The Cape Dorset Mural Project

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Published on : 2014-04-16 01:00:00

The Cape Dorset Mural Project: The first outdoor mural for the most creative town in Canada. A collaboration between southern and northern artists, and youth training.


Image credit: Alexa Hatanaka, Patrick Thompson and Jonathon Cruz, Qikiqtani General Hospital, Iqaluit, Nunavut, 2010

Alexa Hatanaka and Patrick Thompson + two Cape Dorset artists + Cape Dorset youth

April 16 – June 16, 2014

Facilitation in Cape Dorset: Bill Ritchie, Kinngait Studio Manager and Cary Merritt, Dorset Fine Arts and Co-op Store manager

Location: The Co-op Store building

The stunning artwork from Cape Dorset, a remote arctic community, continues to be a great source of pride for Canadians and is an inspiration to the world. It's time to give back!

Ontario artists Alexa Hatanaka and Patrick Thompson are honoured to be invited to paint a large mural on the exterior of Cape Dorset's Co-op building. As the most frequented building in town, the co-op is the perfect location for a vibrant mural that draws upon the creative heritage of the town and brightens up the cold and dark winter months. Hatanaka and Thompson will collaborate with two local artists as well as offer a series of youth workshops that cover mural making, the creative process and material exploration.

In conjunction with the co-op mural, Hatanaka and Thompson will guide ten youth in the painting of eight wildlife-proof garbage bins around town. Hatanaka and Thompson consider these projects to be their humble contribution to empowering the next generation of young artists to continue the distictive artistic legacy of the arctic.

You can help make the Cape Dorset mural project come to life AND get art for your donation!

Please contribute and spread the word:

About the Artists:

Hatanaka and Thompson have been travelling to the arctic for years, working with youth and producing well-loved murals in both Nunavut and Nunavik. A selection can be found here: Hatanaka and Thompson collaborate on murals, prints, and paintings, and their work has been exhibited internationally at instutions such as The Royal Ontario Museum, Canada, Nanjing Arts Institute, China, Guanlan International Printmaking Base, China, Articulate Baboon Gallery, Egypt, and The Trace Gallery, Switzerland.

Contact: or



Image credit: Alexa Hatanaka and Patrick Thompson, Matta the edlest elder of Kangiqsujuaq, Kangiqsujuaq, Nunavik, 2011


Image credit: Alexa Hatanaka and Patrick Thompson working in Iqaluit, Nunavut

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Longlist Announced for the 2014 Sobey Art Award

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Published on : 2014-04-15 01:00:00


The Sobey Art Foundation and the Art Gallery of Nova Scotia are pleased to announce the longlist for the 2014 Sobey Art Award, Canada's pre-eminent contemporary art award.

Each year the Sobey Art Award is awarded to a visual artist age 40 and under who has exhibited in a public or commercial art gallery within 18 months of being nominated. The 2014 Curatorial Panel has announced that the 25 artists vying for the 2014 Sobey Art Award are:

West Coast/Yukon
Allison Hrabluik
Farheen HaQ
Peter Morin
Dan Starling
Evan Lee

Prairies and the North
Michael Dumontier & Neil Farber
Cedric Bomford
Divya Mehra
Zin Taylor
Michael Dudeck

Kelly Jazvac
Reena Katz
Balint Zsako
Chris Curreri
Jean-Paul Kelly

Olivia Boudreau
Diane Morin
Nadia Myre
Dominique Pétrin
Jon Rafman

Tamara Henderson
Ursula Johnson
Eleanor King
Graeme Patterson
Becka Viau

Detailed biographical information on the 25 longlisted artists and members of the Curatorial Panel is available at

Sarah Fillmore Chief Curator, Art Gallery of Nova Scotia and Curator, Sobey Art Award says:

"The longlist for the Sobey Art Award is always a greatly anticipated survey of contemporary Canadian art. Drawing on the largest response ever to the call for nominations for the Sobey Art Award, the curatorial panel assembled a stellar longlist from among Canada's most thought-provoking artists. This list is the result of a lengthy and challenging debate. I thank the nominators, who brought forward and shone a light on talent from across Canada."

