Elizabeth D’Agostino | Richard Sewell

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Published on : 2014-11-08 00:00:00


FOR IMMEDIATE RELEASE
loop Gallery presents:


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Elizabeth D’Agostino
A Curious Assortment

Richard Sewell
wherSequence 1. 2

November 8 - 30, 2014
Reception: Saturday, November 8, 2-5PM

loop Gallery is pleased to present A Curious Assortment, an exhibition by member artist Elizabeth D’Agostino, and wherSequence 1. 2, an exhibition by member artist Richard Sewell.

Elizabeth D’Agostino’s most recent exhibition, A Curious Assortment, is an ongoing series of multi-layered prints and sculptures, which illustrate animal nature and the complexities of the changing landscape. This series explores ideas surrounding cohabitation, mutation and disappearance as they relate to the rapidly producing populations that continually alter the landscape. D’Agostino’s interests in biodiversity and naturalistic forms within architecture have evolved into invented environments merging elements both imagined and real.

D’Agostino holds a BFA from the University of Windsor and a MFA from Southern Illinois University. Her work has been exhibited in Canada and internationally including Iziko: Museum of Cape Town, South Africa, Manhattan Graphics Center, New York, and The Print Center, Philadelphia. In addition, D'Agostino's prints can also be found in many private and public collections including the University of Changchun Jilin, China; Anchor Graphics at Columbia College Chicago, Illinois, Department of Foreign Affairs Canada, and Ernst and Young, Canada. D’Agostino is the recipient of many awards and is the current recipient of the Hexagon Special Projects Fellowship at Open Studio, Toronto.

D'Agostino gratefully acknowledges Anchor Graphics at Columbia College Chicago Artist-in-Residence Program.

In wherSequence 1. 2, Richard Sewell, image investigationist, continues one residency about the underpinnings of our cultural-construct: image. 1. and 2. as occurrences, there at Loop: sequence, reflect, and reside about one, as location, object, and surface; locals, gathered/sequenced, from Home Depot savannas….

In a career spanning over 40 years, Sewell has been an exhibiting artist, artist collaborator, printmaker, publisher, teacher, and administrator/manager in the arts and in education with: Open Studio, OCADU, ACAD, the University of Saskatchewan, and the joint Art and Art History Program of Sheridan College, Oakville, and the University of Toronto, Mississauga. Sewell co-founded Toronto’s Open Studio in 1970, and in 1982 began to teach in the Sheridan Programs of Art and Art History, Art Fundamentals, and Crafts and Design. Retiring studio professor emeritus in 2011, he is now resident in Grand Bend, Ontario, where as an image investigationist he pursues wherelocal/geoplasticimage/gpi; an observation of image in light of locusethics, sequencing, and habit.

Please join the artists to celebrate the exhibition opening on November 8, from 2-5 PM.

Images: Deer with pod sack, etching with silkscreen and collage on Washi, 15 x 18 in, 2014. Photo credit: Brian Burnett; Post-it note, wherSequence study, 2014

Find out more on the loop blog.



loop Thanks
Audax.ca . Sumac.com

loop Members
John Abrams . Mark Adair . Elizabeth Babyn . Gareth Bate . Yael Brotman . Kelly Cade . J. Lynn Campbell . Gary Clement . Tara Cooper . Tanya Cunnington . Elizabeth D’Agostino . Sheryl Dudley . Larry Eisenstein . Martha Eleen . Adrian Fish . Maria Gabankova . Candida Girling . Sandra Gregson . Charles Hackbarth . Libby Hague . Linda Heffernan . David Holt . John Ide . Sung Ja Kim . kipjones . Jenn Law . Jane LowBeer . Suzanne Nacha . Mary Catherine Newcomb . Ester Pugliese . Barbara Rehus . Rochelle Rubinstein . Richard Sewell . Lanny Shereck . P. Roch Smith . Sandra Smirle . Kim Stanford . Robyn Thomas . Adrienne Trent

loop Gallery
1273 Dundas Street West, Toronto, Ontario, M6J 1X8
Gallery Hours: Wed to Sat 12-5pm and Sun 1-4pm.

Artist is in attendance on Sundays and for the reception.

(416) 516-2581
loopgallery@primus.ca
loopgallery.ca
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Slip + Inject: Ceramics Unmoulded

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Published on : 2014-11-08 00:00:00


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Images: Köen de Winter, Stack for Object Collection, 2003. Angelo di Petta, It Is Written, 1995. Goyer + Bonneau, French Pea Soup, (original design 1979) Limited series 2011.
Images courtesy of designers.

SLIP + INJECT: CERAMICS UNMOULDED
ANGELO DI PETTA, DENISE GOYER + ALAIN BONNEAU, KÖEN DE WINTER
Exhibition: November 8 – January 11, 2015
Opening Reception: Saturday, November 8, 3:30 – 6:00pm
Idea Exchange | Design at Riverside, 7 Melville St. S, Cambridge
JOIN US ALSO FROM 1:00 – 3:00PM AT IDEA EXCHANGE, PRESTON FOR THE OPENING AND TOUR OF WORKS FROM THE COLLECTION OF THE CANADIAN CLAY AND GLASS GALLERY


Slip + Inject: Ceramics Unmoulded features exceptional ceramic designs by four Canadian masters of clay innovation and mould making. The works vary from one-off, to limited series, small batch and mass production, and from small to large scale. The exhibition will include retrospective and recent works that utilize experimental and classic techniques to push the boundaries of clay casting, as well as a display of original moulds created by each designer.

