AICA Incentive Prize for Young Art Critics 2011

Feed : Universes in Universe - Magazine
Published on : 2011-11-02 03:31:22
For a review on the Biennials of Curitiba and Mercosur by a young art critic from Latin America. Deadline: 31 Dec. 2011

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Adam Matak: Objects of Value

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Published on : 2011-11-02 01:00:00

Adam Matak's
Objects of Value

LE Gallery
Nov 2 - 27, 2011

Adam Matak's Objects of Value can be read in multiple ways. The series literally depicts objects of value: printed money, the classic example of economic value, whilst also engaging with objects of value in a cultural sense. But it also invites reflection on the cultural and historical value of paper money at a moment when the transfer of money is largely virtual. The drawings are meticulously rendered using everyday BIC pens, evoking a reconsideration of the relationship between the seemingly banal and the beautiful.

Adam Matak
Though trained as a printmaker, Adam Matak uses paint, markers and ball point pens to achieve the graphic aesthetic of print. Major themes that have consistently run through his work have been: reception, value an historical narratives that connect us. Matak has been exhibited in both private and public galleries throughout Ontario and is collected locally and internationally. He has been published in Art Works, a Canadian art history textbook, and reviewed in The National Post, The Globe & Mail and Blog TO. Le Gallery's Objects of Value marks Matak's fourth major exhibition this year.

LE Gallery
Wed - Sun 12-6pm or by appointment
1183 Dundas St W
Toronto, Ontario
M6J 1X3

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Barbara Rehus: Thanks, Ma

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Published on : 2011-11-02 01:00:00



Thanks, Ma
Barbara Rehus

Mon Ton Window Gallery
402 College Street
Toronto, ON  M5T 1S8

November 2 – 30, 2011

With Thanks, Ma, a new kinetic work, Barbara Rehus revisits her past explorations on the theme of motherhood. The earlier works centred around knitted garments made of unwearable materials – cement, glass, wax, matted dog hair.  There is a harshness to these materials; a harshness that carries over to the type of mother who would wear such items.  She wouldn’t be huggable.  You wouldn’t be able to bury your face in the coziness of her.  This time around, Rehus takes a lighter look at motherhood and creates a more benign and much softer representation of that most basic and universal of all human relationships.  Now the knitting most closely resembles something that might be worn, although it still can not be worn.
In Thanks, Ma, Ma, a life-sized doll-like puppet, is knitting a long scarf that winds around her children who are jiggling and dancing about her, hanging off her arms, as she works.  The scarf Ma is knitting is made from scraps of yarn of varying texture, colour, type, and purpose.  The different scraps of yarn are representative of all the things mothers have knitted over time as both expressions of love and of the expectations and responsibilities inherent in motherhood.  These expectations and responsibilities are held, Rehus believes, by both mothers and their children.  The yarn was collected from all kinds of people – not just mothers – and all kinds of projects; some of which were finished and some of which were never completed.  This is important, Rehus says, because although we all complete our childhoods, our relationships with our mothers are never finished.  And, if we have children ourselves, our relationships with them are, inevitably, never completed.  Those relationships are, however, forever interwoven.

Barbara Rehus is a Toronto-based visual artist, working primarily as a sculptor and painter. She is a member of Loop Gallery, an artists’ collective, and her work has been shown in solo and group exhibitions in public institutions, artist-run centres and commercial galleries throughout Canada, The UK, The Netherlands, Australia, and the United States.  Her work is included in numerous private collections. 

The artist sincerely thanks Doug Hardy, Brian Rehus, Jim Rehus and Terry Weber for their shared expertise and support.  Many thanks as well to all those fibre artists and knitters who so generously dipped into their prized yarn stashes to help Ma make her scarf.