The members of the 2014 Curatorial Panel are:

  • Jordan Strom, Curator, Exhibitions and Collections, Surrey Art Gallery, British Columbia
  • Paul Butler, Curator of Contemporary Art, Winnipeg Art Gallery, Manitoba
  • Srimoyee Mitra, Curator of Contemporary Art, Art Gallery of Windsor, Ontario
  • Marie-Eve Beaupré, Conservatrice de l'art contemporain, Musée national des beaux arts, Québec
  • Pan Wendt, Curator, Confederation Centre of the Arts, Prince Edward Island

The 2014 shortlist of the Sobey Art Award will be announced in June. Work by the shortlisted artists will be shown in an exhibition at the Winnipeg Art Gallery opening on November 1, with the winner being announced at a Gala event on November 19.


Media contact:

Bernard Doucet | Director, Corporate Affairs | Sobeys | 115 King St., Stellarton, Nova Scotia | 902-752-8371 x 2301 |

Nicole Watkins Campbell | Communications Advisor |Art Gallery of Nova Scotia | Office 902-424-2903 | Cell 902-222-1691 |

About the Sobey Art Award
The Sobey Art Award, Canada's pre-eminent award for contemporary Canadian art, was created in 2002 by the Sobey Art Foundation. It is an annual prize given to an artist age 40 and under who has exhibited in a public or commercial art gallery within 18 months of being nominated. A total of $100,000 in prize money is awarded annually; $50,000 to the winner; $10,000 to the other four finalists; and $500 to each of the remaining longlisted artists. Since its inception, the Sobey Art Award and accompanying exhibition have been organized and administered by the Art Gallery of Nova Scotia. For information visit:

Sobey Art Foundation
The Sobey Art Foundation was established in 1981 with a mandate to carry on the work of entrepreneur and business leader, the late Frank H. Sobey, of collecting and preserving representative examples of 19th and 20th century Canadian art. One of the finest private collections of its kind, the Sobey Art Foundation has assembled exemplary examples from Canadian Masters like Cornelius Krieghoff, Tom Thomson and J.E.H. MacDonald.

About the Art Gallery of Nova Scotia
The Art Gallery of Nova Scotia is the largest art museum in Atlantic Canada, with a mission to engage people with art. The Gallery houses the Province's art collection and offers a range of exceptional exhibitions, education and public programming. For information visit:

Nicole Watkins Campbell
Communications Advisor
Art Gallery of Nova Scotia
T: 902 424 2903
C: 902 222 1691
Tw: @ArtGalleryNS

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Martin Creed: What's the point of it?

Feed : we make money not art
Published on : 2014-04-14 12:58:48

Please, don't miss Martin Creed: What's the point of it? at the Hayward Gallery if you're in London. It is visually stunning, very entertaining and it doesn't even require you to wriggle with your brain if you don't want to. In fact, i think this is contemporary art for people who can't suffer to see the words 'contemporary' and 'art' side by side. But don't quote me on this, i never tried to bring a contemporary art-hater to a retrospective of an artist who won the Turner Prize with Work No 227: The Lights Going On and Off, an installation in which the lights of an otherwise empty gallery were turned on and off every five seconds.

0Martin Creed, Work no 960.jpg
Martin Creed, Work no 960

Work No. 1094, 2011

0Installation view,Work no. 1092,2011,Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind  (8).jpg
Installation view,Work no. 1092, 2011,Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind

Also i am not entirely impartial when it comes to Martin Creed. I love his work. Whether it's the Sick Films in which people enter an empty white space and proceed to vomit on the floor, the mocking neon signs or the cactus plants neatly positioned by size. I LOVE his work.

What's the point of it? is a retrospective which aim wasn't to simply assemble most of Creed's most representative pieces, but to provide a multi-sensory experience. As the following two works will easily demonstrate...

Work no. 1092, 2011. (Photo by Happy Famous Artists)

Work no. 1092, 2011. (photo by Happy Famous Artists)

The word MOTHERS almost literally hits you as you enter the gallery. You instinctively duck as the 6 gigantic neon letters slowly gyrate and dominate the whole room. It is fun and slightly menacing. I wonder how the Hayward wasn't served a loud "Health and Safety No No." Meanwhile, 39 metronomes lined up on the floor gently tick at various speeds.

0Installation view, Work no. 200, 1998, Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind(1).jpg
Installation view, Work no. 200, 1998, Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind

0Martin Creed, Work no 200.jpg
Martin Creed, Work no 200

The small glass room above is filled with some 7000 balloons. I'm claustrophobic. Even the title of the installation, Work No. 200. Half the air in a given space, made me hyperventilate.

0Installation view,Work No. 1806, 2014, Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind (33).jpg
Installation view,Work No. 1806, 2014, Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind

The exhibition is also an optical party: the walls serve as a happy splashy backdrop for the works. Creed covered them with layers of paint, stripes of adhesive tape and even with rows over rows of small broccoli prints.

