

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Black Diamond Feeders Inc, Airbase, Herrington, Kansas, 2013-2014. Feedlots

Feedlots are cattle-feeding operations used in factory farming to 'finish off' livestock. Almost all the beef consumed in the United States will have been finished on a feedlot where up to 100,000 steers at a time spend the last months of their lives gaining up to 4 pounds a day on a diet of corn, protein supplements, and antibiotics. Everything on these farms is calculated to maximise meat yield; from the mixture in cattle's feed to the size of run-off channels carrying the animal's waste into giant toxic lagoons.

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Levelland Oil and Gas Field #2, 2013-2014

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Cedar Point Oil Field, 2013-14

In certain parts of the USA, natural features have long been supplanted by man-made marks and structures reflecting the complex infrastructural logic of oil exploration, extraction and distribution. The result is stunning. The prints look fake, painted over and heavily retouched. The exhibition essay compares the images to the work of abstract expressionists.

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Naval Support Activity, Bahrain, 2010. 51 US Military Outposts

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Diego Garcia, Indian Ocean, 2010. 51 US Military Outposts

Fifty-One US Military Outposts presents overt and covert military outposts used by the United States in 51 countries across the world. Once again, the sites were gathered and located using data which exists in the public domain, including official US military and veterans' websites, news articles, and both leaked and official government documents and reports.

"The internet is full of loopholes and leaks," the artist said. "I remember one day Hilary Clinton had categorically stated: 'we have no US military presence in Honduras.' However, the next day I was on Panoramio and was looking around pictures from Honduras - sure enough there was a photograph of a native Honduran worker with his arm around a sergeant major from the US cavalry regiment. The Honduran had even written to all his mates talking about how happy was to have got a job on this US military base. So the internet is full of these really simple leaks that completely contradict statements made by very powerful organisations."

The prints are displayed on plinths filling the rear gallery space, allowing visitors to walk around and watch the images from above, as if we were satellites. Or drones.

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The walls of the space downstairs are covered with Henner's ongoing Scam Baiters series. Scam baiters are internet vigilantes who pose as a potential victims in order to waste scammer's time and potentially expose their identity,. They respond to their email, pretend to go along with the scammer's demands in exchange for time-consuming requests supposed to ensure that the money transaction will be successful. Henner is showing cardboard signs that various scammers were asked to make as a result of email conversations, negotiation of fraudulent documents and bogus websites. One case involved an almost four-month long correspondence between Henner's associate, 'Condo Rice' and a trio of scammers spread across Libya and the United Arab Emirates. In one of his final message, the scam baiter asks the scammer for proof of identity. He asks for a photo containing a U.S. flag held on a stick, a sign with SKAMMERZ ISHU, and 'to be absolutely certain this is a genuine photograph", the scammer has to wear an Obama mask.

Sound recordings of the scammers singing popular songs permeate the space.

Henner is currently shortlisted for Consumption, the Fifth Prix Pictet Award. The exhibition of finalists will be on display at the Victoria and Albert Museum, London in May 2014, where Henner will show a selection of works from his "Oil Fields" and "Feedlots" series.

Black Diamond is at Carroll/Fletcher in London until 31 May 2014.

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Stacey Tyrell: Backra Bluid

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Published on : 2014-04-26 01:00:00


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Stacey Tyrell: Backra Bluid
Scotiabank CONTACT Photography Festival: Featured Exhibition
April 26 - May 17
Reception: Saturday April 26 from 3 – 6 pm

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Mara, 17 yrs. 2011, chromogenic print, 30 x 40 inches, edition of 5

General Hardware Contemporary is pleased to present Brooklyn-based Canadian photographer Stacey Tyrell's solo exhibition Backra Bluid as a featured exhibition for Scotiabank CONTACT photography festival.

In Backra Bluid, artist Stacey Tyrell portrays herself as a white woman by altering her skin colour and making subtle tweaks to her features. Backra is archaic Caribbean slang of West African origin that means "white person." Bluid is the Scotch word for blood, as well as for kin. In this series Tyrell draws on her own family history—archaic and ongoing, Scottish and Caribbean—to explore how identities complicate and overlap. Critical of the dualism inherent in Eurocentric constructs of Whiteness and Blackness, Tyrell's work suggests that most people in post-colonial societies are not easily categorized. Developed through fictitious avatars and dramatic sets, her approach privileges performance and theatricality.

