Opening Reception - Thursday, February 12, 2015, 7pm Meet the Artist and featured HPO Musicians Exhibition runs February 6 through February 28, 2015.
The Nathaniel Hughson Gallery proud to present latest work of photographer Daniel Banko: A Movement in Eight Seconds. Over the past year, Banko has been working in collaboration with the Hamilton Philharmonic Orchestra to produce this ambitious series of portraits featuring musicians and their instruments.
A fan of classical music, Banko has always been fascinated by the performance aspects of music as much as the sound. In today’s technologically driven society, the act of performance is often being overlooked in favour of convenience. What we miss in these sound bytes and recordings is the passion and energy of the performer.
Banko has spent the past year in collaboration with the Hamilton Philharmonic Orchestra, studying their principal players and their instruments. Each individual has dedicated their lives to perfecting their art and the energy one feels when witnessing their performance is evidence of this. A Movement in Eight Seconds highlights each artist as they perform a piece that speaks to their love of music. What Banko has captured is a blur of movement and emotion so specific to each performer and instrument it could be a fingerprint.
“We were so pleased when Daniel Banko approached us with his idea,” says Carol Kehoe, Executive Director of the HPO. “To participate in an innovative project that brings together both the visual arts and symphonic music is very exciting. It’s fitting, in an arts community as vibrant as ours, that the merger of these two art forms would result in such a visually arresting exhibition.”
image: Jean-Norman Iadeluca - Principal Percussion, Daniel Banko, 48” x 36” (unframed), giclee print on paper
Setting: land February 6 - May 3, 2015 Organized and circulated by the Thunder Bay Art Gallery This exhibition has been generously supported by the Ontario Arts Council through the Aboriginal Curatorial Projects and Ontario Touring Programs
Setting: land is an exhibition bringing together works by four artists - Kevin Lee Burton (Winnipeg, Manitoba), Kaoru Ryan Klatt (Winnipeg, Manitoba), Kade Twist (Phoenix, Arizona), and Anna Tsouhlarakis (Washington, DC). Through their video and installation-based artworks, each artist considers land as both a source of inspiration and a setting for enacting stories and experiences.
By examining variations of this theme, the artists in Setting: land each engage their work within different sites and locations through highly specific and speculative actions. For instance, Anna Tsouhlarakis's short video Navagation (2002) depicts the artist walking blindfolded from her studio to her former residence in Maine, prodding her surroundings and placing trust in her own innate "Indian" sense of direction. In the video Nikamowin (Song) (2007), artist Kevin Lee Burton charts his own journey through various terrains through the narration of remixed Cree dialogue.
Kade Twist's positioning of present day Phoenix in Our Land, Your Imagination: The Judeo-Christian Western Scientific Worldview and Phoenix (2008) provided a melancholic vision of a city that has been settled on indigenous land. In a place far more remote, but no less settled, Kaoru Ryan Klatt's Yulaska (2007) tells the story of a personal trip taken through the Yukon Territory and the state of Alaska towards the Arctic Circle which consciously blurs the boundary between fiction and reality. Together, the works in this exhibition open discussions about the various histories that have become lodged in the land and that continue to affect our lives in the present.
- Suzanne Morrissette, Curator
Image Credit: Kaoru Ryan Klatt, Yulaska (2007) installation shot, projection onto Tarn 3 tent, LED light, 27:15 min, Photo by Klaus Rossler.
Jason Baerg: Returning February 6 - May 3, 2015 The exhibition was initiated by Strathcona County Art Gallery @ 501 with a national tour organized by the Mendel Art Gallery
This dynamic, multi-media exhibition features two recent works created by Jason Baerg, a Cree Métis artist based in Toronto/New York. The work in this exhibition includes a series of circular paintings from the Relations series, which draw on Baerg’s early training in abstraction combined with computer-generated elements. Also included is a new installation of figurative-abstract paintings, entitled Nomadic Bounce. Both works are presented alongside videos comprised of photo- and computer-based imagery, thus continuing Baerg’s commitment to new and traditional modes of art production and engagement.
Relations was developed out of a residency investigating the many prophecies that concern 2012 - Mayan, Hopi, Mohawk, Tibetan. The resulting 13 circular works, or tondos, speak to notions of the passage of time and suggest a reconsideration of indigenous frameworks of knowledge. Relations explores these cosmic themes through sculptural paintings, which embrace our relationship to each other, the Earth, the Sun and beyond.