Idea Exchange, Design at Riverside wishes to thank DX, Object Collection, and the Jonathan Bancroft-Snell Gallery for their generous loan of work for this exhibition. Admission is free, everyone is welcome.

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DESIGN AT RIVERSIDE
7 Melville St S
Cambridge ON N1S 2H4
Tel: 519.621.0460

GALLERY HOURS:
Tues – Thurs 12:00 – 8:00 pm
Fri 12:00 – 5:00 pm
Sat 10:00 am – 5:00 pm
Sun 1:30 – 4:30 pm

Media Contact
Tamara Neill
Publicity and Promotions Specialist
Idea Exchange
1 North Square, Cambridge ON N1S 2K6
519.621.0460 x 187
(e) tneill@ideaexchange.org
(w) ideaexchange.org

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A screaming comes across the sky. Drones, mass surveillance and invisible wars

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Published on : 2014-11-07 10:15:36

Notes about A screaming comes across the sky. Drones, mass surveillance and invisible wars , Laboral's new exhibition that addresses the ethical and legal ambiguity of drones, mass surveillance and war at a distance.

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Hito Steyerl, Strike

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James Bridle, Watching the Watchers. Creech AFB, Nevada, 21.6.2011

Drones are very much part of today's culture. You can buy one on amazon and fly it as if it were a sophisticated kite. You also probably read how they are (or will be) used to deliver urgent medical supplies, shoot movies, monitor crops, track wildlife or gather information after a natural or manmade disaster.

In many people's minds, hobbyist and civilian uses of UAVs have overtaken the military role and origins of drones. No surprise here as what governments are doing with drones, who they are killing and how is a mystery for the public. And even often for government officials, as this video shown by curator Juha van' t Zelfde during Laboral's drone conference illustrates:


Last Week Tonight with John Oliver: Drones

Drones have been operating and killing since the early 2000s. Yet, we still have fairly few or no statistics regarding civilian casualties. The Bureau of Investigative Journalist does a great job at counting strikes and casualties in Yemen, Somalia and Pakistan. Data gets blurry when it comes to attacks in other countries such as Afghanistan. And a lack of transparency goes hand in hand with a lack of accountability. The wars are fought in remote countries by invisible technologies operated in the name of people who have only a very limited knowledge of what is happening 'on the war front' and this situation contrasts with the ability that satellite images have given us to see and explore the world. The irony is illustrated by James Bridle's ongoing series of aerial photographs of military surveillance drones, found via online maps accessible to everyone.

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James Bridle, Watching the Watchers. Dryden Research Center California, 2011

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James Bridle, Watching the Watchers

The title A screaming comes across the sky is taken from Thomas Pynchon's novel, Gravity's Rainbow, which explores the social and political context behind the development of the V-2 rocket, the first long-range ballistic missile and the first man-made object to enter the fringes of space. The rocket was developed by the German military during World War II to attack Allied cities as a form of retaliation for the ever-increasing Allied bombings against German cities. Today's technologies of war, such as the MQ-1 Predator and MQ-9 Reaper drones, and their laser-guided Hellfire missiles, bear resemblance to the V-2 in their ability to operate unseen and to strike without warning.

In the post-PRISM age of mass surveillance and invisible war, artists, alongside journalists, whistleblowers and activists, reveal the technological infrastructures that enable events like drone-strikes to occur.

I've now seen quite a few exhibitions that explored the politics, ethics and meanings of drones. A screaming comes across the sky manages to bring a fresh and compelling perspective on the issue by taking sometimes a more oblique, metaphorical approach to drones. While the curator selected some of the most iconic works dealing directly with drones today, he also looked at artists who are interested in questions of surveillance and control but in a rather poetical, symbolic or even sometimes humourous way.

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Martha Rosler, Theater of Drones

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Martha Rosler, Theater of Drones, 2013

Martha Rosler's Theater of Drones is a great introduction to the subject of drone warfare. The banner installation was first exhibited in Charlottesville, the first city in the United States to pass a law restricting the use of drones in its airspace

Talking about the drones, Rosler said: "They appear to make war invisible, but of course in the countries that we're bombing, and where people are being killed, they are a terror fact of everyday life. They don't terrorize us, because we have this classic split, which we also had during the Vietnam War of over here and over there are two different worlds, and they're not really connected."

The banners list a series of chilling facts about drones: "The Air Force has plotted the drone future to 2047. The Pentagon plans to increase funding by 700% over the next decade." "Since 2004, drone strikes have killed an estimated 3,115 people in Pakistan. Fewer than 2 percent of the victims are high-profile targets. The rest are civilians, and alleged combatants. " And this little gem of a quote by a Pentagon official:

"They don't get hungry. They're not afraid. They don't forget their orders. They don't care if the guy next to them has just been shot. Will they do a better job than humans? Yes."

The same room also showed works developed by fabLAB Asturias. The prototypes, platforms and maps bring the drone issue into a context closer to citizens' daily interests and experiences (a dedicated post about fabLAB's drone experiments is coming up!) Their projects also remind the public that the U.S> military doesn't have the monopoly of questionable use of drones. Using them for surveillance, border control and in military contexts is very much part of the European agenda as well.

Quick tour of the other works on show:

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Lot Amoros, Dronism, 2013

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Lot Amoros, Dronism, 2013

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Lot Amoros, Dronism, whitedesert

As part of his ongoing research on Unmanned Aerial Vehicles (UAVs), Lot Amoros placed posters around Egypt to inform people how to protect themselves from Israel's Heron drones. Israel is the world's leading exporter of military drones. As this video shows, Israeli drones and other weapons meet with great success on the international market as they have been repeatedly tried and tested on Palestinians.