Tyrell studied photography at the Ontario College of Art and Design. In 2012, she was chosen by Magenta Foundation's Flash Forward as a top emerging Canadian photographer. Her work has appeared in exhibitions at the Royal Ontario Museum, the Canadian Museum for Immigration at Pier 21, and at the Center for Photography in Woodstock, NY. Tyrell's images are included in the collections of Heritage Canada and Montreal Arts Interculturels and have been published in Pictures from Paradise: A Survey of Contemporary Caribbean Photographers, Canadian Art Magazine, ARC Magazine, Prefix Photo, The Wondereur and Applied Arts Magazine.

During Scotiabank CONTACT Photography Festival, Tyrell's work will also appear in a Primary CONTACT exhibition Pictures from Paradise: A Survey of Contemporary Caribbean Photography at the Shipping Containers behind The Power Plant Contemporary Art Gallery. Based on the 2012 book of the same name by Robert & Christopher Publishers, the exhibition features the work of 18 contemporary photographers curated by Robert & Christopher editors Melanie Archer, Mariel Brown and Wedge director Kenneth Montague.


VISIT US IN MONTREAL @ PAPIER 14, April 25 – April 27
BOOTH 40

For additional information contact:
Niki Dracos, Director
416-821-3060

GENERAL HARDWARE CONTEMPORARY

1520 Queen Street West Toronto M6R 1A4
Hours: Wed - Sat 12 - 6 pm and by appointment
Follow us Facebook l Twitter
generalhardware.ca
 

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Terms of Engagement: Averns, feldman-kiss, Stimson

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Published on : 2014-04-26 01:00:00


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Terms of Engagement: Averns, feldman-kiss, Stimson
Curated by Christine Conley
26 April—10 August

Opening Reception with curator's tour: Saturday 26 April, 5–7 pm
Free and open to the public

The Agnes Etherington Art Centre is pleased to present Terms of Engagement: Averns, feldman-kiss, Stimson. This exhibition is comprised of work by three artists who have recently been deployed to conflict zones as participants in the Canadian Forces Artists Program (CFAP). Dick Averns was hosted by the Multinational Force and Observers at North Base, Sinai, in Egypt during 2009, nichola feldman-kiss was embedded with the United Nations Mission in Sudan in 2011, and Adrian Stimson was stationed at Forward Operating Base Ma'sum Ghar and Kandahar in Afghanistan in 2010.

Launched in 2001 to embed artists alongside Canadian troops, CFAP is distinct from earlier war art programs in that it does not exhibit or collect the work produced by artists who volunteer for the privileged access CFAP offers. Working in photography, video, sculpture and installation, the artists in Terms of Engagement reflect CFAP's arm's-length relationship with the military, which allows for greater independence of artistic expression. As curator Christine Conley explains, the artists "are all conscious of the complex relation of culture to conflict, given their situation as embedded observers whose access to war zones depends upon military hospitality, protection and social networks." Compelled by narratives of genocide, the traumatic legacy of colonialism, and the War on Terror, the works in Terms of Engagement offer an encounter and critical engagement with Canada's international role as a nation of warriors and peacekeepers.

This exhibition is organized by the Agnes Etherington Art Centre in partnership with Mount Saint Vincent University Art Gallery, Halifax and the Esker Foundation, Calgary. A forthcoming publication with essays by the curator and Kirsty Robertson accompanies the exhibition.

For further information, please contact Chantal Rousseau at 613.533.2190, or go to www.aeac.ca.

Image: nichola feldman-kiss, still from after Africa "So Long, Farewell" (sunset), 2011-2012, video, part 1 of multi-channel HD video/audio projection



The Agnes Etherington Art Centre is a dynamic, interdisciplinary platform for teaching and learning at Queen's University. The Art Centre also serves as Southeastern Ontario's public art museum, actively engaging citizens of the City of Kingston and visitors to the region, in the belief that contact with original works of art contributes to understanding our world, ourselves and others.