0Installation view,Work No. 1585, 2013,Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind (3).jpg
Installation view,Work No. 1585, 2013,Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind

Photo by Happy Famous Artists

There were also videos from the Sick Film and Shit Film series. Work No. 660 shows a rather elegant and not entirely at ease young woman entering the frame and defecating in the middle of a white gallery.

Work No. 660, 2007

I wish i could find online videos from the Sick Film series. I don't care much for the crap ones but the vomit series is mesmerizing. Some people throw up generously. Others struggle to do so and eventually give up. "Living," as the artist explains "is a matter of trying to come to terms with what comes out of you... That includes shit and sick and horrible feeling. The problem with horrible feelings is you can't paint them. But horrible vomit - you can film that."

Work Number 1029. Photo via Purple

Rise and fall of an erection on to the Hayward's terrace. Creed has distributed works outside of the usual gallery space: on the terrace, in the bathroom, in the lifts of both the Royal Festival Hall and of the Hayward Gallery.

Work 1686 (Ford Focus). Photo by Happy Famous Artists

Photo by Happy Famous Artists

So what's the point of this exhibition? I guess there are many answers to that question. For me, it's about getting lost in sensations, being surprised, feeling awe and disgust at the same time and having a very happy moment that lasted long after i exited the show.

0Installation view Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind(2).jpg
Installation view Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind

0Martin Creed, Work no 629.jpg
Martin Creed, Work no 629

0Installation view,Work No. 1110, 2011,Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind (31).jpg
Installation view,Work No. 1110, 2011,Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind

0Martin Creed, Work no 88.jpg
Martin Creed, Work no 88

0Installation view Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind(20).jpg
Installation view Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind

0Installation view, Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind (33).jpg
Installation view, Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind

Martin Creed, work no. 1095

0Work No. 1315.jpg
Work No. 1315

0Installation view,Work No. 928, 2008, Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind  (21).jpg
Installation view,Work No. 928, 2008, Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind

0Installation view, Work No. 916, 2008, Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind  (5).jpg
Installation view, Work No. 916, 2008, Martin Creed What's the point of it, Hayward Gallery. © the artist. Photo Linda Nylind

Ah! Martin Creed! Even the man looks very cool.

Photo by Happy Famous Artists

Martin Creed: What's the point of it? is at the Hayward Gallery until Monday 5 May 2014.

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Toronto Friends of the Visual Arts Announces 2014 Awards

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Published on : 2014-04-14 01:00:00


PRESS RELEASE April 14, 2014.



Lawyer STEPHEN SMART has quietly had a significant impact on the greater Toronto visual arts community, through his activities as a private collector, corporate collector, curator, lecturer, mentor and an institutional advocate.


MERCURY FILMS will receive the seed money to create a short documentary of an artist's work. This documentary will serve not only as a legacy piece, but will be a prototype for a Canadian Artist film series.


GEORGIA DICKIE 'S practice seems to transcend time and ordinary language and therefore propels us towards a future, where everything is malleable, where transformation is the only constant.


KEN NICOL'S practice is very focused on the present and captures the desperation we feel at one moment or another about the imprint we make on the world over a day or a lifetime.


ART METROPOLE 's award will contribute to their exciting opportunity to establish an auxiliary exhibition, event and retail space during construction of the newly refurbished Union Station with the generous support of Osmington Inc.. Art Metropole, a non-profit organization, founded by General Idea in 1974, continues to serve local and international art communities with a focus on artist-initiated publications in any media. TFVA's award will enable Art Metropole to build movable modules for multiple uses in this and other venues with design partners Partisans, Toronto.

TORONTO FRIENDS OF THE VISUAL ARTS is a non-profit volunteer organization that has now given $500,000 to the visual arts community in the GTA since it's inception in 1998.

For further information: Marjorie Thomson

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susan pui san lok: Faster, Higher

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Published on : 2014-04-14 01:00:00

Faster, Higher

susan pui san lok (London, UK)


Until May 10th, 2014

At the MAI (Montréal, arts interculturels)
3680 Jeanne-Mance St., # 103, Montreal
INFORMATION: 514 982-1812

Faster, Higher

© susan pui san lok

Faster, Higher was originally commissioned to coincide with the Beijing 2008 Olympics. This five-screen work includes montages of Olympic archive material and rarely-seen Chinese documentary footage spanning the last century intercut with filmed sequences shot by the artist in the areas around the London 2012 Olympics site.

