Announcing the 2015 Scotiabank CONTACT Photography Festival

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Published on : 2015-05-01 01:00:00

Lorenzo Vitturi, Yellow #2, from the series Dalston Anatomy, 2013. © Lorenzo Vitturi, Courtesy Yossi Milo Gallery,
New York

Announcing the full exhibition program for the 2015 edition of the Scotiabank CONTACT Photography Festival!

Visit for information on all Festival programming, including exhibitions, events, workshops, and talks.

CONTACT showcases Canadian and international artists throughout the month of May, and is one of Toronto's premier cultural events. Now in its 19th year, the Festival includes 15 Primary Exhibitions, 12 Public Installations, 31 Featured Exhibitions, and 116 Open Exhibitions, with hundreds of artists exhibiting their work at venues across the city.

Join us for the Festival Launch Party on May 1st, 7pm, at the Museum of Contemporary Canadian Art. The Festival magazines are out April 23!

Celebrate the month of photography in Toronto!
Sign up for the CONTACT newsletter and stay up to date.
Follow CONTACT on Twitter, Facebook and Instagram.


Scotiabank CONTACT Photography Festival
80 Spadina Avenue, Suite 205
Toronto, Ontario  M5V 2J4
T 416 539 9595

CONTACT fosters and celebrates the art and profession of photography with an annual festival in May and year-round programming in the CONTACT Gallery.

CONTACT, a not-for-profit organization founded in 1997 and granted charitable status in 2011, is generously supported by Scotiabank, Nikon Canada, Pattison Outdoor Advertising, La Fondation Emmanuelle Gattuso, Vistek, Dentons Canada LLP, EY, Toronto Image Works, Kronenbourg, The Gilder, Stratus Vineyards, Transcontinental PLM, 3M Canada, Waddington’s Auctioneers and Appraisers, Four By Eight Signs, Beyond Digital Imaging, Hotel Le Germain, The Gladstone Hotel, The Globe and Mail, NOW Magazine, and BlogTO.

CONTACT gratefully acknowledges the support of the Ontario Trillium Foundation, Ontario Cultural Attractions Fund, Celebrate Ontario, Ontario Ministry of Tourism, Culture and Sport, Ontario Arts Council, The Government of Ontario, Partners in Art, Street Art Toronto, Canada Council for the Arts, the Hal Jackman Foundation, Istituto Italiano di Cultura, Goethe-Institut, the City of Toronto through the Toronto Arts Council, and all of our funders, donors, and programming partners.

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Jennifer Lefort: Chromadose

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Published on : 2015-04-30 01:00:00


Galerie du Nouvel-Ontario
Jennifer Lefort | Chromadose

Galerie du Nouvel-Ontario (GNO) will soon welcome artist Jennifer Lefort who will create new works directly on the walls of its exhibition space in Sudbury. During a short artist’s residency at the GNO, the artist will make use of the gallery’s walls as a kind of exploratory space where she will experiment with spray paint techniques.

In her work, Jennifer navigates abstraction’s ambiguous terrain by exploring the limits between formalism and expressionism, saturated fields of colour and line work, structure and disorder. She likens the creation of her work to building spaces –virtual, real or fictional – where experiences can occur. The shapes and structures that inhabit them can be interpreted as symbols that are at once signifiers and signified. In them, we can decipher the attributes of some sort of language or abstract code while also perceiving the telltale signs of characters or other agents that move through space, meet up and somehow talk amongst each other. The splashes of light that populate the works energize her paintings’ vibrant colours, ranging from pastel to Day-Glo, as they highlight the playful spirit of her exploded and antiauthoritarian geometries.

With the Chromadose exhibition project, the artist seeks to transform the GNO into an immersive space where the viewer can experience what it might feel like to stand inside one of her paintings. The elements of this in situ work will therefore crisscross against the gallery’s walls and floor as they seek a cohesive and transformative mise en scène. The project’s ephemeral nature will open a temporary window on this artist’s process where ambiguous results are preferred over clearly defined scenarios.