Agnes Etherington Art Centre
36 University Ave, Queen's University
Kingston, Canada K7L 3N6
613-533-2190
www.aeac.ca
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Moira Clark | Yvonne Singer

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Published on : 2014-04-26 01:00:00


FOR IMMEDIATE RELEASE
loop Gallery presents:


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Moira Clark
Colour Complex

Yvonne Singer
just in time (or hanging by a thread)

April 26th – May 18th, 2014

Reception: Saturday, April 26 2014, 2-5PM

loop Gallery is pleased to announce exhibitions by guest artists Moira Clark entitled Colour Complex and Yvonne Singer entitled just in time (or hanging by a thread).

Colour Complex debuts new abstract paintings which build on Clark's longstanding fascination with colour harmonics, composition, and the formal elements of painting. These large and vital paintings transform varied representational references into amorphous puzzle pieces squeezed together and fine-tuned to produce paintings that are simultaneously tense and harmonious. Shapes are altered, removed, or foregrounded until a delicate balance of push and pull is achieved. Clark's process is intuitive; each new work is an encounter, imbued with its own autonomy. "Although I have no idea at the start what will happen, eventually the paintings are resolved," she explains, "they seem to tell me when to stop."

Clark was born, lives and works in Toronto. Recently, she was included in the exhibitions Art School {Dismissed} curated by Heather Nicol; and The C Word, curated by Richard Mongiat. She was a founding member of loop Gallery, and has also been represented in Toronto by XEXE Gallery/KWT Contemporary. Her work was granted a retrospective exhibit at the Cambridge Galleries in Preston, and was also selected for inclusion in the 2008 Magenta publication Carte Blanche Vol. 2: Painting. Clark holds a BFA from York University and she teaches painting in the Art & Art History Program at Sheridan College/University of Toronto Mississauga.

To carve out dials quaintly, point by point,
Hereby to see the minutes how they run,
How many make the hour full complete;
How many hours bring about the day;
How many days will finish up the year;
How many years a mortal man may live
Henry VI, Part III, Act 2, Scene 5, William Shakespeare

just in time (or hanging by a thread) follows Singer's ongoing exploration of the cultural nuances and sculptural qualities of everyday language. The installation features 24 hourglasses, (each marking one hour), a metronome, and a blue neon text reading: "so I watched him take his last breath and I was relieved. I needed the certainty that he was gone". Placed alongside signifiers of the demarcation of time, this enigmatic passage about loss functions as both text and object.

Singer was born in Budapest, Hungary. She received a BA in English Literature at McGill and an MFA Honours from York University. She is an Associate Professor in the Department of Visual Arts and the former Graduate Program Director in visual arts at York University. Her community activities have included board membership on the Toronto Arts Council, C International Art magazine and the Koffler Centre for the Arts. Recent exhibitions include The Game of Life; 1 step forward, 10 steps backwards, art sourterrain and Nuit Blanche Montreal; jst wrds at the Cambridge Galleries; I do, I undo, I redo, at Critical Mass, Port Hope, and IIIIwawawant at the Convenience Gallery and the Gladstone Hotel.

Images: (left) Moira Clark, Selvedge (detail), oil on canvas, 36" x 48", 2014. (Right) Yvonne SInger, glass hourglass, 2014.

Find out more on the loop blog.


loop Thanks

Audax.ca . Sumac.com

loop Members
_John Abrams . Mark Adair . Elizabeth Babyn . Gareth Bate . Yael Brotman . Kelly Cade . Lynn Campbell . Catherine Carmichael . Gary Clement . Tara Cooper . Tanya Cunnington . Elizabeth D'Agostino . Sheryl Dudley . Larry Eisenstein . Martha Eleen . Eric Farache . Adrian Fish . Maria Gabankova . Candida Girling . Sandra Gregson . Charles Hackbarth . Libby Hague . Linda Heffernan . David Holt . John Ide . Sung Ja Kim . Jenn Law . JJ Lee . Jane LowBeer . Ian McLean . Suzanne Nacha . Mary Catherine Newcomb . Ester Pugliese . Barbara Rehus . Rochelle Rubinstein . Richard Sewell . Lanny Shereck . Sandra Smirle . Kim Stanford . Adrienne Trent_

loop Gallery
1273 Dundas Street West, Toronto, Ontario, M6J 1X8 (3 doors west of Dovercourt).
Gallery Hours: Wed - Sat 12 to 5 pm and Sun 1 to 4pm.
Artist is in attendance on Sundays and for the reception.
For more information please contact the gallery director at (416) 516-2581 or loopgallery@primus.ca. Website: www.loopgallery.ca