Despite China's voluntary self-exclusion from the Olympics between 1948 and 1980, and the avowed apolitical idealism of the Games as a global brand, Faster, Higher finds commonalities in the visual and cultural rhetoric of distinct bodies of archival material, and resonances between notions of nation, sport, patriotism and physical endeavour, to explore questions of spectacle and its construction, collective identity and solitary commitment. Opening with the rituals and symbols of national ceremony and international unity, flags jostle along a succession of parades, and processions are punctuated by the release of doves and balloons.

Colour bars and countdowns signal a different of 'standard' or 'universal' language, implicating the entwined histories of the Olympics and the moving image, as well as archival points of entry. The Olympic rings are echoed through clocks, archers' targets, lassoes, and gymnasts' hoops, while the ascent of pole-vaulters, mountaineers, balloons and lanterns invoke the movement's motto: Citius, Altius, Fortius.

Faster, Higher. Still. Track field. 1908

Faster, Higher (2008) and Citius, Altius (2012) includes material which is © Olympic Television Archive Bureau (OTAB), © Leo Dickensen, © Jim Shum, and © ITN source.

Faster, Higher (2008) was commissioned by Film and Video Umbrella and the British Film Institute. Supported by Arts Council England. Citius, Altius (2012) is a single-screen version of the work, commissioned for the Samsung Olympics Media Art Collection. Special thanks to London Wushu Academy UK and London Chinatown Chinese Association.

The monograph, Faster, Higher (2009) documents a multi-screen moving image work of the same name, commissioned by Film and Video Umbrella and BFI, and originally installed at BFI Southbank Gallery, London. The book was launched with the second staging of the work at the Hatton Gallery, Newcastle, and marked by an in-conversation event with Vicki Bennett (People Like Us) at Newcastle's Tyneside Cinema. Faster, Higher is richly illustrated throughout with archive images, screen shots and installation photography, and includes specially commissioned essays by Adrian Rifkin and Chris Berry.

susan pui san lok
A writer and visual artist living in London, susan pui san lok devotes her work to questions around nostalgia, aspiration and diaspora. Her artistic practice includes installation, video, performance, sound art and writing. Her work has been exhibited on numerous occasions in Australia, China, Japan and New Mexico.

Selected Solo Projects

2015 susan pui san lok Artclub 1563, Seoul, Korea

2014 susan pui san lok MAI, Montreal, Quebec

2012 Altar Notes script for series of 9 micro-plays commissioned and produced between London, Beijing and Hong Kong, and presented at Yuen Long Theatre, Hong Kong

2012 Faster, Higher Film & Video Umbrella and BFI commission, The Gallery, Winchester Discovery Centre

2008 Faster, Higher Film & Video Umbrella and BFI Southbank commission, BFI Southbank Gallery, London

2007-08 DIY Ballroom/Live Cornerhouse / BBC Bigger Picture touring commission, BBC Big Screen/Cornerhouse, Manchester; enter_, Norwich; Lumen, Leeds; Site Gallery, Sheffield

2006 Golden (Lessons) exhibition & residency, Beaconsfield, London

2006 Golden exhibition, Chinese Arts Centre, Manchester

2005 Necessary Journeys ACE artist residency, Media Archive of Central England, Arts Council England programme in partnership with BFI Black World

2005 Electric Greenhouse digital arts residency, Artquest / B3 Media, London

2000 FCHKUK exhibition, Stuff Gallery, London

2000 Lean To exhibition, East London Gallery, University of East London


Gallery Hours
Tuesday to Saturday
12AM – 6PM
3680 Jeanne-Mance St., Montreal

Free Admission

Follow us:

For images and more information, contact:
Christine Roy, 514-982-1812, ext. 227,

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Ibghy & Lemmens: Is there anything left to be done at all?

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Published on : 2014-04-12 01:00:00

Richard Ibghy & Marilou Lemmens: Is there anything left to be done at all


Ibghy & Lemmens
"Is there anything left to be done at all?"
April 12th – May 12th, 2014
Opening: April 12th from 2-4pm
Artist talk: April 16 @ 3pm

Trinity Square Video and the 27th Images Festival are pleased to present "Is there anything left to be done at all?" by Montréal-based duo Richard Ibghy & Marilou Lemmens.

"Is there anything left to be done at all?" is an exhibition of non-work following a one month long unproductive production-based residency in which Ibghy & Lemmens worked with Justine Chambers, Kevin Rodgers Rodrigo Marti and Ryan Tong to ask: What remains of the desire to act if the aim to produce something for someone or for something is suspended?