Jennifer Lefort completed an Honours BFA at Concordia University in Montréal in 2002. She received her MFA from York University in Toronto in 2006, and was awarded the Graduate Development Fund and the Ontario Graduate Scholarship Award in 2005. She is the recipient of the prestigious Joseph Plaskett Foundation Award, an advancement/travel grant she used to further her research in Berlin, Germany. She was also a finalist in the 2007 RBC Canadian Painting Competition. Her paintings are found in numerous collections including the City of Ottawa Art Collection, Musée national des beaux-arts du Québec, Foreign Affairs Canada, The Aldo Group, Giverny Capital, Hydro-Québec, and Abbott Laboratories. Lefort has exhibited her paintings at galleries in Ottawa, Montréal, Toronto, Vancouver, and has been featured in a variety of national and international publications and articles. Lefort’s work has been presented at numerous international art fairs including Volta New York, Volta Basel, Art Toronto, Toronto’s Feature Contemporary Art Fair, and Montréal’s Papier.

opening reception
thursday april 30th at 5pm

april 30th to may 30th 2015



Galerie du Nouvel-Ontario
Jennifer Lefort | Chromadose

La Galerie du Nouvel-Ontario (GNO) accueillera bientôt l’artiste Jennifer Lefort qui créera de nouvelles œuvres directement sur les murs de son espace d’exposition à Sudbury. Lors d’une résidence de création de courte durée à la GNO, l’artiste se servira des murs de la galerie comme chantier d’exploration en expérimentant, entre autres, avec les techniques de peinture aérosol.

Dans son travail, Jennifer navigue le terrain ambigu de l’abstraction en explorant les limites entre le formalisme et l’expressionnisme, la saturation colorée et la ligne, la structure et le désordre. Elle compare la création de ses œuvres à la construction d’espaces – virtuels, réels ou fictifs – qui accordent aux expériences la possibilité de se manifester. On peut dire des formes et structures qui s’y installent qu’elles sont des symboles, à la fois signifiants et signifiés. On y devine les paramètres d’un quelconque langage secret ou d’un code abstrait tout en y décelant les attributs d’agents ou de personnages qui se déplacent dans l’espace, qui se rencontrent et dialoguent entre eux. Les éclats lumineux qui les parsèment animent les couleurs vives de ses tableaux qui font la gamme entre le pastel et le néon en accordant toujours une place de choix à l’esprit ludique de ses géométries éclatées et antiautoritaires.

Pour le projet d’exposition Chromadose, l’artiste souhaite transformer la GNO en un lieu immersif où le public peut faire l’expérience d’être à l’intérieur d’un de ses tableaux. Les éléments de cette œuvre in situ traverseront ainsi les murs et le plancher de la galerie, à la recherche d’une mise en scène qui assurera la cohésion de l’espace transformé. La nature éphémère du projet fait en sorte que l’exposition présentera une fenêtre temporaire sur le processus de cette artiste qui préfère les résultats ambigus aux scénarios prévisibles et clairement énoncés.

Jennifer Lefort a complété un baccalauréat spécialisé à l'Université Concordia à Montréal en 2002. Elle a reçu son MFA de l'Université York à Toronto en 2006, et a reçu le Graduate Development Fund and the Ontario Graduate Scholarship Award en 2005. Elle est récipiendaire du prestigieux Joseph Plaskett Foundation Award, une subvention pour l’avancement /voyage qu'elle a utilisé pour poursuivre ses recherches à Berlin, en Allemagne. Elle a également été finaliste dans le Concours de peinture canadienne 2007 de RBC. Ses tableaux se trouvent dans de nombreuses collections dont la collection d'art public de la Ville d'Ottawa, le Musée national des beaux-arts du Québec, les Affaires étrangères, Commerce et Développement Canada, Le Groupe Aldo, Giverny Capital, Hydro-Québec, et Abbott Laboratories. Lefort a exposé ses peintures dans des galeries à Ottawa, Montréal, Toronto, Vancouver, et a été présenté dans une variété de publications et articles nationaux et internationaux. Le travail de Lefort a été présenté à de nombreuses foires d'art internationales, y compris Volta New York, Volta Basel, Art Toronto, Feature Contemporary Art Fair à Toronto, et Papier à Montréal.

jeudi 30 avril à 17 h

30 avril au 30 mai 2015


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Nava Waxman: Traces

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Published on : 2015-04-30 01:00:00



Nava Waxman | Traces

April 30 – June 7, 2015
Opening Reception: April 30, 6:00-9:00PM

Julie M. Gallery is pleased to welcome guest artist Nava Waxman for her second solo exhibition at the gallery.