Blog: http://loopgallery.blogspot.com/

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Sigi Torinus: Into the Light

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Published on : 2014-04-26 01:00:00

The Art Gallery of Windsor Announces its Spring Season!
Sigi Torinus: Into the Light
Land Marks
WE WON'T COMPETE

Join us for the opening reception and Fridays Live! April 25, 7–10 pm with music by the Jazzus Ensemble, studio activities and a cash bar. Admission: $7 (AGW members FREE)

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Sigi Torinus, Into the Light, 3 channel projection, 2014 (installation view)

Sigi Torinus: Into the Light
April 26 – June 15, 2014

Using photography, video and objects, Into the Light brings together a series of immersive, multi-sensory installations that asks us to consider how we navigate space and our assumptions of places that are unknown to us. Windsor-based artist Sigi Torinus grew up in the Virgin Islands well before it became the prime Caribbean vacation destination it is today. The experience of migration echoes in her work in poetic and playful ways to create images and environments that are constantly in flux, visible and intangible at the same time. For this exhibition, she returns to the Caribbean to explore the trope of an island beyond its topographical meaning, but rather as dialectic between location and dislocation, isolation and connection, absence and presence.

The phrase "into the light" can also be understood as 'making something known,' 'disclosing a secret,' or 'the act of narrating.' Torinus playfully activates multiple ways of seeing, listening and understanding an idea, belief or place in ways that transcend stereotypical assumptions with a world view that is vibrant, eclectic and changing.


Curated by Srimoyee Mitra




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Susan Gold Trophy Room Proscenium Panels (2008); oil on linen

Land Marks
April 26 – June 15, 2014
Land Marks features Mary Anne Barkhouse, Wendy Coburn, Brendan Fernandes, Jérôme Havre and Windsor-based artist Susan Gold — whose works draw our attention to the ways in which humans mark themselves, others, and their environments in order to establish identities, territory and relationships to the world. As the artists in this exhibition observe, these relationships are based on constructed categorical differences. The works in Land Marks trouble the taken-for-granted and familiar-yet-complex concept of nature through re-presentations of animals, humans, ecology and museum practices. By representing spaces where these ideas merge, clash and create composite sites, the artists offer ideas about how to reconsider and reposition the constructed categories that limit people and their interactions with each other and the environment.

Curated by Andrea Fatona and Katherine Dennis


Organized by the Thames Art Gallery (Chatham, Ontario) in partnership with the AGW and the Art Gallery of Peterborough



WE WON'T COMPETE
April 26 – September 21, 2014
Abstract Random, Sonja Ahlers, Eleanor Bond, Allyson Clay, Erika DeFreitas, Servulo Esmeraldo, Andrew Harwood, Jesi The Elder, Hannah Jickling, Margaret Lawrence, Rita Letendre, Deirdre Logue, Allyson Mitchell, Johnson Ngo, Bodo Pfeifer, Adee Roberson, Arthur Secunda, Fiona Smyth

WE CAN'T COMPETE / WE WON'T COMPETE
WE CAN'T KEEP UP / WE WON'T KEEP DOWN
"The statements of the exhibition title are an acknowledgement of the dilemmas of feminist and queer cultural participation and describe the all-too-familiar push/pull of working across discourses and converging dialogues.

All of the art in this exhibition incorporates abstraction — of visual codes, relationships and bodies relative to space. When we looked through the AGW collection, we discovered the same obvious holes that most collections have. There are very few pieces by artists of colour/feminist and/or queer. But as feminist curatorial scholars have noted, art history is full of holes and fissures. The way through this is to use absences as an opportunity to create a presence.