The instructions of the Dronism document were directly quoted from real Al-Qaida drone documents. All al-Qaida references or aggressive languages were removed and replaced with peaceful instructions for the sole purpose of offering innocent civilians a series of tools to protect themselves from unmanned aerial vehicles, using common materials and trash to construct frequency inhibitors, camera blinders, etc.

Amoros also intended to send the instructions to Palestine on board a tiny DIY drone. It turned out that flying the quadcopter over the border into Palestinian territory was too dangerous. The artist and activist did however succeed to send the instructions via underground tunnels.

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Laurent Grasso, On Air (still)

I was so glad to get another chance to see Grasso's wonderful On Air again. , The film, shot in 2009 in The United Arab Emirates, looks at traditional hawk hunting. The bird in the movie is equipped with light and sophisticated surveillance equipment. Once let to roam free above the land, it becomes a spying tool, recording every dune and village it flies over. The images are fascinating but they are also threatening.

The movie and its paranoia-inducing music reminds us that a technique to use pigeons for aerial photography of enemy lines during wars was developed as early as 1907. The practice might not have vanished completely. A few years ago, articles reported that Iranian security forces had captured a pair of "spy pigeons," not far from one of the country's nuclear processing plants.

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Alicia Framis, History of Drones

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Alicia Framis, Pigeon photographers

Which brings us nicely to Alicia Framis's History of Drones. Her taxidermied work presents the pigeon as the predecessor of today's drones. In 1908, German apothecary Julius Neubronner patented aerial photography by means of a pigeon photographer. The invention was tried out for military air surveillance in the First World War and later.

Besides actually being used in military contexts as a means of surveillance and collecting intelligence, they were indeed unmanned aerial instruments, which might had a different historical importance if it wasn't for the quick and strong progress in the field of aviation. In this new work, Framis creates a light-hearted reminder of the evolution of aerial espionage.

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Preparing James Bridle's Drone Shadow drawing in Gijón, 2014

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James Bridle, Drone Shadow drawing in Gijón, 2014

MQ1 Predator Drone Shadow
located in the port of Gijón. The work has been painted by local practitioners using James Bridle's: Drone Shadow Handbook, which can be found here. A brilliantly simple and poignant reminder of military technologies, as James Bridle reminds us: "We all live under the shadow of the drone, although most of us are lucky enough not to live under its direct fire."

Check out the video below for more details about Bridle's interest in drones:

The talk is available in spanish as well.

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Marielle Neudecker, The Air Itself is One Vast Library

Really like this work. I wrote about it Here.

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Roger Hiorns, Untitled (view of the exhibition)

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Roman Signer, 56 kleine Helikopter, 2008

A video showing 56 remote-controlled toy helicopters taking to the sky to great chaos.

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Metahaven, Silent Dazzle, 2014

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Metahaven, Silent Dazzle

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Hito Steyerl, Strike

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AeraCoop (Lot Amorós, Cristina Navarro y Alexandre Oliver), Flone

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AeraCoop (Lot Amorós, Cristina Navarro y Alexandre Oliver), Flone

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AeraCoop (Lot Amorós, Cristina Navarro y Alexandre Oliver), Flone

A screaming comes across the sky. Drones, mass surveillance and invisible wars is at LABoral Centro de Arte y Creación Industrial (Art and Industrial Creation Centre) until 12 April 2015. In collaboration with Lighthouse.

Related stories: Flone, The Flying Phone, A dystopian performance for drones, KGB, CIA black sites and drone performance. This must be an exhibition by Suzanne Treister, Under the Shadow of the Drone and The Digital Now - 'Drones / Birds: Princes of Ubiquity'.

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David Rokeby: Very Nervous System

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Published on : 2014-11-07 00:00:00


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David Rokeby: Very Nervous System
Organized and circulated by Carleton University Art Gallery, Ottawa

November 7, 2014 - January 4, 2015

Judith & Norman Alix Art Gallery
Sarnia, ON


I am fascinated by the way we transform the raw impressions streaming in through our senses into a coherent mental picture of reality. So I create artworks that look and listen, and try to make sense of what they see and hear. I am caught in the daily clash between the logical world of the computer and the embodied experience of living. So I bring these two worlds into closer dialogue to see what fails and what resolves.1
- David Rokeby

First developed in the mid-1980s, when interactive art, sound art and computer-based art were in their infancy, David Rokeby's landmark work Very Nervous System uses video surveillance technology, synthesizers, a sound system, computers and image processing software designed by the artist to translate visitors' movements into music and/or sound. Visitors 'search' for hidden sounds within the space, exploring the tactile and sculptural qualities of the sound while creating their own unique composition.

Very Nervous System is a remarkable interactive work that engages and fascinates people of all ages.