Thanks, Ma can be seen in action at

The artist can be reached at 

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Marlene Hilton Moore: Pixie's World and the Glass Box Stage

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Published on : 2011-11-02 01:00:00


BlackBedStage_IMG_0374, 2011, 22x31 in/55.9x78.7 cm, Lambda Flex Print

"Pixie's World and the Glass Box Stage"

November 2nd to December 11th, 2011
Opening Reception: Thursday, November 3rd, 6 – 8 pm (Artist in Attendance)
Location: BOHEMIA, 125 Dunlop Street East, Barrie, ON

Frances Thomas Art Projects is pleased to present an exhibition of photographs by multi-media artist, Marlene Hilton Moore.

This exhibition contains only eight Lambda Flex Prints, more than enough evidence of an intuitive and nimble collaboration of artist and subject. Hilton Moore provides a direct expression of what she is seeing in front of her—an unvarnished and intensely personal glimpse of Pixie and her dramatically lit surround. Inside each hypnotic frame there exists an interior world so complete and seamless the viewer is hard pressed to figure out where Pixie ends and her environment begins, and vice versa. It is impossible to not engage with this dual psychological and lived space. Hilton Moore is not concerned with creating a false picture but rather gives us the unmanipulated, idiosyncratic and frank record of a life in situ, including all of its fragile truth and poignant beauty.

Marlene Hilton Moore is a sculptor with an extensive career in 3-dimensional fabrication and audiovisual installation, and has recently embraced the medium of photography. She is a retired Associate Professor, Georgian College, School of Design and Visual Arts, Barrie, ON. Among her many public commissions are The Valiants Memorial, National Capital Commission, Ottawa, Pierre Le Moyne d'Iverville sculpture, Fort Maurepas Park, Ocean Springs, Mississippi and most recently Sir Wilfrid Laurier, Wilfrid Laurier Univesity, Waterloo, Ontario. <>

Upcoming Solo Exhibitions in 2012: "Made to Measure 2" in January at the Art Gallery of Sudbury and at the WKP Kennedy Gallery, North Bay, in March.


Monday to Friday 8:00 am – 5:00 pm
Saturday: 9:00 am - 5:00 pm, Sunday: 9:00 pm – 4:00 pm

Frances Thomas

This exhibition is presented by:


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Martin Weinhold: WorkSpace Canada

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Published on : 2011-11-02 01:00:00



Martin Weinhold
WorkSpace Canada

November 2 – 26, 2011
Opening Reception: Thursday, November 3, 6 – 9 p.m.

Co-presented by I·M·A GALLERY, Goethe-Institut Toronto and The Faculty of Communication & Design, Ryerson University.

"The ongoing long-term portrait project WorkSpace Canada explores the world of work in the 21st century. It depicts people in their workplaces in a very personal way, revealing the professional possibilities in contemporary Canada." —Martin Weinhold

Over the past decade German photographer Martin Weinhold has traveled across this vast country to photograph Canadian workers, compiling a record of working conditions, the nature of work and the values associated with all forms of labour. By making intimate portraits of each of his subjects, he focuses on the role of the individual worker and how each occupation becomes essential in the structure of our society. While making a series of individual portraits he is simultaneously creating a unique composite portrait of modern Canada. The project casts light upon the meaning of labour and employment in the context of today's economy.

An installation of Weinhold's photographs will also be on view at the Goethe-Institut Toronto, 100 University Ave, North Tower, 2nd Floor, concurrent with the I·M·A GALLERY show and Weinhold's residency at Ryerson.

Panel Discussion: The Representation of Labour
November 8, 6:30 p.m.
Martin Weinhold, Mark Kingwell, Carole Condé and Karl Beveridge
Moderated by Blake Fitzpatrick
Ryerson University, 285 Victoria Street, Fifth Floor, Room 501
Co-presented with the School of Image Arts Student Lecture Series

All events are free and open to the public.

Participant Biographies:
Carole Condé and Karl Beveridge are photo-based artists who have worked in collaboration for the past 30 years. Their work consists of large-scale photo-montages and staged photos, dealing with issues of organized labour and globalizing economies. The two are based in Toronto yet work intimately with trade unions and community organizations all over the country. Their work has been exhibited across Canada and internationally in both the trade union movement and art galleries and museums. Recently their work has been included in exhibitions at the Lewis Glucksman Gallery, Cork, Ireland, a survey exhibition at the Agnes Etherington Art Centre in Kingston, Ontario, and the Noorderlicht Photofestival, Groningen, Holland.