Deirdre Logue and Allyson Mitchell, founding members of FAG



PUBLIC PROGRAMS at the AGW

April 25, 7–10 pm
Join us for Fridays Live! and the opening of the Spring 2014 exhibitions with music by the Jazzus Ensemble, studio activities and a cash bar. Admission: $7 (AGW members FREE)

April 26, 2–4 pm
Re-presenting One's self and another: A discussion on the relationship between the recurring themes of place, identity and race and the experimental artistic and curatorial practices of Andrea Fatona, Susan Gold, Deirdre Logue and Allyson Mitchell and Sigi Torinus. Moderated by Honor Ford-Smith. FREE admission!

May 3, 1–4 pm
We're Working On It — with Elaine Carr, Susan Gold, Holly Johnson, Mike Marcon, Mary Ann Mulhern, Thomas Provost and A.G. Smith — is a collaborative performance project which explores writing, drawing, mapping, within the context of the Detroit River, Lake Erie and Lake St. Clair region. FREE admission!
Presented as part of the Mayworks Windsor Festival

May 24, 2–4 pm
10,000 Monarchs: An interactive performance by artist Sigi Torinus. Working from a meditative trance, Torinus will be 'reading' how participants negotiate the space between what they are aspiring and where they are in the present. FREE admission!

June 23, 7–11 pm
Fireworks Live! Watch the fireworks with family and friends at the Gallery, the city's best place to enjoy this event. Visit www.agw.ca for more details and ticket information. Rain date: June 24.


For more information contact Nicole McCabe at nmccabe@agw.ca or 519-977-0013 ext. 134.

Art Gallery of Windsor, 401 Riverside Drive West, Windsor, ON N9A 7J1 www.agw.ca

Please subscribe to: get connected to receive AGW program updates!

The AGW would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario and the Canada Council for the Arts.


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Dominic Nahr: The Rift

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Published on : 2014-04-25 01:00:00

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O'BORN CONTEMPORARY presents:


THE RIFT
A solo exhibition of recent works by:

DOMINIC NAHR

APRIL 25 - MAY 31, 2014
www.oborncontemporary.com


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© DOMINIC NAHR, Untitled (Uganda, Apac), Chromogenic Print, 2010


DATES:
FRIDAY, April 25, 2014, 6 - 9 p.m.
Opening Reception
Artist will be in attendance

SATURDAY, April 26, 2014, 2-4 p.m.
In-gallery Public Artist Interview. RSVP required.
info@oborncontemporary.com


LOCATION:
131 Ossington Avenue, Toronto.

GALLERY HOURS:
Tuesday - Saturday, 11 - 6 and by appointment.
TELEPHONE:
416.413.9555


ABOUT THE EXHIBITION

I remember the first time I set foot in Africa. I landed in Kigali, the capital of Rwanda, and before my heel touched the ground I had the overwhelming sensation that I was home. I was naïve but I held on to a sense of wonder, which I allow and, really, need when first experiencing a place. Since then, I have explored the continent from east to west and north to south. The familiarity and comfort of being "home" struck me most clearly in the east where the Great Rift Valley fractures the land. Observing the geological structure, I felt my core breached and my imagination excited. Below me, a long and vast fracture tore the earth apart, the richness of the continent's minerals exploding to the surface. It remains an emotional parallel to my experience of Africa.


The Rift Valley has become a startling metaphor for the balancing act upon which life on Earth is contingent. The richness of resource, originating from rainfall, deep bodies of water, fertile volcanic soil, and biological diversity, stands in violent contrast to the socio-political unrest and desperate needs of an overly dense population. Africa's people are not only at arms over land and other human necessities, but also the tribes comprising the populous of the Rift have competing loyalties and agendas.

This body of work is a journey through many parts of the Great Rift Valley, which I have called my home. It is composed of the places I went, the people I met, and the beautiful and horrific magic that is held here in the cradle of life.


ABOUT THE ARTIST

Dominic Nahr works with a strong and unwavering gaze, aiming to document and disseminate images of actions that must not be continued or forgotten. He is intent on reporting certain and unflinching narratives about natural catastrophes, civil unrest and crimes inflicted in the pursuit of protecting physical and psychological borders.