Traces is a continuation of the artist’s need to explore the endless forms of natural worlds in order to create abstractions, personified by imaginary landscapes. The works in this exhibition mark Waxman’s return to encaustic, after the detour that led her to explore drawing, oil painting and photography for the last two years. Periodically, Waxman would feel the urge for a more instant form of creative gratification. Knowing that this was, at times, a feeling that was holding her back, she traded the pigments and bee wax, the cooking pots and the carving tools for ink and paper, and later for brushes and canvases. Yet, she knew that it was a temporary deviation.

Her enigmatic relationship with the development of the encaustic medium has left its traces on the artist’s world of creativity. Interpretation of this visual language is present throughout this new body of work, though not limited to language. As the illusive shapes appear through contemplation and study, interpretations begin to emerge in the various forms of what one wishes to see.

Waxman allows herself to be led by the ductile nature of this medium. She recognizes her lack of control over her chosen material, yet maintains complete faith in its ability to outline a desired path. She embraces the randomness of the hot melted wax, and as a result, the layers between the lines and traces become more than a mere coincidence. There is a world of imagination that exists beneath the visceral surface of this wax and the delicate lines. Waxman appreciates drawing as a non-verbal form of recording the fragments of thoughts and ideas. The immediacy of drawing allows her to capture and record these raw lines and forms, which inevitably permeate through her exploration of other mediums such as painting and photography. While continuing to survey notions around body movement and representations, it becomes evident that Waxman’s work has developed into a more abstract style. It is perhaps the realization that her passion for lines could be integrated into the encaustic process what makes this body of work so unique within the artist’s overall practice.

The process of creating these new paintings is largely a subtractive one, more sculptural than painterly. In contrast to the traditional additive painting process in which one places pigment on a blank surface, Waxman puts down a coloured ground, arguably a painting on its own right, and then covers it over with many layers of (sometimes) pigmented wax. This semi-translucent over-layer is then strategically worked, removed, incised in an archeological re-exploration. Waxman 'knows' what is under the wax, but only in general terms. At first she does not have an exact idea of what she wishes to reveal to us. It is an intuitive process, and only gradually, different shapes and forms begin to emerge. Her use of sgraffito is comparable to etching or printmaking. This process allows Waxman to continue to use drawing in her works where the delicacy of the lines coincide with the visceral quality of the encaustic surface. Her works become the sum of ongoing events and impressions, but overall, the sum of her distractions.

Waxman’s work is characterized by a desire to be deliberate and intentional, without being overly controlling. She manages to bring the force and complexity of her own personality, bearing authentic expression that leaves room to chance and interpretation.

Contact us at 416.603.2626 |
15 Mill Street, Toronto, Ontario, Canada, M5A3R6
Open Tues to Sat 11–6, Sun 12–5 or by appointment

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Madeleine Lamont: Night Elegy

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Published on : 2015-04-30 01:00:00


200 - 321 50 AVE SE
T. 403 262 1880

April 30 - June 20, 2015
Opening: Saturday May 9, 1- 4 pm
Artist Talk: 2:00 pm

Madeleine Lamont, #1 Brown Bear, oil on mylar, 48 x 40 in.

Madeleine Lamont will be hosting an evening to view new work from this series in her Toronto studio: 340 Gerrard St East, spring 2015, dates to be announced. To receive information on this event contact:

Madeleine Lamont Artist Statement:

This new body of work comprises a series of psychological portraits featuring the heroic image of the bear as a stand in for the human figure. The large scale portraits engender a sense of both nobility as well as fear and anxiety. It is within these opposing sentiments where ideas are mediated and temperaments emerge

Madeleine Lamont, #2 Blue Bear, oil on mylar, 48 x 40 in.