Feature Event

David Rokeby Artist Talk
Saturday, November 8th @ 1:00 pm
Free admission

Winner of a Governor General's Award in Visual and Media Arts in 2002, Rokeby has been at the forefront of interactive media art for over two decades. His work has been performed and exhibited in shows across Canada, the United States, Europe and Asia. As Dot Tuer wrote about Rokeby's work with computers, he "descends into a mathematical realm of algorithms and emerges to create a surface interface that offers the potential for us to see, as he did at that moment, the complexity and richness of reality. From a blanket barrage of technology that reduces visibility like a blinding winter storm, he distills images that are reflective and ambiguous, as if the blizzard suddenly ceased, and the contours of a freshly snow-laden landscape became manifest. Encompassing time and space, gesture and language, Rokeby's art forges from the computer's logic a new poetics for the 21st century."2

Register for Rokeby's artist talk here: http://www.jnaag.ca/plan-your-visit/calendar-of-events?task=view_event&event_id=455


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my kulturBOT
David Harris Smith and Frauke Zeller

November 7 - 30, 2014


my kulturBOT is a robotic art critic that attends exhibitions and tweets text-captioned photos of the artworks, patrons, and venue.

my kulturBOT engages a threefold set of social norms—or systems that apply social norms and conventions—to ‘delegate’ the cultural production of robot, art, and cognition. These are manifested by ‘algorithm’ (relating to robot), ‘art exhibition’ (relating to the locative aspect of art), ‘language’ (relating to the linguistic aspect of cognition). We implement our robot to ‘visit’ an exhibition, an act that represents a social concept of where art is to be found—in a gallery. Hence, it replaces the often-difficult question of what art is with a simple locative definition: Art can be found in an art gallery. my kulturBOT indiscriminately takes pictures of the artworks, as well as the venue and the people visiting the exhibition. It also integrates randomness in terms of its movements (the sweeping) and its language usage (its tweets). For the tweeted comments that my kulturBOT composites with the pictures it takes, a random text generator using a Markov chain approach converts the words of F. T. Marinetti’s (1909) Futurist Manifesto into randomly generated sentences. my kulturBOT communicates with poetic tweets that convey the passion of the manifesto; these are somewhat grammatically correct, yet are lacking semantic logic.

my kulturBOT manifests the inherent vagueness of what Bourdieu described as the ‘demarcation line between the world of technical objects and the world of aesthetic objects’.3 Bourdieu critically reflects on whether this demarcation depends on the ‘intention’ of the producer of those objects. Rather, he claims, these so-called intentions are themselves a ‘product of the social norms and conventions which combine to define the always uncertain and historically changing frontier between simple technical objects and objects d’art’.4 Given the special status of artefacts as having a contingent form of agency qua human interaction, their inclusion in the formulation of human agency does not risk a leap into magical or essentialist thinking about the power of things. Rather, it is merely to say that the agential properties of artefacts are determined by interpretations of salience and value, as described in Dennett’s ‘artifact hermeneutics:’ ’We cannot begin to make sense of functional attributions until we abandon the idea that there has to be one, determinate, right answer to the question: What is it for? And if there is no deeper fact that could settle that question, there can be no deeper fact to settle its twin: What does it mean?5 When seen as contingent agents, the functional attribution of artefacts, their interpretation, is variable and may only be determined for particular cases and times. Hence, we also want to question, whether my kulturBOT is itself an object of art.

my kulturBOT will be critiquing a different exhibition in the Judith & Norman Alix Art Gallery for each week of November.


For more information about upcoming programs and events at the gallery visit www.jnaag.ca


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Judith & Norman Alix Art Gallery
147 Lochiel Street, Sarnia ON
N7T 0B4
(519) 336-8127
For more information contact:
Darryn Doull, Assistant Curator
darryn.doull@county-lambton.on.ca


Follow the Judith & Norman Alix Art Gallery on Facebook and Twitter
Follow our project blog: http://gallerylambton-onsite.blogspot.ca/


Image Credits
1. Video stills from David Rokeby: Very Nervous System, courtesy Carleton University Art Gallery, Ottawa.
2. my kulturBOT in action projecting content in a gallery, photographer unknown.


1  Quote taken from http://ggavma.canadacouncil.ca/htmlfixed/Archives/2002/david_rokeby-e.html on Oct. 30, 2014.
2  Ibid.
3  Bourdieu, P. (1984). A social critique of the judgement of taste. Cambridge: Cambridge University Press. 29
4  Ibid.
5  Dennett, D. C. (1990). The interpretation of texts, people, and other artifacts. Philosophy and Phenomenological Research, 50, 177-194. 194

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Jamelie Hassan and Ron Benner: The World is a Garden Whose Walls are the State

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Published on : 2014-11-07 00:00:00

A Space Gallery proudly presents


The World is a Garden Whose Walls are the State

Jamelie Hassan and Ron Benner

Jamie Hassan and Ron Benner img

Details from works: Ron Benner, All That Has Value, 1993-2014 and Jamelie Hassan, Poppy Cover (for Holy Roller), 2010.

Exhibition runs November 7 - December 13, 2014
Opening: Friday November 7th from 6 PM - 8 PM
Essay by: Miriam Jordan-Haladyn and Julian Jason Haladyn

A Space Gallery is proud to present the first Canadian exhibition to focus on Jamelie Hassan & Ron Benner together. These two artists have lived, worked and organized exhibitions and projects together for over three decades. While their practices are unique and their art may appear to be unconnected, they are actually responding to mutual contexts and points of view that inform the way they live and work. This two person exhibition, The World is a Garden Whose Walls are the State should be approached as a continuation of what began in their 2012 two-person exhibition The World is a Garden at the Biblioteca Andrés Henestrosa in Oaxaca, Mexico. The current title intentionally builds upon its predecessor by adding the remainder of the statement referenced, a fragment of text by the Arabic historian, diplomat and scholar Ibn Khaldun (1332- 1406) – who in 1377 wrote the treatise Al Muqaddimah, which is considered the first philosophy of history. Similarly, the project that began in Oaxaca is here continued, and in many ways extended, through the play of material and historical contexts that the artworks in the current exhibition reference, which is sometimes personal but always political.