Nahr was raised in Hong Kong where he established himself as a photojournalist with South China Morning Post. He relocated to Toronto and subsequently graduated from Ryerson University in 2008.

Nahr has been honoured with several prestigious awards, including The Oskar Barnack Newcomer Award. He has been selected as one of the 'Top 30 under 30 photographers' by PDN magazine and has been exhibited at Visa Pour l'Image in Perpignan, France. Nahr was selected to take part in 2010's Joop Swart Masterclass in Holland and received grants from the Pulitzer Center and the Emergency Fund.

Dominic Nahr joined Magnum Photos as a nominee in July 2010. He is a contract photographer for Time magazine and represented by O'Born Contemporary in Toronto. Nahr currently resides in Nairobi, Kenya.



For Media Information:
Rachel Anne Farquharson
T: 416.413.9555
E: rachel@oborncontemporary.com

 

O'Born Contemporary
131 Ossington Avenue
Toronto, ON M6J 2Z6

Tuesday - Saturday 11 - 6
416.413.9555
www.oborncontemporary.com

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Dunlop Art Gallery: Who’s Afraid of Purple, Orange and Green?

Feed : Akimbo exhibitions feed
Published on : 2014-04-25 01:00:00


Spring 2014 Programming at Dunlop Art Gallery

Central Gallery


dunlop
Image: Celia Perrin Sidarous, Eight cubes on their own, 2013, Inkjet print on matte paper

Who’s Afraid of Purple, Orange and Green?
Krista Buecking, Arabella Campbell, Jessica Eaton, Marie Lannoo, Jennifer Marman and Daniel Borins, Luce Meunier, Sarah Nasby, Sasha Pierce, Jennifer Rose Sciarrino, and Celia Perrin Sidarous

April 25 – June 20, 2014

Curated by Jennifer Matotek, Director/Curator
Jessica Eaton Artist Talk: Friday, April 25, 6:00 pm, RPL Film Theatre
Jennifer Marman and Daniel Borins Artist Talk: Wednesday, June 25, 6:00 pm, RPL Film Theatre
Opening Reception: Friday, April 25, 7:00 pm, Central Gallery

The formalist aesthetics of the modernist movement of the 1960s – which influenced many Saskatchewan artists via the Emma Lake workshops – are being reconsidered by female Canadian artists at various stages of their careers; an interesting phenomenon given that women artists were historically largely excluded from the intellectual discourse at the birth of the movement. This group exhibition brings together new works by artists from across Canada who utilize formalist aesthetics in ways that take new conceptual, narrative and aesthetic turns.

 

In Situ


Joy Walker:  Untitled

April 25 – June 20, 2014

Central Library

Curated by Jennifer Matotek, Director/Curator
Commissioned by Regina Public Library and Dunlop Art Gallery, 2014

In Spring 2014, Dunlop Art Gallery and RPL will commission Toronto artist Joy Walker to create a unique work for Central Library’s east-facing windows. Walker’s work will be exhibited concurrent with Dunlop’s Central Gallery exhibition, Who’s Afraid of Purple, Orange and Green?, a survey of contemporary Canadian (and primarily female) artists whose work revisits and complicates the history of modernism.

Joy Walker’s work explores line, geometry, pattern, and elements of chance using various media including printing, photography, drawing, video, and sculpture. In 2013, she presented solo exhibitions at MKG 127 and Rodman Hall Art Centre and was included in group exhibitions at Harbourfront Centre and The Power Plant. Walker is a Professor of Fabric Science at George Brown College, a studio advisor at the Textile Studio at Harbourfront Centre and programmer of *QueenSpecific, a window gallery in Toronto.


Sherwood Gallery


dunlop
Image: KC Adams, Birch Bark Ltd., 2012, porcelain, lights


KC Adams: Birch Bark Ltd.

March 22 – June 4, 2014

Curated by Jennifer Matotek, Director/Curator

Artist Talk: Saturday, March 22, 1:00 pm, Sherwood Village Meeting Room
Opening Reception: Saturday, March 22, 2:00 pm, Sherwood Gallery

For Birch Bark Ltd., Winnipeg artist KC Adams presents an installation of twenty-four porcelain birch bark sculptures, with tiny illuminated symbols created using the art of birch bark biting, symbols which upon closer inspection are the logos for Manitoba Hydro, Safeway, the Olympics, the Winnipeg Art Gallery, Apple Computers, the Bay, and the Royal Bank of Canada among others.