Madeleine Lamont was born in Winnipeg, Manitoba and currently resides in Toronto. Lamont earned a BFA Honours degree from York University in 1990. Since graduating Lamont has received grants and awards and has exhibited her work regularly. As one of the founding members of the House Project Collective, she was recently featured in a documentary outlining the historic Collective Art Movement in Toronto during the 1990's. She has created sculptural installations at the Koffler Gallery and The Visual Arts Centre of Clarington. She has had solo exhibitions at Weiss Gallery, Christine Klassen Gallery, Calgary, David Kaye Gallery and Art Interiors, Toronto, White Water Gallery, The Gallery, University Of Toronto and Redhead Gallery in Toronto, to name a few. Her work has been published in numerous art and design publications including House and Home, Style at Home, C Magazine, Globe and Mail and the Toronto Star. Her work is in public, private and corporate collections throughout Canada, USA, Europe, South America and Australia.

Madeleine Lamont Contact Information:
T. 416-786-3250

You can follow Madeleine Lamont on


Instagram: madeleine_lamont

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Chih-Chien Wang featured CONTACT Exhibition | The View From Here | Susan Campbell

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Published on : 2015-04-30 01:00:00


Chih-Chien Wang | A Person Who Disappears
The View from Here
XIT-RM | Susan Campbell | Tracing Ambiguity
April 30 – June 21, 2015


Thursday, April 30, 6 pm
FREE bus from The Gladstone Hotel (1214 Queen St W) at 6 pm

Featured Exhibition in the Scotiabank CONTACT Photography Festival
Chih-Chien Wang examines concepts of social interaction, solitude, and the definition of the self through an immersive installation inspired by a news report recounting the mysterious disappearance of a woman and her child.

Featured Exhibition in the Scotiabank CONTACT Photography Festival
Contemporary photo-based artists explore landscape by contrasting the documentary impulse with the hallucinatory fictions produced by nostalgia and the often uncanny result.

Susan Campbell’s work explores physical mapping practices as a means to interpret and reflect on the design dynamics found within the urban landscape, in particular, development sites, parking lots, and public sidewalks, confronting issues brought about by the intensification of urban development.

The XIT-RM is a project space dedicated to showcasing the work of emerging artists in the GTA and Mississauga region. Artists are selected annually by the gallery’s curatorial team to exhibit work that honours the mission and mandate of the AGM, with an emphasis on contemporary art and critical engagement. Thanks to generous funding provided by the RBC Foundation, each exhibition features its own opening and is accompanied by a publication featuring a curatorial essay.


Walk the Talk
Saturday, May 9, 1 pm
Join the AGM Assistant Kendra Ainsworth, artist Susan Campbell and the artists from The View From Here exhibition for a tour of the gallery and discussion of their work.

Call for Photo-Based Artists
Saturday, May 23, 12 – 4 pm
Want the opportunity to get feedback on your work from an expert in the field? Sign up for our Photography Portfolio Review session! In conjunction with our featured Scotiabank CONTACT Photography Festival exhibitions, the AGM presents a great opportunity for emerging and established photo-based artists. Book a 30 minute appointment with our reviewers Susan Dobson and Matthew Brower. Visit our website for registration details.

Beyond the Art Trail | 7 Weeks of Professional Workshops for Artists
Tuesdays, 7 - 9 pm
Back by popular demand, this Spring’s Artist Professional Practices workshop series takes on a new perspective as the AGM collaborates with Visual Arts Mississauga (VAM) in a presenting a 7 week series of workshops entitled Beyond the Art Trail. Beyond the Art Trail explores various exhibition and sale opportunities available to professional artists from artist run centres, public/private galleries, international art fairs and public art competitions. Learn about arts service organizations, understand your rights and legal responsibilities and examine ways to make the connections to expand your impact and increase your presence in your arts community. Visit our website for a detailed schedule of each week’s program.


The Art Gallery of Mississauga (AGM) is a public, not-for-profit art gallery located in the Mississauga Civic Centre right on Celebration Square across from Square One Mall. The AGM is proud to admit people free of charge, serve communities, and provide positive visual art experiences for all visitors.

Engage. Think. Inspire. This phrase opens the dialogue at the AGM. The Gallery connects with the people of Mississauga through the collection and presentation of relevant works from a range of periods and movements in Canadian art. Expressing multiple ideas and concepts, this visual art translates into meaningful cultural and social experiences for all audiences. The AGM employs innovative education, artist projects and other forms of dialogue to advance critical enquiry and community connection to the visual arts. The mandate of the Gallery is to “bring art to the community and the community to art.”