In 2013 Baerg served as the Aboriginal Curator in residence at the JNAAG. He has presented his work across Canada and internationally, participated in residencies, sat on numerous art juries. Dedicated to community development, Baerg has contributed to such national arts organizations as the National Indigenous Media Arts Coalition, the Independent Media Arts Alliance, and the Aboriginal Curatorial Collective.
Image Credit: Jason Baerg, Nomadic Bounce installation detail (2012) acrylic on wood.
Two Views: Canada's North February 6 - April 5, 2015 Organized by JNAAG featuring work from the permanent collections of JNAAG and the Macdonald Stewart Art Centre (Guelph)
In Two Views: Canada's North, twelve rich oil sketches by A.Y. Jackson join a chorus of sixteen Inuit drawings, prints, and wall-hangings by artists Pudlo Pudlat, Annie Pootoogook, Naomi Ityi, and more, for a fertile exploration of place and landscape. One perspective of the landscape is temporal and distanced, respectful but unfamiliar. The other is timeless and immediate, rooted in a simultaneous comfort and anxiety of existence. By contrasting these two perspectives, we can all relate in different ways to our own personal connection to landscape and understanding of place.
As Lucy Lippard wrote in The Lure of the Local, the understanding of what 'local' means is inherently connected to a concept of place - a portion of land/town/cityscape seen from the inside, the resonance of a particular location that is known and familiar. Most often place applies to our own 'local' - entwined with personal memory, known or unknown histories, marks made in the land that provoke and evoke.(1) The difference between Jackson's impression of the North and that of the Inuit artists is a different sense of lived experience. Landscape is what you see from a single (static or mobile) point of view - a set of surfaces, the pictorial or the picturesque, "as far as the eye can see"... Unlike place, landscape can only be seen from the outside, as a backdrop for the experience of viewing. The scene is the seen.(2)
(1) Lucy Lippard and Robert Dawson, The Lure of the Local: Sense of Place in a Multicentered Society, New York, NY: The New Press, 1997, p7. (2) Ibid, p8.
Image Credit: Simona Scottie, Traditional Tools on Caribou Skin (2001) wood duffle and felt, cotton embroidery thread, Purchased with financial support of the Canada Council for the Arts Acquisition Assistance Program, 2003, Macdonald Stewart Art Centre Collection
For more information about upcoming programs and events at the gallery, visit our website www.JNAAG.ca or find us on Facebook and Twitter.
Judith & Norman Alix Art Gallery 147 Lochiel Street Sarnia ON N7T 0B4 (519) 336-8127 For more information contact: Darryn Doull, Assistant Curator email@example.com
ARTSCAPE TRIANGLE LOFTS, STUDIO #215 FEBRUARY 6 - 22ND OPENING RECEPTION: SUNDAY, FEBRUARY 8TH, 12 - 4 pm. CONTACT: firstname.lastname@example.org, 647 346 2059
“Words in a Foreign Language” (2003-present) are intaglio prints selected from an on-going portrait series. The portraits were conceived by asking the subjects, friends and people familiar to the artist, to pose in profile and ‘with one arm outstretched.’ For Levytsky, the portraits represent a diary of familiars, eventually spanning a life-time as the series slowly evolves. For the viewer it speaks more generally about the essence of being human – regardless of who we are, we are born of maternal flesh and we age; and in between we communicate volumes through our body’s gestures which reflect the posture of our minds and the quality of our experience.
‘Winterings’ (2014) are recently completed drawings which were assembled over several winters and created over a span of many years. Like “Words in a Foreign Language’ they also harness the intelligence of time in their creation. Composed of old acrylic paintings on paper and subjected to catabolic processes -- some paintings were dug into the earth for several weeks, others were finally torn and poked into new forms -- the pieces are reminders of our own fragility and all creative processes which take time to reveal.
Ina Levytsky is a visual artist with a focus on printmaking. She has a BFA from Queen's University and an MFA from the University of Calgary. She takes her inspiration from encounters with people and from the land where she now lives and works, Grey-Bruce. Her art embodies the sensorial while exploring the tension between tactile and conceptual processes.
“The Universe is built on a plan the profound symmetry of which is somehow present in the inner structure of our intellect.”