KC Adams is an Oji-Cree multidisciplinary artist who holds a BFA in Studio Arts from Concordia University. She works in various media that include sculpture, installation, drawing, painting, photography, ceramics, printmaking, and kinetic art. Her work has been shown in numerous solo and group exhibitions throughout Canada, the United States, Europe, and Australia. Her art is part of the collection of the National Museum of the American Indian.


In Situ

dunlop
Wednesday Lupypciw, QUEER NOISE SOLIDARITY, 2013, performance. Photo: Henry Chan for FADO Performance Art

Wednesday Lupypciw:  ALLIES HONOUR YOU

Saturday, June 14, 2014, 3:30 pm

Victoria Park

Curated by Blair Fornwald, Assistant Curator
Presented in partnership with Queen City Pride

ALLIES HONOUR YOU is an experimental noise event and "living sculpture" conceived and conducted by Calgary artist, Wednesday Lupypciw. Nine women, each with their own drum kit, will occupy Victoria Park, forming a triangular locus as Lupypciw leads them through three intense sessions of drumming and chanting. ALLIES HONOUR YOU is a public declaration of feminist alliance with queer communities, claiming a space, sonically and psychically much larger than its physical dimensions. Both riotous and utopian, the work celebrates the radical potential of collectivized action, ritual, and rock ‘n’ roll.

Wednesday Lupypciw is from Calgary, Alberta, where she pursues a video and performance art practice. To make money she is a part-time maid. She maintains a concurrent practice in textiles – weaving, machine knitting, embroidery, and crochet – but this is done mostly while procrastinating on other, larger projects. The performance art collective LIDS, or the Ladies Invitational Deadbeat Society, a loosely-knit group of purposefully lazy womenfolk, is one of these projects. Lupypciw is a Fibre programme graduate from the Alberta College of Art + Design, and has worked and exhibited at many artist-run spaces throughout Canada.


Gallery News

Dunlop Art Gallery Critical Writing Award for Emerging Writers

Submission Deadline: December 5, 2014

Dunlop Art Gallery is proud to support emerging writers and the production of critical writing through the establishment of the Dunlop Art Gallery Critical Writing Award for Emerging Writers.

Applicants are invited to submit a maximum of three 1000-word pieces of writing on Dunlop’s Gallery and Mediatheque exhibitions, or In Situ activities. Submissions will be evaluated by a panel of independent judges.

Five winners will receive a cash award of $350 each. Winning critical essays will be published in DAG Volumes: No. 3 (2014). Winners will be announced at Dunlop Art Gallery’s Winter 2015 opening reception.

Emerging writers should be residents of Saskatchewan, at least 18 years of age, and shall have published no more than two pieces of writing in a national magazine.

Submissions should be accompanied by a current CV and a 150 word biography.

Please email submissions to:

Wendy Peart, Curator of Education and Community Outreach
wpeart@reginalibrary.ca

Central Gallery and Mediatheque
2311 – 12th Avenue, Regina, SK                                                                                    
Hours:                                                                                     
Monday through Thursday 9:30 am to 9:00 pm                    
Friday 9:30 am to 6:00 pm                                                    
Saturday 10:00 am to 5:00 pm                                              
Sunday 12:00 pm to 5:00 pm                                                 

Sherwood Gallery
6121 Rochdale Boulevard, Regina, SK
Hours:
Monday 9:30 am to 6:00 pm
Tuesday and Wednesday 9:30 am to 9:00 pm
Thursday and Friday 9:30 am to 6:00 pm
Saturday 9:30 am to 6:00 pm
Sunday 12:00 pm to 5:00 pm

http://dunlopartgallery.org

For more information, please contact:
Jennifer Matotek, Director/Curator
Tel.: 306.777.6045
Email: jmatotek@reginalibrary.ca

The Dunlop Art Gallery gratefully acknowledges the support of the Canada Council for the Arts, the Saskatchewan Arts Board, SaskCulture, and Saskatchewan Lotteries. 




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