Shellie Zhang – Communications


Left: Chih-Chien Wang, Sunny Afternoon #101-06L, 2014, inkjet print on archival paper. Image courtesy of Pierre-François Ouellette art contemporain.
Top Right: Susan Dobson, Sanderson Tropical Field Camera Half Plate, circa 1920, 2014, digital c-print, 119.38 x 167.64 cm. Image courtesy of the artist and Michael Gibson Gallery.
Bottom Right: Susan Campbell, Open House Intervention, 2014, chromira matte print, 60.96 x 91.44 cm. Image courtesy of the Artist.

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Frank Rodick: Everything Will Be Forgotten

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Published on : 2015-04-30 01:00:00

Articsók Gallery presents:

Frank Rodick: Everything Will Be Forgotten

© Frank Rodick, Portrait, FR (Persona, no. 1) and Portrait, FR (Persona, no. 2), 2014

Opening Reception: Thursday April 30th, 6 - 9 pm

Artist's Talk: Thursday May 7th, 7:00 - 8:30 pm

Exhibition: April 30th to May 30th, 2015

Articsók Gallery, 1697 St Clair Avenue West, Toronto, Ontario M6N 1J2

Articsók Gallery presents Everything Will Be Forgotten, an exhibition of work by photo-based artist Frank Rodick. After a series of international exhibitions, this show will be Rodick's first Canadian solo exhibition in ten years. Visitors will see two intimately related sets of work: the multi-layered portraits of Rodick's mother and his recent self-portraits. The exhibition, part of Toronto’s Contact 2015 photography festival, includes over 25 works, almost all shown in Canada for the first time.

Separately and together, these images tell the stories of a woman and mother, a child and son, and their relationships—to themselves, to each other, and to history. The images weave together elements as diverse as historical catastrophe (the Holocaust and its cross-generational aftermath), physical and mental illness (including the ruinations of dementia), the nuances of violence and pain, and the finality of death. Fundamental to this exploration is Rodick’s explicit engagement of these subjects through the fragmenting and hazy prism of memory.

About Rodick’s work, Nancy Brokaw (independent art critic and writer, senior lecturer at the University of the Arts, and senior contributing editor of The Photo Review) writes:

  …these images, despite their grotesqueries—perhaps because of their grotesqueries—display a stripped-to-the-bone empathy, devoid of sentiment and even pity. Far from shying away from the grotesque…Rodick embraces it, amplifies it, as if to remind us that we are all compromised in life and we are all ineffectual before death.

The public is invited to the exhibition’s opening reception on April 30th 6 - 9 pm. Everyone is also invited to an artist’s talk on May 7th starting at 7 pm entitled On sons and mothers, love, hate, and death… and why we make pictures even though Everything Will Be Forgotten. For the artist’s talk, please RSVP to Articsók Gallery or Frank Rodick per the contact information below.

About the Artist:

Frank Rodick has shown his work across North America, South America, Asia, and Europe in over 75 exhibitions, 35 of them solo. He is represented in the collections of the National Gallery of Canada; the Brooklyn Museum, New York City; the Fort Wayne Museum of Art; the Kinsey Institute Collection; Lehigh University Art Galleries, Pennsylvania; la Musée de la Photographie à Charleroi, Belgium; the Museet for Fotokunst, Denmark; the National Museum of Fine Arts of Buenos Aires; the Museum of Fine Arts Houston; the New Mexico Museum of Art; and the Philadelphia Museum of Art, as well as other public and private collections. AkinaBooks in the UK has recently produced two publications based on his work.

© Frank Rodick, Everything Will Be Forgotten (self-portrait as child, no. 1.2) and Everything Will Be Forgotten
(self-portrait as child, no. 2.1), 2014

Articsók Gallery
1697 St Clair Avenue West, Toronto, Ontario M6N 1J2
Wed-Sat 12-6 pm
t. 416 651 5020

Frank Rodick


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Frances Thomas: Re-working

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Published on : 2015-04-29 01:00:00

Frances Thomas

Seeping Through the Crack, 2015, 152.4 x 304.8 cm, acrylic on wood panel

Public Reception: Saturday, May 2nd, 1 – 4 pm (Artist Present)
Exhibition Dates: Wednesday, April 29th – Saturday, May 2nd

April 29th – May 1st, 11 am – 4 pm
May 2nd, 1 – 4 pm
Or by appointment.