BIOGRAPHIES

Based in his hometown of London, Ontario, Ron Benner is a visual artist, curator, activist, gardener and adjunct professor in Visual Arts at Western University, London, Ontario. He was the first artist manager of the Forest City Gallery (1980-81) and co-founder of the Embassy Cultural House (1983-1990). He has exhibited in artist-run centres since 1975. His works are in numerous public collections, including the National Gallery of Canada, Ottawa the Art Gallery of Ontario, Toronto, the McIntosh Gallery, The University of Western Ontario, Museum London, London, Ontario and the Casa de Las Americas, Havana, Cuba. In 2008 Museum London published a bilingual book on Benner's garden installations, titled, Ron Benner: Gardens of a Colonial Present. He is the recipient of numerous awards including the Chalmers Art Fellowship (2004), the Canada Council for the Arts international residency program, La Cite Internationale des Arts, Paris, France (2000- 01). His garden installations have been presented in sites across Canada and in Salamanca Spain. His most recent garden installation was installed in Xi'an, China in 2014 as part of the Transformation of Canadian Landscape Art: The Inside and Outside of Being. An upcoming exhibition of his work, titled Three Questions, curated by Julian Haladyn will be presented at McIntosh Gallery, Western University, London, Ontario, in Jan. 2015.

Based in her hometown of London, Ontario, Jamelie Hassan is a visual artist and has coordinated numerous international programs. She is active in artist-run centres in Canada and was a founding member of the Forest City Gallery, London (1973) and the Embassy Cultural House (1983-1990). Her works are in numerous public collections, including the National Gallery of Canada, Ottawa, the Art Gallery of Ontario, Toronto, the McIntosh Gallery, Western University, Museum London, London, Ontario and the Morris & Helen Belkin Art Gallery, the University of British Columbia, Vancouver, British Columbia. She was awarded the Governor General's Award in Visual and Media Arts, (2001), the Chalmers Art Fellowship in 2006 and the Canada Council for the Arts international residency program at La Cite Internationale des Arts, Paris, France (2012). A survey exhibition, Jamelie Hassan: At the Far Edge of Words organized by Museum London and the Morris & Helen Belkin Art Gallery, the University of British Columbia, Vancouver, British Columbia in 2009 toured in Canada through to 2013. Her most recent project was installed in the library of the Great Mosque of Xi'an, China in 2014, an off-site project which was part of the Transformation of Canadian Landscape Art: The Inside and Outside of Being.


Miriam Jordan-Haladyn is a First Nations writer and artist. She the author of Dialogic Materialism: Bakhtin, Embodiment and Moving Image Art, as well as numerous articles and book chapters. With Julian Haladyn she co-authored The Films and Videos of Jamelie Hassan, a publication that accompanied their curated project of Hassan's use of moving image works. Currently, Miriam is a SSHRC Postdoctoral fellow in the History of Art and Visual Culture Department at Cornell University.

Julian Jason Haladyn is a Canadian writer and artist. He is the author of Marcel Duchamp: Etant donnes, as well as numerous journal articles and book chapters on art and philosophy. With Miriam he is a founding co-editor of Blue Medium Press (www.bluempress.ca). Haladyn recently completed a SSHRC Postdoctoral Fellowship at the University of Toronto and is currently teaching courses at OCAD University and Western University.


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A Space Gallery

401 Richmond Street West, Suite 110
Toronto, ON, M5V 3A8
416-979-9633
vicky@aspacegallery.org
www.aspacegallery.org

Gallery Hours: Tuesday to Friday 11 - 5PM, Saturday noon to 5PM

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Extraordinary Folk: Selections from the Joey and Toby Tanenbaum Collection of International Naïve Art

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Published on : 2014-11-07 00:00:00

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Louis Marius Amorim Ferreria de Moraes (Brazil), Stream of Life, 2005, Acrylic on canvas

Extraordinary Folk: Selections from the Joey and Toby Tanenbaum Collection of International Naïve Art
November 7th, 2014 to January 17, 2014

Official Opening
Friday November 7, 2014 at 7pm

The Art Gallery of Algoma is proud to present Extraordinary Folk: Selections from the Joey and Toby Tanenbaum Collection of International Naïve Art officially opening on November 7th, 2014.

Organized by the Kitchener-Waterloo Art Gallery, this exhibition features 40 paintings drawn from the impressive Tanenbaum collection of over 140 works of naïve art. The collection features paintings by artists from more than 17 countries including Brazil, Argentina, Israel, Russia, Greece, Serbia, Croatia, Spain, Peru and Hungary, among others.

In this spirited exhibition of paintings viewers discover an idealized reality. Despite the absence of a defined technique or style, naïve art from around the world and over time shares similar themes, subject matter and aesthetics. Characterized by warm familial scenes, landscapes of astounding beauty and enchanted moments of everyday life, naïve art appeals to the emotions of audiences who pine for the simpler way of life depicted in these paintings. Viewers will be visually transported to the exotic landscapes and serene forests of Brazil, to fields of corn and grain, alive with activity, in Serbia and Peru, and to city scenes: bustling streets, marketplaces, parks, and theatres in Spain, Argentina, Israel and Romania. The sincere depictions of human emotion transcend cultural borders and make these works of art accessible to Canadian audiences.

The Art Gallery of Algoma is honoured to be the first gallery after Kitchener-Waterloo Art Gallery to host this spectacular exhibition of naïve art.

THE ART GALLERY OF ALGOMA
The AGA was founded as a non-profit public art gallery and incorporated on July 7, 1975. Established by a group of dedicated volunteers and arts enthusiasts, the AGA honours its roots as a community organization with its mission statement - to be a gathering place that celebrates and preserves cultural expression. The AGA moved to its present location next to the scenic and historic St. Mary's River in 1980. The 10,000-square-foot facility includes four exhibition spaces, the Ken Danby Education Studio, the Gallery Café and the AGA Gallery Shop. The AGA looks forward to the next phase in its evolution: establishing and implementing exciting new initiatives, becoming more involved on the national contemporary art scene, and continuing to uphold its multifaceted mandate.