– Paul Valéry, Man and the Sea Shell
ROB KOVITZ : ACCORDING TO PLAN (A NOVEL)
Exhibition Dates: February 6 - 28, 2015 LIBRARY GALLERY 540 - 70 Arthur Street (Silpit Building), Winnipeg, Canada Curated by Cliff Eyland
OPENING + BOOK LAUNCH: Friday, February 6, 2015 : 6 - 9 PM (First Fridays in the Exchange)
In the titular spirit of its bibliocentric name, Library Gallery presents According to Plan (a novel), an installation and publication launch of Winnipeg artist/writer Rob Kovitz’s latest bookwork, According to Plan.
Rob Kovitz is the creator of Treyf Books, artist book projects cooked up using texts and images compiled from widely varied sources, usually obsessively related to one or more themes, and then recombined through a process of editing, ordering and juxtaposition to form montage novels that are both polyphonic and surprisingly cohesive.
Kovitz’s latest super-cut bookwork, According to Plan, begins with an immoderate interest in the word “plan,” and every text selection includes the word “plan.” The result is a funny, disquieting, and thought-provoking exploration of the human obsession with making plans.
“In the development of these inquiries into the subject of Architectural Composition, the greatest amount of space has been given to the study of the plan. This method has been employed because it is believed to be in accord with the opinion of the foremost teachers of Architecture who place the study of the plan at the head of instruction both in theory and practice. In respect to this point of view the reader will note that my study of the subject has led me to a position considerably different from that which has been generally followed by other English and American writers who, while they have not neglected the plan, have at least relegated it to a comparatively subordinate position.”
– Nathaniel Curtis, Architectural Composition
“Kovitz's own plan might sound like a harrowingly narrow premise for a 664-page book, but this wonderfully odd and obsessive textual assemblage expands outward to encompass just about everything, from Hegelian world spirit to complicated cinematic bank heists to our own (mostly) futile attempts to arrange our lives …
According to Plan ends up having its own suckerpunch power. Kovitz's bookwork might read at first like a clever collating exercise, but it soon becomes something bigger, stronger and stranger, something Quixotic (Cervantes' masterwork turns out to be one of the planny-est works in the Western canon) and just a bit crazy.
And as Kovitz himself quotes, sometimes a plan ‘is so crazy it just might work.’ This one does.”
Friday, February 6 / Saturday, February 7 Artspace 378 Aylmer Street North Peterborough, Ontario
Please join Artspace on Friday February 6 from 7 to 11pm as we celebrate the opening of Arenalodge by Philadelphia duo Kris and Will. Both artists will be in attendance.
Then on Saturday, February 7, join us for the inaugural events of Artspace’s ON Edge workshop series, featuring Captivate: Art Fairs for Life a workshop by The Desearch Repartment (12pm to 5pm) and The Work of Media Art in the Age of Hashtag Politics panel discussion (7pm to 9pm).
Captivate: Art Fairs for Life will be hosted at: Artspace 378 Aylmer Street North Peterborough, Ontario
The Work of Media Art in the Age of Hashtag Politics will be hosted at: Catherine Parr Traill College Bagnani Hall 310 London Street Peterborough, Ontario
Kris and Will Arenalodge
February 6 to March 28, 2015 Gallery 1 & 2
Consisting of sculptural artifacts, performative photography, and choreographed, action-based video works, Kris and Will’s Arenalodge twists and bends post-queer and normative constructs of masculinity searching for a re-imagined future form of a relationship. The result of this exploration falls somewhere between the genuine, though limited, realm of the heterosexual bromance and a more inclusive form of queer embodiment. Humor and light-heartedness are a necessary part of the equation as these two world-views butt heads and scuffle with one another, eventually yielding a mashed up, mixed up reality.
Arenalodge will feature two new video works by Kris & Will: Hold Up the Bond and Brothersport. Hold Up the Bond is a two-channel video in eight parts that find the duo inhabiting a pair of distinct spaces borrowed from the practices of performance and sport: the stage and the locker room. Brothersport is a durational work, performed for video, in which the artists flaunt the intersections of celebration, inebriation, and violence that often accompanies rituals of male bonding.
Bio Kris Harzinski and Will Haughery currently live and work in Philadelphia. Their collaborative work has been featured in a solo exhibition at ACRE Projects (Chicago) and in performances and exhibitions at a variety of venues including the Institute for Contemporary Art, AUX Space, Fjord, Crane Arts (Philadelphia), the Gene Siskel Film Center (Chicago), and L’hybride (Lille, France). Their work has been documented in the 2012 and 2013 issues of Emergency Index, an annual compendium of performance practice. They recently curated an exhibition, Still Wearing Each Other When Alone, at Vox Populi in Philadelphia.