Gales Gallery, 105 Accolade West Building, York University
4700 Keele Street, Toronto, ON, M3J 1P3

Thomas’s paintings are territories of emotional grappling, whose abstract syntax underscores the heart’s reaches, failures and paths of resistance. The gaze of the spectator is suspended between the colourful and chaotic forms where we wander through an affective landscape that resists optical resolution and conclusion. – Excerpt from essay by Vanessa Fleet and Megan Toye, Co-curators of Encounters, an exhibition and publication highlighting York University’s MFAs. 2014.

The title Re-working can be understood as a reference to the editing and revisions necessary in the process of realizing an image. It is also the case that self and identity, the natural world, relationships and existence itself, are always in a constant state of change, re-working and adaptation, vital forces and processes in the causes of renewal and sustainability.

Thomas is engaged in an iterative process, one much more rooted in experimentation and flux than a singular overarching plan. Unlike a sequential flow of time the paintings and monoprints in this exhibition speak to moments of intensity and discontinuities, each work realized on its own idiosyncratic terms. The artworks move between abstraction and figuration, between flatness and space, and between media. Through cumulative mark making and a certain relationship of colour and form, things shape themselves and the strength of the work is it’s vitality and it’s kind of freedom.

Over time Thomas has refined her instinctive vocabulary into a language, an extension of a late Modernist language of abstract painting, through the development of a personal non-verbal syntax of shapes, swipes, gestures, blobs, drips, dots, colour, lines, blurring, smudging and touch. Through this complex of elements and activity she attempts to communicate various ideas and emotions that invite a “felt” response from the viewer. Depending on the needs of each new image this language is repurposed and expanded. As marks and fragments pile up, the forms evolve into an intuitive structure that becomes a place of connections.

About the Artist

Frances Thomas was born in Parry Sound, Ontario. She completed her BFA at York University (1998) and is expected to complete her MFA from York University in the Spring (2015). She has participated in residencies at Pouch Cove, Newfoundland and Triangle Arts in Brooklyn, New York. Her paintings were featured in a solo exhibition, “but wait”, with an accompanying catalogue, at the MacLaren Art Centre in 2009/10.  She has exhibited in Edmonton, Barrie, Toronto and New York and her work is in the permanent collections of the MacLaren Art Centre and BMO.

Blue Distance, 2014, 91.44 x 121.92 cm, acrylic on wood panel

Contact Information:

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Tonia Di Risio: Parts and Labour

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Published on : 2015-04-29 01:00:00


Tonia Di Risio, Making Quenelles, 2015, handcut collage, 12 x 9 inches

Parts and Labour
Tonia Di Risio
April 29 to May 23, 2015
Opening Reception: Wednesday April 29, 6 - 8 pm

The Red Head Gallery is pleased to present Parts and Labour an exhibition by artist Tonia Di Risio.

Gleaned from the pages of food and design magazines, Tonia Di Risio’s new work is a series of collages consisting of otherworldly landscapes and interiors that reflect on consumption, home décor and the labour of cookery. Assembled using traditional collaging methods, the images suggest alternative views of the carefully constructed advertising layout while drawing on historical motifs, such as the reclining figure and leisure in nature. Di Risio arranges her photo fragments into works where dreamlike states of consciousness are sated by flying squid and honey ooze.

Tonia Di Risio is a multimedia artist whose work explores gendered domesticity in relation to home maintenance and interior decoration. Working primarily with photography and video, her recent work extends this discussion into the production, preparation and consumption of food.  She received a BA in Art and Art History from the University of Toronto and Sheridan College and an MFA from the University of Windsor. She has exhibited across Canada and has been the recipient of Canada Council and Nova Scotia arts grants. She currently lives and works in Southern Ontario.