Ibghy & Lemmens’ practice revolves around an exploration of the material, affective and sensory dimensions of experience that cannot be fully translated into signs or systems. The artists have an ongoing concern with bringing abstract ideas to materiality, particularly as they are confronted with the human body. Over the last few years, they have explored the rationale upon which economic actions are described and represented, and how the logic of economy has come to infiltrate the most intimate aspects of our lives.

Based in Montreal and Durham-Sud, Quebec, Ibghy & Lemmens have been working in collaboration since 2002. Their work has been shown at La Filature, Mulhouse, France (2013); Henie Onstad Kunstsenter, Norway (2013); Centre for Contemporary Arts (CCA), Glasgow (2012); Ausland, Berlin (2012); the Sharjah Biennial, UAE (2011); and the European Media Art Festival, Osnabrück, Germany (2009). Recent solo exhibitions include I’d gladly surrender myself to you, body and soul, G Gallery, Toronto (2012); and Real failure needs no excuse, Monte Vista Projects, Los Angeles (2012).

Facebook event

Trinity Square Video facebook group
Twitter @TSVtoronto

John G. Hampton
Interim Programming Director,
Trinity Square Video
401 Richmond Street West, Suite 376
Toronto, ON M5V 3A8
416-593-1332 ex.103


Image: Video still from Real failure needs no excuse (2012)

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Lucy Raven: Curtains

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Published on : 2014-04-12 01:00:00


Lucy Raven

April 12–May 24, 2014

Opening Friday April 11, 7pm

In Hollywood, the incredibly labour-intensive process of creating visual effects for our 21st century cinema is called “post-production.” But the industry still relies on 20th century modes of industrial production: its global assembly lines running from Los Angeles, through Bombay, Beijing, London, Vancouver, and Toronto, capitalizing on cheap labour and government subsidies to supply the countless hours of painstaking work going into each frame of a film. Lucy Raven’s new film installation Curtains, which is viewed with anaglyph 3D glasses, explores the digital creation of location and space insofar as they relate to contemporary movie-making.

Raven’s projects often take form through long threads of research, cycling through a query and following different trajectories to arrive at a finished film. These investigations, around topics both concrete and abstract, oftentimes overlap, intertwine and commingle to create bodies of related work. With Curtains, the artist brings real-world geographies (and real workers) back in to the computer-generated virtual spaces today’s moviegoers inhabit to explore the location of production and the production of location in Hollywood cinema.

This exhibition is presented in collaboration with the 27th Images Festival, April 10 - April 19.

Join us for the opening reception on Friday April 11, from 7pm at InterAccess where the artist will be in attendance. Free Admission and open to the public.

InterAccess is located at 9 Ossington Avenue in Toronto.

Related Event:

On Location
A live performance by Lucy Raven
April 13, 2014, 5–6pm
Jackman Hall, AGO

As a complement to her exhibition at InterAccess, Lucy Raven will perform On Location (2014), an illustrated lecture drawing on her interest in labour, industry, globalization and questions around the way we see. Beginning with the conversion from 2D to 3D of the apocalypse blockbuster 2012, On Location investigates the history and context of labour in Hollywood, from the Fordist animation factories of Fleischer and Disney to current trends of outsourcing visual effects work to China and India. As a practitioner working with image-making as a research form, Raven uses the lecture-performance as an inquisitive and playful gesture of sharing research, context and thinking out loud.

Jackman Hall is located at 317 Dundas Street West, Toronto.

ai pic

9 Ossington Avenue
Toronto, ON, Canada
M6J 2Y8
+1 416-532-0597 

Gallery Hours
Wed 12 - 20h
Thu 12 - 18h
Fri 12 - 18h
Sat 12 - 20h
Closed statutory holidays.

InterAccess receives operating support from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council, in addition to generous contributions from InterAccess members, donors and partners.

Image: Film still from Curtains (2014), anaglyph video installation with sound, 20 min looped. Courtesy of the artist.

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Sincerely: Ville Lopponen, Enzo Maio, Peter G. Ray, Ben Woolfitt

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Published on : 2014-04-12 01:00:00



Ville Löppönen, “Broken Halo” (2012), oil on board, 6,5 x 6”

Ville Löppönen   |     Enzo Maio   |     Peter G. Ray   |     Ben Woolfitt
April 12 - May 3, 2014
Opening reception: Saturday April 12th, 2 - 6 pm

De Luca Fine Art is supercalifragilisticexpialidociously pleased to invite you to a collection of bold works by four men: Ville Löppönen (Finland), Enzo Maio (Italy), Peter G. Ray (Bulgaria-Canada), Ben Woolfitt (Canada).