Blake Fitzpatrick is a Professor and Graduate Program Director of the Documentary Media Program (MFA), School of Image Arts. He is an active photographer, curator and writer. His research interests include photographic responses to the nuclear era, documenting the Berlin Wall in North America and visual responses to contemporary militarism. His publications include essays and visual works in the journals The History of Photography, Fuse, Topia, Public (42) and the recently published anthology The Cultural Work of Photography in Canada.

Mark Kingwell is a professor of philosophy at the University of Toronto, and a contributing editor of Harper's Magazine. He is author or co-author of sixteen books of political, cultural and aesthetic theory, including the national bestsellers Better Living (1998), The World We Want (2000), Concrete Reveries (2008), and Glenn Gould (2009). He has had visiting posts at Cambridge University, University of California at Berkeley, and City University of New York where he received the title of Weissman Distinguished Professor of Humanities. His recent books are a collection of his essays on art and philosophy, Opening Gambits (2008); with Patrick Turmel, the edited collection Rites of Way: The Politics and Poetics of Public Space (2009); and with Joshua Glenn, The Wage Slave's Glossary (2011).

Martin Weinhold was born in East Germany and studied at the University of the Arts in Berlin. He specializes in portrait photography and has long-term teaching experience at the University of the Arts Berlin and the Design Schule Schwerin, where he started the photography program. He is returning to Ryerson University after having been a visiting artist and guest lecturer in the Documentary Media Program in 2007–08 and 2010–11, and the joint Ryerson and York University Communication and Culture masters program. WorkSpace Canada started in 2006 as a commissioned work for the Goethe Institut Toronto, and was featured as a joint exhibition as part of Scotiabank Contact Photography Festival in 2007.

The Wage Slave's Glossary, written by Joshua Glenn and Mark Kingwell, will be on sale at the panel discussion. Glenn and Kingwell have condensed the language of labour in North American culture into a glossary that articulates the frustrations of being in the labour force today.

Media Contacts:

Zinnia Naqvi

Jutta Brendemuehl,
Goethe-Institut Toronto

80 Spadina Ave, Suite 305
Toronto ON
M5V 2J4
(416) 703-2235

Gallery Hours:
Wednesday to Saturday: 12 to 5 p.m.

I·M·A GALLERY is a non-profit student and faculty-run gallery, providing an exhibition venue for contemporary, Canadian and international film, new media and photography artists. The gallery is supported by the Project-Funds Allocation Committee for Students (P-FACS), Ryerson University's School of Image Arts and generous donations from community and individual partners.


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Dana Holst: Sometimes Rainbows are Black

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Published on : 2011-11-02 01:00:00



November 2 – 26, 2011
Opening Thursday November 3rd, 6 to 9 pm

the redhead gallery

Edmonton artist Dana Holst, in her solo exhibition, explores multiple feminine themes of ego, blossoming love, anxiety and self-loathing. Sometimes Rainbows are Black opens Thursday Nov 3 rd, from 6 – 9 pm at The Red Head Gallery.

Sometimes Rainbows are Black is a retrospective exhibition including works from Prey and True Romance, two past Holst exhibitions. As well, there are new paintings, drawings and a fibre-based installation.

The installation, Sometimes Rainbows are Black, features a large rainbow rug in shades of mourning. Made of antique wedding dresses painted black, then cut into thin strips, the silk was entirely hooked by hand using historical methods. Monotonous, laborious, ominous, the black rainbow hangs on the wall flanked by June and April, two cut out drawings of girl heads, guardians of hope on a journey to the otherworld.

Paintings in the show focus on fate as it befalls the lives of young girls caught in the transformation to womanhood. For example, in Self-Loathing, an adolescent girl stands with her back to the viewer on her stained and bare mattress, silently contemplating the wallpaper pattern, emanating feelings of loneliness and despair.

