p|m Gallery is pleased to debut Fiona Ackerman's newest body of work: Night Driving. This series of paintings is a tribute to the long night hours, to the insomniac mediation that drives the wandering mind down dim unknown roads. At four in the morning, not all is dark. When a restless mind races, imagination is unchained, running like headlights down a dark highway. These paintings reflect the sleepless journey when ideas scatter, are born of each other and illuminate what is shaded by day.
Fiona Ackerman’s work is diverse in style, it is deeply rooted in the practice of painting. Whether working on a wild abstract piece or a delicately rendered portrait, her approach is at once playful and meticulous. Through her painting, Fiona is continually reinventing the way she represents her world, her environment and the places of her imagination.
Originally from Montreal, Fiona Ackerman is a painter living and working in Vancouver, BC. Since completing her BFA through Concordia and ECIAD, Fiona has exhibited across Canada and in Europe (Germany & France). She received an honorable mention for the Kingston Prize for Canadian Portraiture in 2009, and was included in Carte Blanche 2: Painting, a survey and showcase painting in Canada (published by The Magenta Foundation, fall 2008). Most recently she was nominated to the long list of the 2015 Sobey Art Award.
Maya Eventov – First Leaves May 7 - 30, 2015 Opening reception with the artist May 7th 6 - 9 pm
Internationally renowned painter Maya Eventov returns to Toronto for her first solo show in over 20 years. Join us from 6 - 9 pm on Thursday May 7th for the opening of this special exhibition featuring over 30 new works that highlight Maya’s unique etching on oil technique. At the opening, a one of a kind glass vase hand-painted by Maya will be auctioned off with proceeds going to the Hospital for Sick Kids Foundation.
Maya’s stunning landscapes, and new paintings inspired by her travels to the Mediterranean will be on display throughout the gallery. Characterized by a thick application of acrylic paint, Maya uses a selection of different sized palette knives to build both depth and detail into her artworks.
Born in Leningrad in the former Soviet Union, Maya spent countless hours at the Hermitage Museum fascinated by the works of the Post-Impressionists and the Russian Avant-Garde. The palettes of Matisse, Gauguin and Renoir affected her interpretation of colour, while Rodchenko and Malevich influenced her sense of balance and composition. Maya immigrated to Canada in 1990 and her style has continued to evolve during her life here.
Maya has enjoyed tremendous success in Canada and in 2013 was awarded the Pioneers for Change, Women in Leadership Award which celebrates immigrants who have made positive social and economic impacts in Canada. The 2012 recipient of this award was former Governor General Adrienne Clarkson.
Please visit www.petroffgallery.com to preview the exhibitions, for more information about the artist, and the Gallery.
Mediterranean, 40” x 60”, Acrylic on canvas
About Petroff Gallery
Since 1982, Petroff Gallery has been one of North America’s leading private art galleries, striving to integrate and connect Fine Art with Contemporary Craft by exhibiting works in an artful manner.
‘An experiment in the limits of the visible, Chromatone explores the range of colour vision we share with bees, which can see ultraviolet but not red or yellow.
A springtime show for a springtime plant, Chromatone sheds new light on the mundane (and often despised) dandelion. Rendering it something precious, beautiful and completely unexpected. During the spring, dandelions are one of the first plants to flower, providing an essential foothold for urban insects. Chromatone offers an imaginative insight into the private life of an insect - to see flowers through the eyes of a bee.
Marjan Verstappen’s practice is based in installation, sculpture and drawing. She is fascinated by the complexity of human interaction with matter and how it manifests itself in the actions of gardening, building, manufacturing and transporting materials around the globe. This fascination leads her to study plants, ecosystems and garbage to find new perspectives on this convoluted narrative. Whether she is drawing UV-reactive botanical illustrations of dandelions, making stop-motion films with sand, or weaving peregrine flacon nests out of water reeds she is searching for new facets to this issue.