The Gallery presents fifteen to twenty exhibitions a year in four exhibition spaces: Main Gallery, Education Gallery, Project Room and Lobby. In the last three years the AGA has achieved a number of accomplishments such as hosting an exhibition Abraham Anghik Ruben Arctic Journeys, Ancient Memories, June 5th - September 15th, 2013; 100 years of Art in the Sault, Community Creative Art Project December 6th, 2012 - February 17, 2013 featuring internationally acclaimed artist John Hartman; Diana Thorneycroft Group of Seven Awkward Moments September 19th, 2013 - January 4th, 2014; Aganetha Dyck and Richard Dyck Surreal Transformations, June 14 to September 14, 2014 to mention just a few.

The Gallery welcomes over 24,000 visitors a year. Visitors have come from every part of Canada and the US and from each continent. Very active education programming includes exhibition tours, art classes for all age groups, workshops, artists’ talks, lectures, panel discussions, film screenings, and many more.

In addition to the exhibitions the gallery is growing its permanent collection. Some recent additions include artwork by Rosalie Favell, Edward Zelenak, John Hartman, Diana Thorneycroft, Abraham Anghik Ruben and Roberta Bondar and Aganetha and Richard Dyck.


Art Gallery of Algoma
10 East St. Sault Ste. Marie ON P6A 3C3
(705) 949-9067
www.artgalleryofalgoma.com
galleryinfo@artgalleryofalgoma.com

Media inquiries:
Jasmina Jovanovic
Executive Director
Art Gallery of Algoma
10 East Street Sault Ste. Marie, ON P6A 3C3
705-949-9067
jasmina@artgalleryofalgoma.com


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Patricia Henricy, Cruzalegui (Peru), The Colca Canyon, 2006, Oil on canvas

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Vintila Mihai (Romania), Wedding Party, 2004, Oil on canvas

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Cathryn Miller: ​Elemental

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Published on : 2014-11-07 00:00:00

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Elemental | Book Works by Cathryn Miller
November 7 – December 14, 2014 | Opening Reception Friday, November 7th from 7–9 pm

TYPOLOGY is pleased to present Elemental, a solo exhibition featuring a selection of unique and editioned book works by Saskatchewan artist Cathryn Miller. Ranging from tiny folded paper accumulations to a new wall-sized composition, the thoughtfully conceived and often laboriously crafted objects in the show represent a sustained investigation of manifold worlds, encompassing both the inner/outer, micro/macro, and meta/physical dimensions. A homecoming of sorts, Elemental is Miller’s first solo show in Toronto, where she was born and lived as a child before moving around the country, eventually settling in Saskatchewan in 1973.

About the Artist
A former theatrical designer and fibre artist, Cathryn Miller has focused on book arts and paper making for the past twenty years. Throughout her career she has won numerous awards and is the only Saskatchewan craftsperson to have received the Premier’s Prize at Dimensions (the annual juried exhibition of the Saskatchewan Craft Council), in two different media. Under the imprint of Byopia Press, Miller’s handmade paper and book works are held in more than forty public collections in Canada, the United States, and England, and in private collections the world over.

FREE upcoming events include

Opening Reception and Edition Launch
Friday, November 7th from 7--9 pm
Please help us extend a special welcome to the artist, who will be here from Saskatchewan. Refreshments will be served and all are welcome.

Folded Paper Projects | A Workshop with Cathryn Miller
Sunday, November 9th starting at 1pm
Learn to make a variety of useful and beautiful folded paper pockets and envelopes (plus a magic toy!) with artist Cathryn Miller. We’ll start with a brief family-friendly introduction to her work in the Elemental exhibition, then jump right in with the first of at least six projects. Event is free to attend and suitable for adults and kids 6+ with caregiver; ideal for ages 9–15. RSVP to info@typology.ca to reserve your spot.

Stars of the Season | Holiday Star-making Workshop
Sunday, November 30th starting at 1pm
Just in time for the holidays — come make a variety of paper star projects inspired by Cathryn Miller’s book works. Projects will include folded and cut paper stars suitable for ornaments, garlands, and gifting. Event is free to attend and geared toward adults and kids 6+ with caregiver. Materials will be provided. RSVP to info@typology.ca for further instructions.

For more information, please visit our website: http://www.typology.ca/elemental

image: Cathryn Miller, Snowy Owl (detail), 2009

About TYPOLOGY

TYPOLOGY Projects is a not-for-profit independent curator-led initiative that foregrounds experimentation, collaboration, and community outreach in the production of exhibitions, editions, and related events.

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TYPOLOGY Projects
No. 302 -- Artscape Youngplace
180 Shaw Street
Toronto | Ontario | M6J 2W5

Website / Blog / Twitter / Facebook / Tumblr / Instagram

Gallery / Office Hours
When exhibitions are on, our hours are Thursdays 5–8 pm, Fridays + Sundays 12–5 pm, and by appointment.

MEDIA CONTACT
Shani K Parsons | info@typology.ca | http://www.typology.ca/media-resources

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Ali Kazimi: Fair Play

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Published on : 2014-11-07 00:00:00

Ali Kazimi: Fair Play

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Co-presented by SAVAC and Toronto Reel Asian International Film Festival

7 - 16 November 2014
OCAD University
Central Hall, Room 230 (100 McCaul St.)