Poignant and theatrical, Holst's new work looks at hope and desire as filtered through destiny and human cruelty/weakness.

A catalogue for Sometimes Rainbows are Black will be available the 1st of December, 2011. Contact Dana at to request a copy or visit for further information.

Image: Out of the Woods, right panel, 2011.
Image: Sometimes Rainbows are Black (Study), 2010

the redhead gallery 401 Richmond St. W. #115, Toronto, Ontario M5V 3A8
Wed – Sat 12 – 5 pm



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The Message

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Published on : 2011-11-02 01:00:00



Nov. 2-13 Gallery 1313 Reception Nov. 3 7pm
1313 Queen St. West 416-536-6778

Gallery 1313 is pleased to present, THE MESSAGE, an exhibition of new media artists who explore the effects of technology on popular culture and society. The exhibition is also a celebration of the legacy of Marshall McLuhan. The exhibition was curated by Gallery Director, Phil Anderson and is sponsored by Highland Park Single Malt Scotch Whiskey. We would like to thank Highland Park Single Malt Scotch Whiskey for their generous support.

There will a mix of installation, video works and photo based works . The exhibition will take place in the Main and Process Galleries.

There will also be panel discussion Wed Nov. 9 7pm which will address the future and effects of technology in artistic practise and society in general . Panelists to be announced.

Participating artists include Zeesy Powers, Jenn E. Norton, Myfanwy Ashmore, Robert Lendrum, Daniel Borins and Jennifer Marman, Matthew Williamson and Nicholas Stedman.

Gallery Hours are Wed- Sun. 1-6pm

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norma dvorsky: s t r e t c h m a r k s

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Published on : 2011-11-02 01:00:00



s t r e t c h m a r k s

norma dvorsky

opening reception: Thursday November 3rd 7-10pm
November 2 to December 2

Galleria 814 814 St. Clair w. Toronto, ON 416-658-8814
Tues. – Fri. 12-6, Sat. 12 – 4

Parsing is the new me.

I am the sponge for too much information, filled with too much desire; becoming a master parser, a gardener of information. My mind is alive, hungry, deadened and full at the same time. I am so much & so little.


My work alludes to the complexities of human interaction and communication. The relationship between our 'real', deeper/spiritual selves versus our public selves.

Drawn & intersecting lines refer to maps, roads, bloodlines; DNA. Journeys taken & still to be taken. What eludes us? What captivates us? What sticks to each of us in our individuality through our parallel travels, through culture & ancestral memory?... I use text, script, letters, marks, and words to my paintings & under-paintings in an attempt to explain the map and address the subliminal, using the basic communication skill of 'writing'. The text also adds a formal structural element to the work. Colour shows up as my wink to humour, optimism & desire.

Working with abstraction is also an answer to my former self. I was a linear thinker for so many art making years. Then I gazed into the colour, the medium, the action, very close up. That's what lead me to abstraction; seeing life

About the artist:
I have always been an artist. In the past I held no clear no idea of how to take my artwork public, non-privatize it. So I did it for myself. That continues to be the foundation of my art practice.

In 1996 I completed my BFA with distinction at Concordia University in Montreal, with a concentration on drawing & painting. During that time I was raising 2 young boys and their presence in my life profoundly influenced my body of work. My sons & their development became my subject. I started out with representational art, with an abstracted or surreal ground. Eventually, I no longer felt the need for a figure(s). My newfound footing as of the last few years, has been related to colour field painting & 'texting'.

I also take my art practice in a variety of other directions, including installation & 3 dimensional work. Alongside painting, I have been pursuing 'The Eggshell Project', a look at the inside of eggshells; fertility and fragility, and 'Potty Mouths', a clay based project.

The one constant with my work is mark-making. It infuses everything I do. It is rooted in the act of drawing and gives form to my thoughts, my reverence for words and communication and the quest for meaning.