February 7 to March 14, 2015
ON Edge brings together artists and the public in a series of participatory events and workshops that focus on experimental and/or queer media and performance art practices. Taking place during the debut Canadian presentation of Kris Harzinski and Will Haughery’s Arenalodge, the program will bring together artists from Peterborough, Toronto, Montreal, Philadelphia, and Cologne.
Using the resources of Artspace’s Media Lab, ON Edge will deploy social media and mobile communication technologies to expand upon the established history of exchange between Artspace, its membership of regional artists, and the creative communities of artist-run centres across Canada.
Artspace would like to acknowledge funding support for ON Edge from the Ontario Arts Council, an agency of the Government of Ontario. ON Edge is presented in partnership with Eastern Bloc Gallery (Montreal) and The Darkroom Project with additional support from The Trent Centre for Gender and Social Justice, Trent University Catherine Parr Traill College, Cultural Studies, and Media Studies.
The Desearch Repartment Captivate: Art Fairs for Life February 7, 2015 Artspace 378 Aylmer Street North Peterborough, Ontario 12 to 5pm $10/PWYC/No one turned away
In Captivate: Art Fairs for Life the Desearch Repartment will introduce you to innovative neoliberal strategies designed to empower an authentic status quo. Participants will play with identity commodification and Connectedness through experimentation with cutting-edge tools including social media, business innovation, socially engaged art practices, pop psychology and Eastern spiritualities to enlighten, and eliminate the restrictive cost of workers and citizens.
The Work of Media Art in the Age of Hashtag Politics February 7, 2015 Kris & Will, The Desearch Repartment, and Mikiki; moderated by Ger Zielinski. Bagnani Hall, Traill College, Trent University, 310 London Street 7 to 9pm FREE
Just how does media art address the political without being swept into the vortex and tranquilized? This of course is a longstanding question since artists dared to subvert through various tactics or sleights of hand. With new media comes new tactics through formal invention. The artists brought together in this panel each have their own unique practices that arise from a special combination or constellation of critical political position, lightness of touch (understatement) or heaviness (overstatement), even détournement. The artists will discuss through their own work the question of political gestures in contemporary media art in the age of easy hashtag politics.
Hamilton Artists Inc. is pleased to announce the launch of its 2015 exhibition programming and year long 40th anniversary celebrations by presenting the following exhibitions:
IGNITION 3 Hamilton Artists Inc.’s Award for Distinction in the McMaster Studio Art Program
Recipients: Cassandra Ferguson, Jin Lu, Alana Petrella and Heather Vida-Moore
February 5 – February 28, 2015 Opening Reception and Awards Presentation: Saturday, February 7, 2:00-4:00pm
Hamilton Artists Inc. presents the third annual Award for Distinction and accompanying exhibition, IGNITION 3, recognizing outstanding graduating students, Cassandra Ferguson, Jin Lu, Alana Petrella and Heather Vida-Moore from McMaster University’s Studio Art Program.
In addition to having their work presented within a professionally produced exhibition, a certificate to commemorate their achievement, and an honorarium, this year marks the beginning of an exciting and ongoing partnership with the Cotton Factory at 270 Sherman Ave North. The Cotton Factory is generously providing these four emerging artists with a studio space for one year following their graduation from the program.
Please Join us for staff led tours on Saturdays (Feb. 14, 21 and 28) at 2:00pm
About the Award:
One of Hamilton Artists Inc.’s primary objectives as an artist-run centre is to support artists at all levels of their careers, and to empower their artistic expression and research. The exhibition space becomes the point from which each of these emerging artists can begin to launch their professional practice, the presentation of their work acting as the vehicle through which audiences can engage with the idea of activating or igniting the imagination, within a critical, multi-layered experience. Established in 2013, the IGNITION award honours exceptional graduating students with a professional exhibition at Hamilton Artists Inc.
About our Exhibition Partners:
McMaster University is historically tied to Hamilton Artists Inc. with art graduates from the University being among the founding members of the gallery some forty years ago. The Hamilton Artists Inc. award for Distinction in the Studio Art Program provides a perfect setting for McMaster University to celebrate its commitment to community engaged learning by involving young, talented, emerging artists within the greater Hamilton art community.