Marjan Verstappen was born in New Zealand, where she received her BFA in Sculpture from Dunedin School of Art. She moved to Canada in 2012 and graduated from OCAD University with an MFA in 2014. She lives and works in Toronto.
SCOTT EVERINGHAM | THE NORTH IS AN OBSTRUCTED GATE | OIL ON CANVAS | 84 X 90 INCHES | 2015
PATRICK MIKHAIL MONTREAL PRESENTS “BREATHER” AN EXHIBITION OF NEW WORKS BY TORONTO ARTIST SCOTT EVERINGHAM
SCOTT EVERINGHAM BREATHER
MONTRÉAL MAY 6 TO JUNE 24, 2015
ARTIST RECEPTION: FRIDAY, MAY 8, 2015 5:30 P.M. TO 9 P.M.
PATRICK MIKHAIL is pleased to present BREATHER, an exhibition of new paintings by Toronto artist SCOTT EVERINGHAM. In Everingham’s second exhibition at Patrick Mikhail, and his first at the gallery’s new Montréal exhibition space, the artist presents an innovative body of work that explores new directions in his artistic practice.
Scott Everingham’s new exhibition BREATHER allows him to act as architect and painter while exposing the choices and process of creating visual language. The works in the exhibition are, from a painter’s perspective, logical and trustworthy, yet at the same time naïve and faulty. Items and objects could be viewed as purposeful or useless; static, or in the middle of falling apart. The simple mark of paint simultaneously acts as the tool to build: added and removed impressions of architectural objects that mimic familiar forms around us while existing as a performative moment in time. Time then becomes important, not only in the creation of the works, but also for one’s ability to examine visual communication as a meditative tool.
For Everingham, painting is a solitary and individual experience. His interests lie in producing fictional environments that an individual may view as solid, constructed, and hopeful, or in a dystopian and collapsed state—all of which exist as both illusory depth and a two-dimensional surface.
Scott Everingham creates environments and worlds that have yet to exist. Spaces are built and dismantled as if in a single moment of time where life and its bi-products are created by paint, rather than with reality that is familiar. What is central to the work is interpreting growth through the collaboration between assembled space, and paint as the visceral tool used to create it.
The artist’s strong interest in fiction, and the nature of fiction itself, allows the work to develop with a controlled impulse, often relying on chance and error to move each painting to completion. Each stroke is crafted based on the stroke before it, and a work progresses quickly and without delay until considered finished. This immediacy is indicative of how each painting is put together: various selections of colour and brushstroke mimic the natural and fabricated world, often with utopian and dystopian results.
By creating moments in time that have a constructed and fragmented footing, Everingham is free to explore the materiality of paint and the relationships between marks and negative space, as well as how this liberty correlates directly with fiction, in that anything is possible. As such, a viewer may approach each painting as experiential, perhaps without roots in familiarity, but inviting an exploration into other realities and clarity.
Scott Everingham has a BFA from NSCAD and an MFA from the University of Waterloo. He has exhibited his work at The Powerplant, Toronto; National Gallery of Canada, Ottawa; Art Gallery of Calgary; as well as in England, the U.S., and the Netherlands. He is a three-time finalist in the RBC Canadian Painting Competition, and is the recipient of recent Toronto and Ontario Emerging Artist Grants. His work is in the collections of the Art Gallery of Nova Scotia, RBC, TD Bank, NBC Universal television, and in numerous national and international corporate collections. Everingham lives and work in Toronto.
SCOTT EVERINGHAM | DECADES | OIL ON CANVAS | 70 X 66 INCHES | 2015
dc3 Art Projects is very proud to present, Broken Sound, a new body of work by Gary James Joynes in his second solo exhibition at our Edmonton gallery space. Born from the death of older experiments with the physical nature of sound, Broken Sound is a meditation on life and on slowing down and being fully present within light and darkness, sound and silence.