About Galleria 814:
Just minutes from the revamped, historical Artscape Wychwood Barns community centre, sits Galleria 814 adding art into heart of the St. Clair West. Galleria 814 is a young, dynamic gallery displaying works from some of Toronto's most exciting emerging, local artists. Established in 2008; Galleria 814 aims to create a community oriented environment, dedicated to nurturing local artists engaged in a wide variety of mediums. In its shows Galleria 814 exhibits this vibrant mix of emerging and local, established artists with an eclectic range of artistic ideologies and material interests. Not only does the gallery continue to provide an opportunity to view and purchase exciting new contemporary art, but with a unique understanding of framing technique, it is also a great place to find custom built archival frames to house your personal art collection.

For inquiries: Rachael Buchwald, curator. Galleria 814. T: 416-658-8814 E:

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Post-it City. Occasional urbanities

Feed : we make money not art
Published on : 2011-11-01 11:44:02

For the first time in my life, i'm happy with Iberia services. They cancelled my flight from Gijón to Madrid and i was informed at the last minute that i was booked on a plane that departed before dawn. The new schedule meant that i'd have to wait 8 hours for my connecting flight in Barajas airport (stunning architecture, crap-est over-priced food in the entire universe.) I decided i would take the opportunity generously bestowed upon me by the dreadful airline and do something more interesting than spend hours in duty free shops. I left Barajas, took the metro to the center of Madrid, got a decent meal and visited an exhibition.

Daniele Pario Perra, Economic Borders, Sicily, 2005

Daniele Pario Perra, Economic Borders, Sicily, 2005

Veronika Zapletalová, Chartarství (Summerhouses), 2005

The lunch wasn't memorable but the show was a joy. Post-it City. Occasional urbanities - Ciudades ocasionales at Centro Centro looks into temporary occupations of public space that appear on the fringe of urban-planning. Neither authorities nor architects have planned these informal uses of space. Whether they emerge for commercial, recreational, sexual or survival reasons, post-it practices answer needs that the city isn't able to answer adequately.

Post-it City phenomena emphasise the reality of the urban territory as the place where distinctive uses and situations legitimately overlap, in opposition to the growing pressures to homogenise public space. In contrast to the ideals of the city as a place of consensus and consumption, temporary occupations of space reaffirm use value, reveal different needs and lacks that affect given collectives, and even promote creativity and the subjective imagination.

From another standpoint, the temporary activities that contaminate public space with numerous para-architectural artefacts enable reflection on urban experience to redirect its attention towards the minuscule, thus correcting the arrogance of traditional architecture.

The exhibition has been touring for a few years and i even got my hands on the catalogue a while ago. I can't seem to be able to locate it right now but it's available on Amazon USA and UK. The show is packed with fantastic information, photographs and stories. I wish i could talk about every single one of them but that won't be necessary as all the projects have been listed on the Post-it City website. Here's a small selection:

Every Autumn, the Orthodox Jewish neighbourhoods in Brooklyn, New York, are sprinkled with temporary outdoor structures called sukkah. People live there for 7 days as a way to remember the fragile dwellings in which the Israelites dwelt during their 40 years of travel in the desert after the Exodus from slavery in Egypt.

Francisca Benitez, Prótesis del Nuevo Exodo

Francisca Benitez, Prótesis del Nuevo Exodo

Francisca Benitez, Prótesis del Nuevo Exodo

Francisca Benitez, Sukkah, 2001

Another of Francisca Benítez's photo series is part of Post-It City. The images show bundles nesting in Parisian trees. They are the personal belongings of Afghani immigrants. In July 2005, two months before the Paris riots, Benítez recorded every tree next to the Gare de l'Est. (Illegal) immigrants stack there their possessions while waiting for another odd job, for continuing their journey.