The exhibition shows off Ville Löppönen’s half naked semi-religious figures, painted with oil on canvas or panel. Often portrayed in a clear state of metamorphosis, these figures seem be coming into our world as a mixture of ectoplasm and something else. Löppönen follows the classical tradition of creating mimesis. In this respect he makes us witnesses to the miracle of creation. Artistic creation is quite similar to the actual thing, which made eminent theologians of early church dispute whether it was morally right to make images. A suspicion of this kind is a thing which Christianity, Islam and Judaism share.

The sophisticated existentialist paintings on canvas and paper by Enzo Maio gloriously represent the landscape presence in the exhibition. He meditates on the natural landscape in all its fragility and loneliness to find the shape of his art. It is an intimate and spiritual journey that brings his vision to fruition.

Favoring a pallet of black, white and the visual properties of aluminum, Peter G. Ray’s signature style of painting is one of hyper-illusion. His large canvasses can barely contain the movement of the spheres and ambiguous shapes which occupy the surface.

For this exhibition Ben Woolfitt is presenting a selection of his monochromatic drawings. Their “diaristic” basis is signalled by the double-page format of many of them, literally an open book offered up for our perusal. All of the sophisticated techniques he has perfected over the past thirty years or so are deployed, including a waxed ground, silver leaf, frottage images, graphite and powdered chalk rubbed in by hand, and the evidence of his hand is even more pervasive, often in the form of actual handprints, and in the writing, of course, in every work. This writing, which by its nature deeply reflects his state of mind, varies in length and subject, from a single word, like a title, through to a number of lines with the cadence of a poem.

Please join us for the opening on Saturday April 12th from 2 - 6 pm

For further information, please contact:
Corrado De Luca
T: 416-537-4699

de luca fine art | gallery
217 Avenue Road, Toronto  [map]
Wed - Sat. 12 - 6 pm or by appointment

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Maha Maamoun: Night Visitor: The Night of Counting the Years

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Published on : 2014-04-12 01:00:00

In conjunction with the 2014 Images Festival
Vtape presents

Night Visitor : The Night of
Counting the Years
Maha Maamoun (Cairo)


Saturday, April 12, 2014


Night Visitor : The Night of Counting the Years is on view
April 12 – May 17, 2014
Guest curator : Pablo de O'Campo


Maha Maamoun's Night Visitor: The Night of Counting the Years is a snapshot of a population in a moment of upheaval. Set during the spring of 2011, the video is entirely composed of images from YouTube that were shot by men and women as they broke into Egyptian state security buildings. Away from the crowded masses and fervent protests of Tahrir Square that populated the media, Maamoun's video captures first- person experiences of men and women as they sift through the unraveling archive of an oppressive regime.

The protagonists of this video are searching through this repository of classified information, looking for answers and trying to reconcile their political condition, but mostly they unearth only fragments and debris. Maamoun stripped most of the sound from the material, placing the focus on what these citizens are choosing to look at. We see the scrawled messages left behind on a prison wall, the shiny new cars of the security forces and state officials, smashed photographs on the floor, belly-dancing costumes, desks covered in scattered paper – remains that suggest a narrative but fall short of providing specific or damning evidence. The title of the film refers to the practice of security officials arresting political activists and dissidents under the dark cover of night. In Maamoun's video, the "night visitors" are performing a reversal of sorts where, as she says, "The visited of old are now the visitors." (Pablo de O'Campo)


Working primarily with the mediums of photography and video, Maha Maamoun often starts from generic visual representations of Cairo to explore how these intersect with, and are negotiated by, personal experiences.

Her film Domestic Tourism II, which was produced and commissioned by Sharjah Biennial 9, used touristic images of Egypt as a mechanism to examine deeper social, political and psychological experiences of the city. The film was awarded a Biennial Jury Prize.

Maamoun's work has been shown widely in international exhibitions and screenings including at the Museum of Modern Art, New York (2010), the Haus der Kunst, Munich (2010), the Philadelphia Museum of Art, Philadelphia (2010–11), Homeworks 5, Beirut (2010), PhotoCairo 4, Contemporary Image Collective, Cairo (2008), Tate Modern, London (2007), Venice Biennale of Architecture (2006), the International Center of Photography, New York (2006), DAK'ART 6, Senegal (2004), the Biennale of African Photography, Bamako, Mali (2003). She was co-curator of PhotoCairo3, an International Visual Arts festival in Cairo (2005), and assistant curator for Meeting Points 5, an International Multidisciplinary Contemporary arts festival in Berlin (2007).