“I wanted to bring to life these moments that have no visual record.” – Ali Kazimi

At the turn of the 20th century, in response to mounting racial tensions in British Columbia, the Canadian government restricted immigration by passing the Continuous Journey Provision of the Immigration Acts of 1908 and 1910. All subjects of the British Empire had freedom of movement within the Commonwealth; however, the Canadian government effectively prohibited immigration from Asia by requiring all people to travel without stopping from the country of origin. In 1914, a group of Indian entrepreneurs set out to directly challenge this law by chartering a steamship called the Komagata Maru. Upon arrival, the passengers were detained on the ship for two months and departed only after the Canadian Government apprehended them with a navy cruiser. Upon arrival in India, nineteen passengers were shot dead by British authorities. Several leaders were accused of sedition and we imprisoned or hanged.

Ali Kazimi has worked extensively to contextualize this incident by creating work that explores themes of race, migration, memory and history. While his award-winning documentary Continuous Journey (2004) is a meticulous archival project about the incident, his most recent work, Fair Play, through ten quiet vignettes, depicts the lives of ordinary people who were affected by the arrival, detention and departure of the Komagata Maru. Fair Play provides a view into the private lives of South Asians on shore during a time of extreme racial tension. These works illustrate that the Komagata Maru Incident was not an isolated one, but emblematic of the larger context of racist policies of the Canadian state and the attitudes of European settlers.

Fair Play opens a window to the past and allows viewer to feel as if they are in the presence of materially fathomable, historically accurate, life-sized peoples. With the immediacy and presence that only stereoscopic 3D moving images can evoke, Kazimi asks the viewer to rethink history and immerse themselves into the spaces and lives of the characters.





Ali Kazimi is an award winning filmmaker, critically acclaimed author and visual artist whose work deals with race, social injustice, migration, history and memory. His documentaries include Narmada: A Valley Rises (1994), Shooting Indians: A Journey With Jeffrey Thomas (1997), Passage from India (1998), Continuous Journey (2004), Runaway Grooms (2006), Rex versus Singh (2009). His book Undesirables: White Canada and the Komagata Maru – An Illustrated History (Douglas & McIntyre) was a finalist for both the 2012 Vancouver Book Award. He is an Associate Professor in the Department of Film, School of Arts, Media, Performance and Design, York University where he is also the principal investigator of the Stereoscopic 3D Lab at York.



Special Events


Opening Reception
7 November 2014
6:30 - 9:00pm
OCAD University
Central Hall, Room 230 (100 McCaul St.)
Facebook Event


Artist Talk
12 November 2014
6:30 - 8:30pm
OCAD University
Central Hall, Room 230 (100 McCaul St.)

Join SAVAC’s Executive Director, Indu Vashist in conversation with Ali Kazimi about Fair Play and its relationship to Ali’s previous works, the use of 3D technology to create an immersive experience, and the role of archival research in his practice.



Hours & Contact

Ali Kazimi: Fair Play
7-16 November 2014
OCAD University
Central Hall, Room 230 (100 McCaul St.)
Open 12:00 - 5:00pm daily

This venue is wheelchair accessible. For more more information, contact us by phone or email.

SAVAC (South Asian Visual Arts Centre)
401 Richmond St W, #450
Toronto ON
M5V 3A8

416.542.1661
info@savac.net

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18th Annual Toronto Reel Asian International Film Festival - Special Projects

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Published on : 2014-11-06 00:00:00


Toronto Reel Asian International Film Festival - Special Projects

From 3D and multichannel video installations to live music and nuggets from our personal archives, Reel Asian presents five unique projects that share the significance of where we have been and where we are going.

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FAIR PLAY

Ali Kazimi

Fair Play is a 3D stereoscopic video installation that marks the centennial of the infamous Komagatu Maru Incident of 1914, when British Indian subjects were denied access to Canada and sent back to India where many were imprisoned or executed. Through ten quiet vignettes, Fair Play depicts the lives of ordinary people who were affected by the arrival, detention and departure of the Komagata Maru.
Co-sponsored by SAVAC, OCADU

http://www.reelasian.com/festival-events/fair-play-gallery-presentation/


Opening Reception
Friday Nov 7, 6:30-9:00pm
Open Gallery, OCAD University
49 McCaul Street

Exhibition Dates
November 8-16, 12:00pm-5:00pm
Black Box Lab, Room 4905
OCAD University
49 McCaul Street

Artist Talk – Ali Kazimi
Wednesday Nov 12, 6:30pm-8:00pm
Central Hall, Room 230
OCAD University
100 McCaul Street


THE MAKING OF AN ARCHIVE

Canadian Spotlight Artist: Jacqueline Hoang Nguyen

Montreal artist Jacqueline Hoang Nguyen invites newcomers to Canada and their families to digitize their photographic documents and share their personal stories, to preserve the memories of the immigrants that make up Canada’s unique population, and ensure that they will not be forgotten.
Co-presented by Gendai

http://www.reelasian.com/festival-events/the-making-of-an-archive/

Be a part of The Making of an Archive by bringing your family photo albums to one of these sessions!