Broken Sound comes from a forensic examination of the speakers silenced by his exploration of cymatic sound forms. Using hand built mechanisms and specialized macro photography techniques he has documented the marks and scars of the coiled copper wire and magnetic traumas that have silenced his experiments. Starting as pristine and golden in colour the linear order of wires slowly gives way to charring and chaos as flaws and sonic experience build up. Some of these speakers lived for months and others were silenced within minutes of life. All are memorialized in this new film installation and photographic series.
This immersive environment of voice and synthesizer accompanying immense projected HD video is composed with a Buddhist parable in mind:
An acolyte, seeking enlightenment, encounters a stone disc of almost infinite radius spinning silently on its horizontal access, as if falling from the sky. He devotes his life to the continual observation of this wheel, perfect in its smoothness and continuity. Foregoing all earthly experiences he hopes to bear witness to the single horizontal imperfection in the wheel. In silence and stillness he waits for a flaw to bring him to a greater state of enlightenment.
Broken Sound - 2015
Gary James Joynes is an Edmonton based audio and visual artist who performs at major music events around the world as Clinker. He blends the beauty and physicality of sound’s auditory and visual elements live in performance and in rigorous and emotional photo and video installation works. His work has been exhibited and collected across Canada and the US including major solo installations in Montreal (2014), Calgary (2013) and Edmonton (2013). Joynes has been included in significant group exhibitions at the Art Gallery of Alberta including the 2013 Alberta Biennial, and at Toronto’s Koffler Centre of the Arts. Recent major performances include, CMKY Festival in Boulder Colorado, New Forms Festival in Vancouver, MUTEK_IMG at Phi Centre in Montreal. He will be performing his newest Live Cinema piece, Soundbursting, at ELEKTRA in Montreal May 15, 2015.
dc3 Art Projects is an Edmonton based supporter, advocate, producer and promoter of the best of contemporary art. dc3 Art Projects is committed to helping emerging and mid-career artists bring challenging and engaging work to a greater public through exhibitions, critical writing, traveling shows and international art fairs. Through strong connections with galleries and artists in the major centers of the contemporary creative community, dc3 Art Projects brings exciting work to Edmonton allowing collectors and art-lovers exposure to discussions occurring internationally.
Claire Harvie, Little Difference Is Prepared, 2015
All Images Are Unstable Claire Harvie
May 6–30 Opening reception May 6, 6:30–8:30pm Alliance Française Gallery 24 Spadina Rd, Toronto
Hours: Mon–Thu, 9:30–6:30pm Fri, 9:30–4pm
All Images Are Unstable explores the connections between perception, language, and memory. Sparked by a friendly disagreement over the true colour of the Golden Gate Bridge during a visit to San Francisco, Claire Harvie began an expansive and unconventional investigation. Her research took her on a winding path from a standardized colour called International Orange, to the construction and history of the Golden Gate Bridge, to darkroom experiments in chromatype printing.
The chromatype is a photographic print that remains light‐sensitive even after the image has been fixed. The finished print is chemically unstable, and darkens over time to a rust‐red hue, if left exposed to light. Harvie’s studies in this process are integral to her research on colour subjectivity. Foregrounding the artist’s process of inquiry, All Images Are Unstable comprises two bodies of photographic prints: one sequence of chromatypes using original text, and an arrangement of prints and text made from found images and literary sources. Harvie’s exhibition references the personal subjectivity of colour and the shortcomings of language to describe the nuances of visual experience. The instability of the chromatype prints highlights the fugitive qualities of history, playfully hinting at the limitations of absolute knowledge.
Claire Harvie (b. 1986) is currently pursuing a B.F.A. in Photography at Ryerson University. Her photographic work focuses on the slow reveal of longer narratives within fragmented forms. Claire’s artistic practice increasingly makes use of text and often engages in collaboration with other artists and with a variety of existing image archives. Recent collaborations with musicians Robin Dann and Phillipe Melanson lead to a live image and sound performance as part of The Music Gallery’s Emergents series in early 2015.