The Cotton Factory at 270 Sherman Ave. N. This former industrial building from 1900 is a prime example of adaptive reuse. It has been transformed from a cotton mill into a creative industries complex, with space for workshops, galleries, office space for creative professionals, and studios for artists. The Cotton Factory at 270 Sherman Ave. N. plans to develop a permanent home for the Ignition Award within their complex, wherein the recipients of the annual award are provided with a studio space for one year immediately following graduation.
For More information on the Award, please visit our website.
Image Credits from Left: Cassandra Ferguson, Structure YL-W15 #75, 2014. Mixed Media. Alana Petrella, Untitled, 2014. Performance Still. Jin Lu, The Book Tower, 2014, Mixed media. Heather Vida-Moore, Geminate, 2014. Acrylic on Canvas.
TRACES Featuring McMaster Alumni: K. Jennifer Bedford, Carlos Granados-Ocon and Stephanie Vegh
February 5 – February 28, 2015 Opening Reception: Saturday, February 7, 2:00-4:00pm
Providing a counterpoint to IGNITION 3 is the exhibition TRACES, featuring work by McMaster alumni, K. Jennifer Bedford, Carlos Granados-Ocon and Stephanie Vegh. Each of the artists in this exhibition draw from, engage with and critique trace elements of the past; questioning the authority of structures and frameworks that shape the flow of information from a contemporary perspective.
Please Join us for staff led tours on Saturdays (Feb. 14, 21 and 28) at 2:00pm
For more information on the exhibition and to read the accompanying essay by Brandon Vickerd please click HERE.
Katrina Jennifer Bedford is an artist/photographer with a BA in Communication Studies, Multimedia and Visual Art from McMaster University and an Applied Photography diploma from Sheridan College. Her Photographs have been exhibited throughout Canada and the United States. Bedford is currently a Professor at Durham College teaching Digital Photography and Video Production.
Carlos Granados-Ocon is a Toronto based artist working in print, sculpture and photography. He received a BA at McMaster University and holds a Masters of Information from the University of Toronto where he specialized in the archival sciences. Granados-Ocon has also been an Assistant Archivist for the Power Plant Contemporary Art Gallery, a Digital Archives Assistant for the Art Gallery of Ontario and is currently an Archives Assistant at the University of Toronto.
Stephanie Vegh studied Art and Comparative Literature at McMaster University before completing her MFA at the Glasgow School of Art. Since returning to Hamilton in 2007, her drawings have been included in solo and group shows in Glasgow, Leeds, Hamilton, Toronto, Kitchener and Winnipeg. She is a two-time recipient of an Ontario Arts Council Visual Arts Project Grant and is currently represented in Hamilton by the Nathaniel Hughson Gallery.
Image Credits from Left: KJ Bedford, Freelton Road No. 2, 2015, C Print. Stephanie Vegh, Edward Rochester / The Cock (detail), 2012, Ink and watercolour on book pages. Carlos Granados-Ocon, Cards + Pallet, 2014, Archival records in two custom frames.
Mississauga, ON - February 5, 2015 – Art Gallery of Mississauga Board Chair Mike Douglas announced today that Executive Director | Curator Stuart Keeler will be leaving the AGM to take on the position Manager | Chief Curator, Museums & Traditions at the City of Mississauga. Keeler will begin his new role within the Arts & Culture Division of the municipal government on February 23, 2015.
An artist, curator and educator for over 25 years with an emphasis on public engagement, Keeler’s vision for the AGM has rebranded the Gallery as a responsive, relevant institution that engages with the social fabric of its community. Under his direction, the AGM actively pursued innovative collaborative partnerships, announced a new mission to “Engage. Think. Inspire.” as well as launched an ambitious exhibition and programming platform that reflected and created conversations around a multiplicity of communities and living heritage within Mississauga. Keeler not only expanded the staff, his leadership also enabled those unfamiliar with art to feel welcome in the 27 year old institution. Keeler dubbed the AGM “The best kept secret in Mississauga” due to the AGM’s hidden location in the Civic Centre. Still over 30,000 viewers visited the AGM in 2014 and continue to build a strong membership base and viewer engagement.