Maha Maamoun was born in California, and grew up, lives and works in Cairo, Egypt. She is one of the founding members of the Contemporary Image Collective (CiC), a space for contemporary art and culture in Cairo.

(Text from Sharjah Biennial Visitors Guide, 2009)



401 Richmond St., #452 Toronto, ON M5V 3A8
Tuesday-Friday 11am-5pm, Saturday 12-4pm
For more information, contact, 416 351-1317

Please contact Erik Martinson at Vtape to book class visits to view any Vtape Video Salon program as well as other titles in the Vtape holdings and to have an orientation to Vtape and all the extensive research facilities available to students, curators, writers and the general public.

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Don't call it ruin porn, this is Ruin Lust

Feed : we make money not art
Published on : 2014-04-11 13:48:42

Jane & Louise Wilson, Urville (from the 'Sealander' series), 2006

Most people are fascinated by ruins. The appeal of the crumbling and the decaying is such that it has its own term in photography. It is called "ruin porn" and Detroit is one of its most celebrated subjects. Tate Britain currently has an exhibition about the mournful, thrilling, comic and perverse uses of ruins in art. It is called Ruin Lust. Not because Tate curators are prude and proper but because they are erudite, the title of the show, i read, comes from the 18th-century German architectural word Ruinenlust.

The exhibition begins with the eighteenth century's fascination for ruins among artists, writers, architects and travelers. Think J.M.W. Turner and John Constable. I can't summon much enthusiasm for paintings, etchings and sculptures of the past so i'm going to stop the romantic trip here, shamelessly skip the first parts of the exhibition and focus solely on contemporary works. Most of them photography.

Contemporary artists see ruins, not simply as scenes for aesthetic pleasure and remembrance of past glory, they also question their essence and even view them as as sites of rebirth and new opportunities.

Even if i deliberately only enjoyed a small part of Ruin Lust, i exited the show content and ready to enjoy any overlooked and crap-looking bit of urbanism London has to offer (before they become a real estate 'prime location'.)

Here is a hasty tour of the show. It represent only a very subjective and photography-heavy perspective of it:

Jane and Louise Wilson, Azeville, 2006

Jane & Louise Wilson, Biville (from the 'Sealander' series), 2006

Jane and Louise Wilson have long explored architectural spaces that evoke power and control. The artists started photographing decaying Nazi bunkers on France's Normandy Coast, after having read an article by J.G. Ballard on their place in modernist architecture. "We were intrigued by the World War II bunkers that were being drawn back into the water," Jane says. "It was like something from an ancient civilization, but darker."

Tacita Dean, Vesuvio, 2001

Tacita Dean, The Wreck of Worthing Pier, 2001

The Russian Ending, by Tacita Dean, is a series of photogravures with etching inspired by postcards documenting disastrous events. The title of the series refers to a cinematographic practice of the early 20th Century when the last sequences of European movies exported to America and Russia were filmed twice. American audiences would watch the 'Happy End' while a 'Tragic End' was made for Russians.

Broomberg and Chanarin, Red House #12, 2006

Adam Broomberg and Oliver Chanarin have photographed marks and drawings made on the walls of what seems to have become a tourist hotspot in the town of Sulaymaniyah in the Kurdistan Region of Iraq: the Red House. The building was originally the headquarters of Saddam's Ba'athist party. It was also a place of incarceration, torture and often death for many Kurds. Broomberg and Chanarin

The artists photographed the marks left by Kurdish prisoners. We cannot tell what marks were made when and in what order. History presents itself as a palimpsest. If you wish you can sense in these photographs echoes of Brassai's surrealist images of scratched grafitti from 1930s Paris or Aaron Siskind's photos from the 1950s of daubs and tears made in hommage to abstract expressionist painting. But the context is more pressing and more fraught. The traces recorded by these photographs may relate to past events in the history of the Red House but nothing is settled in Iraq yet. While the photographs are fixed forever, these may not be the last marks made on these walls - David Campany.

Gerard Byrne, 1984 (screen shot from the video installation), 2005-2006

Gerard Byrne, 1984 and Beyond, 2005-2006

Gerard Byrne, 1984 and Beyond, 2005-2006

In 1984 and Beyond, Byrne re-enacts a discussion, published in Playboy in 1963, in which science fiction writers - including Isaac Asimov, Ray Bradbury and Arthur C. Clarke - speculated about what the world might be like in 1984. Unsurprisingly, they were way off the mark.