Francisca Benítez, Gare de l'Est, 2005

Francisca Benítez, Gare de l'Est, 2005

The photo documentation that most shocked me is Old Wreck City. Federica Verona and Cecilia Pirovano investigated what they call 'the city of abandoned cars' in Milan. Abandoned and stolen cars become a refuge where homeless Italians or foreigners sleep, eat, drink and take shelter from the rain and people's gazes. The images are accompanied by the story of some of the people who sleep in cars. Some of them have slept there for years, continuously or between jobs, some are couple waiting to be allocated social housing.

Federica Verona and Cecilia Pirovano, Old wreck city

Federica Verona and Cecilia Pirovano, Old wreck city

OLD WRECK CITY 09, the city of abandoned cars

Unlike European cemeteries, Cairo's historic cemeteries are not walled, they open onto the city, even merging with it. Driven by the difficulty of finding a home in the overcrowded city, some people have established their living space inside Cairo's cemeteries. Authorities do not officially recognise these informal settlements even though they supply them with water and light.

Charlie Koolhaas, Sandi Hilal and Alessandro Petti, City of the Dead, 2005

Charlie Koolhaas, Sandi Hilal and Alessandro Petti, City of the Dead, 2005

Charlie Koolhaas, Sandi Hilal and Alessandro Petti, City of the Dead, 2005

The Cora Garrido Boxe Centre in São Paulo is a social institution as well as a gymnasium established below the motorway. The non-profit and free center seeks to attract marginalised people - the homeless, former addicts and prisoners, children and teenagers at risk - and to promote actions to bring about social reintegration through sport.

The gymnasium uses makeshift equipment. Lorry tyres are transformed into sand bags, lorry axles become barbells and shock absorbers converted into strength-training equipment.

Cora Garrido, Gymnasium below the motorway, São Paulo

Each year, the "Day of the Dead" and "All Saints" see thousands of people visit their forefathers in the cemeteries of La Paz and El Alto. The commemorative event is also a festive ritual in which music is played and people are invited to take fruit, bread, drinks or coca that have been laid out to receive the souls of the departed. Informal markets are set up between graves and children's games appear where prayers are swapped for food and drink.

Roberto Bogani and Sergio Forste, Convite de almas

Bas Princen's photos are always worth mentioning. The exhibition is showing a few photos from Utopian Debris, a photo series that attempts to illustrate the future of urbanism and landscape.

The first photograph below shows the section of a construction site which is excavating the ground under an existing village, and the second one, the sand-storage area for the construction of the Olympic Park in Beijing. Both demonstrate how the artificial nature of places is temporarily disguising itself as the natural.

Bas Princen, Section II, 2007

Bas Princen, Future Olympic Park, 2007

Post-it City. Occasional urbanities - Ciudades ocasionales remains open at Centro Centro in Madrid through 19 February 2012. Entrance is free.
Image on the homepage: Roulotte magazine, Special issue on Post-it City.

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Scott McKay: Forest in the Forest City

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Published on : 2011-11-01 01:00:00

Forest in the Forest City
A collection of work by Artist Blacksmith Scott McKay
Inspired by the forest and all its inhabitants!
Figurative, decorative, festive, iron!
November 1 - 12th.
Noon till 5, Tuesday through Saturday.
Special Artist Reception Friday November 4, 7-9 pm. Friday night party in the Forest!
The Arts Project
203 Dundas Street
London, Ontario
519 642 2767
Media Contact:
Scott McKay
519 695 6162

Scott McKay first explored metal sculpture during long night shifts while he worked as a industrial mechanic in the late 90’s. Self discovery and mildly humoured foremen pushed the interest further. First starting with found items the need to further manipulate metal forms brought him to Fleming College where he enrolled in the Artist Blacksmithing program.  For his efforts he graduated at the top of the class in 2006.

Working full time at his studio near London, Ontario works produced include sculpture and decorative arts. Ongoing self study, passion and the limitless possibilities of steel lend to an array of styles being explored. Working with clients on a wide variety of commissions supports this model.

Forest in the Forest City is a collection of tree shapes experienced by Scott while climbing the rocks of the Niagara Escarpment, working in the Northwest Territories and hiking in Muskoka. Other forest inspired pieces will also be present.
For further information about the artist visit

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