Session 1
Tuesday Nov 11, 1:00pm-5:00pm
AGO Weston Family Learning Centre
317 Dundas Street West

Session 2
Wednesday Nov 12, 1:00pm-5:00pm
Japanese Canadian Cultural Centre
6 Garamond Court

Session 3
Thursday Nov, 13, 1:00pm-5:00pm
Aga Khan Museum
77 Wynford Drive

Session 4
Saturday, Nov 15, 2:00pm-6:00pm
Richmond Hill Centre for the Performing Arts
10268 Yonge Street

More from Jacqueline Hoang Nguyen

1967: A People Kind of Place
A short film screened as part of the
Rewind, Pause, Play shorts program
Monday Nov 10, 1:00pm
AGO Jackman Hall
317 Dundas Street West
Admission: $12

Memories Matter - Artist Talk: Jacqueline Hoang Nguyen and Stephen Gong
Monday Nov 10, 5:00pm-7:00pm
AGO Weston Family Learning Centre
317 Dundas Street West

Memories Matter - Reception
Tuesday Nov 11, 7:30pm-9:00pm
Art Square Café
334 Dundas St. West


MEMORIES TO LIGHT

Stephen Gong, Casey Mecija

Memories to Light is an ode to the inexplicable power of the pre-digital, pre-video home movie. Highlights from this presentation include family films from San Francisco’s 1930s Japanese American community after internment, and a family trip to the legendary Expo ’67 in Montreal.
Curated and Narrated by Stephen Gong, live music by Casey Mecija

http://www.reelasian.com/festival-events/memories-to-light/

Live Music + Film Presentation
Tuesday Nov 11, 6:45 pm
AGO Jackman Hall
317 Dundas Street West
Admissions: $12

Memories Matter - Reception
Tuesday Nov 11, 7:30pm-9:00pm
Art Square Café
334 Dundas Street West

Memories Matter - Artist Talk: Jacqueline Hoang Nguyen and Stephen Gong
Monday Nov 10, 5:00pm-7:00pm
AGO Weston Family Learning Centre
317 Dundas Street West


HIMALAYA SONG

Mridu Chandra, Gingger Shankar, Dave Liang

The Aga Khan Museum and Reel Asian co-present the Toronto premiere of Himalaya Song by Gingger Shankar (vocals/double violin), David Liang (piano/electronics), and Mridu Chandra (video and narration). Heralded by Rolling Stone Magazine as one of the “10 Best Music Films at Sundance”, this dynamic multimedia performance uses music, storytelling, and video to examine the Himalayas as they undergo major environmental and ecological change.
Co-sponsored by Aga Khan Museum

http://www.reelasian.com/festival-events/himalaya-song/

Music + Film Presentation
Thursday Nov 13, 8:00pm
Aga Khan Museum
77 Wynford Drive
Admission: $35

Tickets include post-screening reception and access to galleries of the Aga Khan Musuem, Toronto’s newest cultural landmark destination.

Artist Talk - The Music of Gingger Shankar
Wednesday Nov 12, 3:00pm-5:00pm
AGO Weston Learning Centre
317 Dundas Street West
Admission: $5 at door


IF ALL YOU HAVE IS A HAMMER, EVERYTHING LOOKS LIKE A NAIL

Will Kwan

If All You Have is a Hammer, Everything Looks Like a Nail is a commissioned three-channel video installation by artist Will Kwan. Responding to an early multi-channel video installation by John Massey titled, As the Hammer Strikes (1982). Kwan replaces Massey and his hitchhiker with a white real estate agent and a Chinese home-buyer, addressing the aspirations of the East Asian community, often cast as the “model minority.”
Co-Sponsored by Gendai, Trinity Square Video

http://www.reelasian.com/festival-events/if-all-you-have-is-a-hammer-everything-looks-like-a-nail/

Exhibition Dates
Nov 6 - Dec 17, 2014
Monday-Friday, 12:00pm-6:00pm
Trinity Square Video
401 Richmond Street West, Suite 376

Opening Reception
Wednesday Nov 12, 5:00pm-7:00 pm
Trinity Square Video


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Toronto Reel Asian International Film Festival (Reel Asian) presented by National Bank is a unique showcase of contemporary Asian cinema and work from the Asian diaspora.

Toronto Reel Asian International Film Festival
401 Richmond Street West, Suite 309

Canada's Premier Pan-Asian International Film Festival
18th Annual Edition: November 6-16, 2014 (Toronto and Richmond Hill)

T 416-703-9333 | info@reelasian.com
www.reelasian.com
facebook.com/reelasian
twitter: @reelasian


Special Projects Partners:
Amirali Alibhai, Sharlene Bamboat, Angel Chen, Monica Contreras, Richard Fung, Stephen Gong, John G. Hampton, Wrik Mead, Casey Mecija, Aliya Pabani, Helmut Reichenbächer, Maiko Tanaka, Indu Vashist, B. H. Yael

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Colour and Form Society: 62nd Annual 2014 Open Juried Exhibition

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Published on : 2014-11-06 00:00:00

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Colour and Form Society
62nd Annual 2014 Open Juried Exhibition

The 2014 exhibition will showcase the work of members of CFS
and of non-members selected through a jurying process.

Show Dates: November 6 to 27, 2014
Opening Reception and Awards: Sunday November 16, 2 to 4 pm

ETOBICOKE CIVIC CENTRE, ART GALLERY
399 The West Mall, Etobicoke, ON
Gallery hours: Monday to Sunday 9am to 5pm

For further information:
Visit our website at www.colourandformsociety.org
or please contact the CFS Show Convenor:
Kelly McNeil 416-455-7020 or mcneilportraits@hotmail.com

About the CFS
The Colour and Form Society (CFS) encompasses visual art media in the various disciplines.
We are an Exhibiting Society, based in Ontario, Canada with a continually evolving membership
of close to one hundred professional artists.

Website: www.colourandformsociety.org
Facebook: www.facebook.com/ColourAndFormSociety
Twitter: @colourandform52


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