For more information, please contact:

Samantha Ackerley, Administrative Director

401 Richmond St West
Suite 115, Toronto, ON, M5V 3A8
416 504 5654
Gallery hours: Wed - Sat, 12 - 5 pm

Connect with us on: Twitter | Facebook | Instagram | Vimeo | LinkedIn

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Yinka Shonibare MBE: Pieces de resistance

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Yinka Shonibare MBE
Pièces de résistance
April 29 – September 20, 2015

Yinka Shonibare MBE, The Sleep of Reason Produces Monsters (America),
2008, c-print, 81.5 x 58 x 2.5 in. (207 x 147.32 x 6.3 cm).
© Yinka Shonibare MBE / image licensed by SODRAC / courtesy of James Cohan Gallery, New York and Shanghai

DHC/ART Foundation for Contemporary Art is proud to present Pièces de résistance, the first major solo exhibition in Canada by British artist Yinka Shonibare MBE. Born in London of Nigerian heritage, Shonibare moved to Lagos, Nigeria with his family at age three, returning to Britain later to study art. His work has been exhibited extensively in the United States and Europe in such notable contexts as Documenta 10 and the 52nd Venice Biennale. This survey exhibition will present seminal and more recent artworks across painting, photo, film, and sculpture.

Shonibare has become known worldwide for his use of Dutch-wax fabric as a conceptual and formal device in all of his work. While associated with Africa, the origins of Dutch-wax fabric are actually found in Indonesian batik techniques, which were then industrialized and appropriated by European interests. With its mixed and mistaken provenances, Dutch-wax fabric provides a sumptuous yet probing vehicle to explore the loaded concept of authenticity and its relationship to identity and representation.

Yinka Shonibare MBE employs a multiplicity of strategies, including auto-ethnography and humour in combination with Western historical and cultural references to deliver a body of work that is simultaneously seductive and subversive. His critical reflection on power relations between Africa and Europe is delivered through a formal treatment that is sensuous and decadent. Through it, he reveals his affection and respect for British culture and institutions while simultaneously questioning class and privilege. It is this ambivalence that most productively unsettles simple binaries and reveals the intricacies involved in negotiating his subject matter.

In 2005, Shonibare was awarded the decoration of Member of the “Most Excellent Order of the British Empire” (MBE). While other Black British artists have turned down this distinction, this acronym has been officially added to his professional name as it underscores the tensions that emerge through his work in regards to the experience of being at once inside and outside, of belonging and of marginalization.

While Montreal is a site of rigorous historical and political confluences it is also a city of excess and good times. As a result, it provides a provocative and irresistible context for the rich and fascinating body of work presented in Pièces de résistance. DHC/ART wishes to thank James Cohan Gallery, Stephen Friedman Gallery, the Shonibare studio, and the lending museums and collectors for their help in making this exhibition a reality.

Curator: Cheryl Sim

Yinka Shonibare MBE was a Turner Prize nominee in 2004. A major mid-career survey toured in 2008–09 at the Museum of Contemporary Art, Sydney, Australia; the Brooklyn Museum, New York; and the Museum of African Art at the Smithsonian Institution, Washington DC. In 2010, the artist's sculpture Nelson's Ship in a Bottle was selected for the prestigious Fourth Plinth commission series in London's Trafalgar Square. In 2013, a major survey show was mounted at Yorkshire Sculpture Park, Wakefield, UK, and travelled in part to Royal Museums Greenwich/The Queen's House, London; GL Strand, Copenhagen; Gdańska Galeria Miejska, Gdansk, Poland; and Wroclaw Contemporary Museum, Wroclaw, Poland. Shonibare lives and works in London.

Important dates

Artist talk: April 27, 2015, 7 PM at the Phi Centre, 407 Saint-Pierre street. Free. Spaces are limited.
Opening: April 28, 2015, 5:30 PM at 451 and 465 Saint-Jean street.


DHC/ART Foundation for Contemporary Art
451 & 465, Saint-Jean Street (corner Notre-Dame, Old Montreal)
Montreal (Quebec) H2Y 2R5
Hours: Wednesday–Friday noon–7pm,
Saturday–Sunday 11am–6pm
Free admission


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Ryerson Image Centre celebrates the Scotiabank CONTACT Photography Festival

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Published on : 2015-04-29 01:00:00

Mark Ruwedel, Chocolate Mountains: A Ceremonial Trail, 2001. From the series The Ice Age. Toned gelatin silver
print mounted on board with graphite letter. Image courtesy of the artist, Gallery Luisotti and Art 45

Ryerson Image Centre celebrates the Scotiabank CONTACT Photography Festival with new exhibitions and events

We’re pleased to once again celebrate the Scotiabank CONTACT Photography Festival with four new exhibitions opening April 29, 2015. Join us for the public reception on May 7, 2015, at 6 – 8 p.m. CONTACT runs from May 1 to 31, 2015, at more than 175 venues throughout the Greater Toronto Area.