Notable exhibitions during Keeler’s tenure include: The Sahmat Collective: Art and Activism in India since 1989 (2014), 011+91 | 011+92: On Locational Identity (2013), F’d Up! (2013), Panchal Mansaram: Past | Present (2013) Genius Loci (2012), Contemporary Jamaican Art, circa1952 | circa 2012 (2012), Rehab Nazzal: Visible (2014) Morris Lum: New Cultural Topographics (2011) and Tazeen Qayyum: Holding Pattern (2012), satellite exhibition at the Toronto Pearson International Airport. Keeler also established the XIT-RM Project Space, an exhibition space sponsored by the RBC Foundation that is mandated to feature emerging artists within the Greater Toronto Area with an emphasis on Mississauga cultural producers. He also launched the Roots and Branches | Education programme, which is currently funded by the Ontario Trillium Foundation providing teaching artist residencies at Peel district schools. Lifting the 8 year Moratorium on collecting art, Keeler implemented a new Collections policy, mandate and vision highlighting new additions by renowned international Canadian artists Ken Lum, Norval Morrisseau and Mississauga artist Fausta Faccipointe alongside innovative online social media curation projects such as #CurateAGM. In 2013, Keeler led a Business Plan & Facility Expansion Study with Lord Cultural Resources – eventually connecting the AGM to partner with the City of Mississauga in the spring of 2015 with an Architectural Feasibility Study to examine three potential sites in the Civic Centre precinct for a larger institution in the future. Keeler also dubbed the AGM “Small But Mighty” – in terms of its dedicated, talented and visionary staff whom he credits with the rise in profile and visibility of the gallery.
“Stuart is a visionary who has worked tirelessly to lead an energetic staff to build a modern and relevant gallery experience rooted in a respect of the city,” Board Chair Mike Douglas says. “He has brought a level of expertise and creativity that has clearly established the AGM as a newly dynamic, forward-thinking hub for visual arts in Mississauga. We look forward to collaborating with the Museums of Mississauga and the City's Arts & Culture Division.”
“Heritage museums are an established icon on the Canadian landscape, I look forward to bringing a reanimated vision and contemporary relevance to the Museums of Mississauga, where tradition and contemporary forms of engagement will ignite our City. Now is the time to bring forth positive connections with the communities of Mississauga to unite with original contributions to the field of museums, heritage and innovative viewer engagement” - Stuart Keeler
Stuart Keeler will assist with the transition plan and recruitment of the incoming Director. The AGM will begin its search for a new Director immediately – please do not contact the Gallery about the vacancy.
Myriam Yates, video still from Racetrack Superstar Ghost, 2011. Courtesy the artist.
MYRIAM YATES PROBES A LEGENDARY HISTORIC SITE IN NEW EXHIBITION AT PREFIX
(Toronto) — Prefix Institute of Contemporary Art is pleased to present Racetrack Superstar Ghost, a solo exhibition by Québec artist Myriam Yates, curated by Scott McLeod. Composed of four related video installations, the show captures the shifting realities of the Hippodrome de Montréal—formerly one of the most important horse racing tracks in North America, now an overgrown and abandoned site. Yates uses this storied location to explore the multifaceted relationships between public and private space.
An opening reception will be held on Thursday, February 5 from 7 to 10 PM at Prefix, located at 401 Richmond Street West, Suite 124, Toronto. The artist and curator will be present. The gallery is open from Wednesday to Saturday, 12 to 5 PM, and admission is free. The exhibition continues until March 28, 2015.
During the first half of the twentieth century, the Hippodrome de Montréal was one of the city’s main attractions. However, by the late twentieth century, it had suffered a number of setbacks, including a dramatic loss of clientele to the newly opened Casino de Montréal. With her documentarian impulse and keen interest in issues relating to public space and modernist architecture, Yates was drawn to the gradual transformations of this once-populated space. Over a span of seven years, she documented unique perspectives on the facility, both before and after its closure in 2009.
Occupants (2005), her first video work documenting the site, primarily focuses on the sports announcer and camera operator who viewed the races from an elevated observatory. At intervals, these scenes are contrasted with static shots of the vast, unoccupied spaces of the Hippodrome’s interior. Exhibited in a dual video installation format, this work employs strategies of mirroring and doubling to produce a fictive narrative out of an otherwise realist work.