Black-and-white photographs accompany the video work look like they came straight from the 1960s but if you look better you realize that they show objects, landscapes, cityscapes and scenes that might just as well belong to 1963, 1984 or now. They show the future that might have been, that probably never was but that still loiter in today's world.



Keith Arnatt, A.O.N.B. (Area of Outstanding Natural Beauty), 1982-4

Keith Arnatt's deadpan series A.O.N.B. (Area of Outstanding Natural Beauty) subverts the idea of what is picturesque and what deserves to get our attention by pointing the camera to the most prosaic man-made interventions in the landscape.

John Latham, Five Sisters Bing

Five Sisters is a derelict land site in the Midlothian and West Lothian area which John Latham, during his artist's placement with the Scottish Development Office, recommended they be preserved as monuments. He also proposed that the 'bings' (huge heaps of coal waste) should be preserved as monuments. Latham's proposed to erect sculptures, in the form of books, on the summits of the 'bings'.

Paul Graham, Paint on Road, Gobnascale Estate, Derry, 1985, printed 1993‑4, from the series Troubled Land

Paul Graham, Republican Coloured Kerbstones, Crumlin Road, from the series Troubled Land

Paul Graham's series Troubled Land looked at "the troubles" in Northern Ireland.

Instead of working like a photojournalist and look for dramatic scenes to document, Graham searched for subtle traces of political instability left in the landscape. Graham said: "It's a combination of landscape and conflict photography, using small seductive landscapes to reveal the details."




Jon Savage, Uninhabited London, 1977-2008

Savage photographed abandoned locations around North Kensington. In the 1970s, the area had very little in common with the chic neighbourhood it later became. He wrote:

These photos were taken on an old Pentax during January 1977: their purpose was to serve as an image bank for the second issue of the fanzine London's Outrage. The location was the square of North Kensington that lies between Holland Park Road, the Shepherd's Bush spur, Westbourne Park Road and the Harrow Road.

The bulk of the images come from the streets around Latimer Road and Lancaster Road: the district called Notting Dale. Here, as in other inner London areas like W9 (the Chippenham) and WC2 (Covent Garden), the tide of industry and humanity had temporarily receded. Slum housing stock had been demolished, but there was no reconstruction: squatting communities like Frestonia (based in Notting Dale's Freston Road) occupied the remaining buildings. Not yet the clichés of punk iconography, large tower blocks loomed like primitive monsters above the rubble and the corrugated iron. I was guided to this area after seeing the Clash and the Sex Pistols. I was very taken with the Clash, partly because their North Kensington manor was so close to mine. Songs like "How Can I Understand The Flies" and "London's Burning" reflected their environment with precision and passion. London was very poor in the late seventies. (via)

Rachel Whiteread, A: Clapton Park Estate, Mandeville Street, London E5; Ambergate Court; Norbury Court; October 1993 1996

Rachel Whiteread, B: Clapton Park Estate, Mandeville Street, London E5; Bakewell Court; Repton Court; March 1995

Rachel Whiteread's 1996 prints show tower blocks on three housing estates in east London at the moment of their demolition. The images were scanned from photographs and stages in each of these demolitions were documented in three photographs taken from the same view-point. A fourth photograph of each site from a different location records moments that preceded or followed the knocking down.

The Demolished photos record what Whiteread calls 'something that is going to be completely forgotten ... the detritus of our culture', creating a memorial to the past in the hope of generating something better for the future.

Tacita Dean, Kodak, 2006

Tacita Dean's film Kodak explores the ruin of images and obsolescence of technology. The artist traveled to Chalon-sur-Saône (France) in 2006 to visit and film the final days of the production of the company's 16-mm film stock.

On the day of filming, the factory also ran a test through the system with brown paper, providing a rare opportunity to see the facilities fully illuminated, without the darkness needed to prevent exposure.

Laura Oldfield Ford, Detail of Ferrier Estate, 2010

Please, don't let this post convince you that i don't like painting. Laura Oldfield Ford's look at brutalist estates and architecture's failed attempts to build an egalitarian society.

John Riddy, London (Weston Street), 2009

David Shrigley, Leisure Centre, 1992

David Shrigley, Leisure Centre, 1992 (detail)

Ruin Lust is at Tate Britain until 18 May 2014. The catalogue is available on amazon USA and UK.

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