Scotiabank Photography Award: Mark Ruwedel
April 29 – June 28, 2015
Co-curators: Paul Roth and Gaëlle Morel
This exhibition is a career survey celebrating Mark Ruwedel’s selection as winner of the 2014 Scotiabank Photography Award. Over the past three decades, Ruwedel has emerged as one of Canada’s most internationally respected landscape photographers. Working primarily in the western territories of the United States and Canada, the artist documents cultural traces and physical imprints of human activity on the land. Presented by Scotiabank, the exhibition is organized by the Ryerson Image Centre and is a Scotiabank CONTACT Photography Festival primary exhibition.

Related events:
May 5, 7pm: Artist lecture with Mark Ruwedel
May 20, 6pm: Exhibition tour with Mark Ruwedel

Scott Conarroe: Canada By Rail and By Sea
April 29 – June 28, 2015
Curator: Gaëlle Morel
Also a primary exhibition of Scotiabank CONTACT Photography Festival, Canada By Rail and By Sea (2007–2011) presents a selection from two series of elegiac landscapes by acclaimed Canadian artist Scott Conarroe. Drawing upon traditions of documentary photography and epic landscape painting, Conarroe’s large-scale colour photographs depict rail paths, ports and coastlines, and their immediate environments with a contemporary clear-eyed romanticism. Conarroe addresses the significant contribution of past and modern transportation infrastructures to the construction and unification of a Canadian national identity.

Related event:
June 3, 6pm: Exhibition tour with Scott Conarroe

Phil Solomon: EMPIRE x 8
April 29 – June 28, 2015
Curator: Paul Roth
On the Salah J. Bachir New Media Wall, acclaimed experimental filmmaker Phil Solomon presents EMPIRE x 8, as part of Scotiabank CONTACT Photography Festival public installation program. This machinima video overlooks New York’s Empire State Building and represents a twenty-four hour period of shifting light, dramatic weather, falling debris and ominous planes. Unlike Andy Warhol’s Empire (1964), to which Solomon pays homage, the passage of time is accelerated and the skyline simulated, drawn from the video game Grand Theft Auto IV. Solomon asks viewers to reconsider an architectural icon—and an experimental film masterpiece—haunted by questions about appropriation, realism, and the tarnished state of the American Dream.

Related event:
June 24, 6pm: Artist talk with Phil Solomon

A Telling Portrait: The Work and Collection of Michael Mitchell
April 29 – May 31, 2015
Working with prominent Canadian photographer, filmmaker and writer Michael Mitchell, second-year students from Ryerson University’s Film and Photography Preservation and Collections Management (FPPCM) program explore the artist’s rich and diversified career in the context of his personal photography collection. On view from April 29 to May 31, 2015, the exhibition is generously supported by the Howard and Carole Tanenbaum Family Foundation and is a Scotiabank CONTACT Photography Festival featured exhibition.


Sally Mann in conversation with Paul Roth
May 22, 2015, 7pm
Ryerson University, 350 Victoria Street, LIB-72
Join acclaimed photographer Sally Mann for a discussion about her new publication, Hold Still: A Memoir with Photographs, with RIC director Paul Roth. Hold Still is a groundbreaking personal history with the page-turning drama of a great novel. Attendees will receive a FREE copy of the memoir, while supplies last! The event and book giveaway are generously supported by CONTACT.

All events are free and open to the public. Further information on all programs is available via

Ryerson Image Centre
33 Gould Street
Toronto, Ontario, Canada

Free exhibition tours daily at 2:30pm
Follow us @RICgallery

* Please note that the gallery will be closed on Wednesday, May 6


Media Contact:
Erin Warner, Ryerson Image Centre, / T+416 979 5000 x7032

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