The social history of the site is considered in the dual projection Amphithéâtre (2010). Filmed in wide-screen format, one component slowly tracks, from varying perspectives, the empty interior of the amphitheatre, while the second, in standard format, depicts the careful grooming of a horse after a race. This quiet, intimate moment contrasts with the vastness and austerity of the vacant space.
A Space Between Mirrors (2010) consists of a series of shots of the Hippodrome’s Le Centaure restaurant, a large area situated beside the stands overlooking the racetrack. Thoughtfully using the mirrors within the environment, the artist captures increasingly abstracted reflections, through formal play between the lens, mirrors and empty space.
Racetrack Superstar Ghost (2011), a single-channel video installation, documents the Hippodrome de Montréal when it became the site for a concert by Irish rock band U2. Unlike the gradual evolution of the Hippodrome itself—shaped over many decades by successive generations of Montreálers—a single iteration of U2’s world concert tour was parachuted into the community. The only possible relationship of the community’s members to the event was as consumers of an imported spectacle.
About the Artist Myriam Yates is a visual artist who lives and works in Sherbrooke, Québec. She received two BFAs and an MFA in Visual and Media Arts from the Université du Québec à Montréal. Her work has been exhibited in solo exhibitions at the Foreman Art Gallery of Bishop's University (Sherbrooke, QC), Optica, A Centre for Contemporary Art (Montréal), Centre des arts actuels Skol (Montréal) and La Centrale Galerie Powerhouse (Montréal), as well as in major group exhibitions including Le Mois de la Photo à Montréal and the Québec Triennial at the Musée d’art contemporain de Montréal. Her videos have also been screened at numerous festivals and events, including the International Festival of Documentary Film Buenos Aires, Kassel Dokfest (Kassel, Germany), the Images Festival (Toronto), Rencontres Internationales (Paris/Berlin/Madrid) and the Regina Festival of Cinematic Arts, among others. Winner of the Cyberpitch contest at the Festival du nouveau cinéma (Montréal), she has also participated in the Banff New Media Institute’s Interactive Screen lecture series and has recently completed a video triptych for the headquarters of Cirque du Soleil in Montréal.
About the Curator Scott McLeod is an independent writer and curator based in Toronto. The founding director of Prefix Institute of Contemporary Art, he focuses on contemporary practices, with a specialization in photographic, media and digital art. With the support of the Ontario Arts Council, he is currently writing Land and Its Discontents, a book of collected essays on the relationships between art, property and spatial politics.
About Prefix Prefix Institute of Contemporary Art is a public art gallery and arts publishing house based in Toronto. A registered charitable organization, Prefix fosters the appreciation and understanding of contemporary photographic, media and digital arts through exhibitions, publications, public programmes and related activities.
Acknowledgements For their support of Racetrack Superstar Ghost, Prefix gratefully acknowledges its Official Catering Sponsor à la Carte Kitchen and its Official Hotel Sponsor the Hotel Le Germain. Prefix also acknowledges the assistance of the Canada Council for the Arts and the City of Toronto through the Toronto Arts Council.
For more information, print-ready images or to schedule an interview with the artist or curator, please contact:
Off Balance: Ivan Capote, Yoan Capote & Omar Gámez Curated by Magda González-Mora and Rodrigo Barriuso February 5 - March 16, 2015
Julie M. Gallery is pleased to welcome guest artists Ivan Capote, Yoan Capote and Omar Gámez. The exhibition marks the first professional collaboration between curator Magda Gonzalez-Mora and newly appointed gallery manager, Rodrigo Barriuso.
Off Balance emanates from the curators’ observation of what often disrupt our emotional and psychological stability, and the intuitive impulse to develop coping mechanisms to front this adversity. Using the poetic and metaphoric interpretation of the Capote brothers and Gámez, this exhibition comprises a number of pieces that, together, delineate a unified psychological journey.
The work of Omar Gámez (Mexico, 1975) and his series Stability, serves to define the issue itself—the eminent lack of balance caused by an endless array of circumstances that are subject to each individual’s personal and collective experience. Here the body is presented stripped, in an attempt to evoke a sense of vulnerability that invites the audience to reflect on their own destabilizing elements. An appreciated optimism shines through these photographs. Despite the apparent lack of balance, the bodies depicted in the series seem to be in perfect and peaceful equilibrium, as if they had managed to find the means to cope with the external dislocation.
Ivan Capote (Cuba, 1973) uses language and text as the primary conduct for his artistic discourse. His minimalistic approach to sculpture confers his work an added sense of honesty that allows us to focus on the conceptual connotations, and the true meaning hidden behind ubiquitous words. The sculptures by Ivan Capote in this exhibition invite us to analyze three issues that the curators identify as elements that act as stabilizing and destabilizing agents—the search for individuality, the desire to feel whole, and a burning quest for validation.
Yoan Capote (Cuba, 1977) advocates for a state of mind where we feel once again balanced. His work, known to be provocative and non-conformist, deals primarily with interactions between individuals and objects. It often challenges our perseverance and exemplifies our constant need to move forward, even when our efforts seem futile, and equilibrium unachievable.
Yoan Capote is the creator of Open Mind, the highly successful city-commissioned installation for Nuit Blanche 2014 (Canoe Landing Park).
Off Balance is the first of two exhibitions programmed in 2015 with the intent of exposing Toronto audiences to the work of critically acclaimed Latin American artists that continue to make waves in the international art scene.
The Musée d’art contemporain de Montréal (MAC) is energetically continuing the exciting new programming launched with its fiftieth anniversary as it hosts presentations by renowned artists Sophie Calle and Simon Starling. For the Last and First Time, is a two-part exhibition by French conceptual artist Sophie Calle, who is one of the most important artists of her generation. The MAC also welcomes the exhibition Simon Starling: Metamorphology, an introduction to the work of this British artist, winner of the prestigious Turner Prize in 2005. The Sophie Calle and Simon Starling exhibitions run from February 5 to May 10, 2015.
Internationally renowned artist Sophie Calle makes a splendid debut at the MAC with For the Last and First Time. This exhibition, which reveals great artistic sensibility, consists of two projects: The Last Image (2010), a series of photographs accompanied by texts, and Voir la mer (2011), a series of digital films.
These two bodies of work are in some way a continuation of a piece produced by Calle in 1986, titled The Blind. In that case, the artist asked blind people to describe beauty. One of them answered: “The most beautiful thing I’ve ever seen is the sea, an endless sea.” It was in Istanbul, years later, that Calle chose to pursue her poetic investigation of blindness, beauty and the sea. The installation, accompanied by the soothing sound of waves, first presents The Last Image, a series of photographs, tinged with melancholy, for which Calle asked people who had lost their sight suddenly to recall the last thing they saw. For Voir la mer, she managed to find residents of Istanbul⎯a city surrounded by water⎯who had never seen the sea. She filmed each of these captivating, memorable maritime encounters.
The presentation at the MAC is emblematic of the approach followed by an artist who, in works with complex narrative threads, gives universal resonance to subjects rooted in real-life experience.
Simon Starling, Autoxylopyrocycloboros, 2006 38 color transparencies, Götschmann medium format slide projector, and flight case 4 minutes, Projected dimensions variable Courtesy the artist and The Modern Institute/Toby Webster Ltd, Glasgow
Although Simon Starling’s works have been shown extensively around the globe and may be found in the world’s leading collections, until recently he has never been the subject of a major North American exhibition. Organized by the Museum of Contemporary Art Chicago, Simon Starling: Metamorphology presents a survey of his output of the last decade or so.
The show includes Bird in Space 2004 (2004), a two-tonne steel plate that intertwines two moments in time: a controversy over a Brancusi sculpture in 1923 and the U.S. government’s increase in the tax on imported steel in 2004; The Long Ton (2009), two blocks of marble, one Italian, the other Chinese, suspended from the ceiling; and Flaga 1972-2000 (2002), a Fiat 126 hung on the wall. The installation Project for a Masquerade (Hiroshima) (2010−2011) features such disparate characters as James Bond, Henry Moore, Sir Anthony Blunt, Colonel Sanders and a Japanese Noh mask maker. Pictures for an Exhibition, a suite of thirty-six gelatin silver prints, exemplifies Starling’s two-pronged inquiry, one historical and the other photographic. Prompted by two archival photographs, he tracked the various peregrinations of sculptures by Constantin Brancusi, from their presentation in a 1927 exhibition at the Arts Club of Chicago to the present day. Once he found them, he photographed them in their current locations: private collectors’ homes, museum vaults and exhibition spaces.
Simon Starling: Metamorphology is curated by Dieter Roelstraete and organized by the Museum of Contemporary Art Chicago. Pictures for an Exhibition is a project organized by the Arts Club of Chicago.