All Images Are Unstable is a Featured Exhibition of the Scotiabank CONTACT Photography Festival, presented in partnership with Alliance Française Toronto and Ryerson School of Image Arts. Organized by Elena Potter.
Scotiabank CONTACT Photography Festival presents a series of events exploring on The Photobook
Public Lecture: The Photobook, with Dewi Lewis, Maarten Schilt, and a Q&A with Hannamari Shakya May 5, 6pm
Publisher Dewi Lewis (London) will look at what is involved in the process of publishing a photography book, from concept through to finished book. Publisher Maarten Schilt (Amsterdam) will expand on the business of publishing and current tends in the market. Followed by a Q&A lead by Hannamari Shakya (Helsinki), editor of Raw View Magazine. Visit our website for more info.
Workshop: The Photobook with Alejandro Cartagena May 6, 12pm Only 2 spots left!
Mexican artist Alejandro Cartagena will teach a two-day workshop focused on photobook history, and edit and sequencing methods. His projects are primarily documentary-based and employ landscape and portraiture as a means to examine social, urban, and environmental issues in Latin America. It is geared towards artists with work in progress who are looking for direction and guidance to create a book. Co-presented with Circuit Gallery, CONTACT, Gallery 44 and LACAP. Visit www.gallery44.org/workshops/photobook to register.
The Virtual Coffee Table: Photobooks in the Digital Age. Lecture with Geoffrey James, Vincenzo Pietropaolo, and Lana Šlezić May 9, 7pm
Three leading photographers, Geoffrey James, Vincenzo Pietropaolo, Lana Šlezić, will discuss their practice, followed by a panel discussion about the future direction of one of the most gratifying and viable forms, the photobook. $15/$7.50 for students. Visit pages-unbound.com for more details.
Magnum Photos Masterclass May 22 – 24, 10am - 5pm
The three-day Magnum masterclass led by acclaimed photographers Michael Christopher Brown, Mark Power, and Larry Towell, will be focused on book editing, aimed at photographers with completed bodies of work, who require advice on honing editing skills, final image selections, and layout. It offers the opportunity to edit and produce book dummies of finished bodies of work, with experienced published photographers. Participants will be asked to bring printed versions of their project, book dummies, as well as additional images or ephemera from the project that they will be working on. Advance registration and payment is required, visit the Magnum website for details. Nikon scholarships for Canadian students available, visit the Magnum site.
CONTACT continues throughout the month of May with exhibitions all over the city, events, and more. Now in its 19th year, the Festival includes 15 Primary Exhibitions, 11 Public Installations, 31 Featured Exhibitions, and 116 Open Exhibitions, with hundreds of artists exhibiting their work at venues across the city.
Tue May 5 Mark Ruwedel, Artist Talk at Ryerson Image Centre
Wed May 6 Tony Beck, Nikon Lecture at St Paul’s Bloor St Claire Harvie, All Images Are Unstable. Featured Exhibition Opening at Alliance Française Gallery
Thurs May 7 Mark Ruwedel: Scotiabank Photography Award & Scott Conarroe, Canada By Rail and By Sea. Primary Exhibition Openings at Ryerson Image Centre. Book signing scheduled. Alejandro Garcia Contreras & Josée Pedneault, The New Gods. Featured Exhibition Opening at TYPOLOGY Projects Yto Barrada, Beaux Gestes. Primary Exhibition opening at Prefix Institute of Contemporary Art
Fri May 8 Learning from Latin American (Sub)Urbanism. Lecture with Alejandro Cartagena and Shawn Micallef at OCADU
Sat May 9 Walk the Talk. Gallery Talk at Art Gallery of Mississauga Curtis Wehrfritz, Artist Talk at Alison Milne Gallery Russell Monk, Proximos. Featured Exhibition opening at Nikola Rukaj Gallery Through the Eyes of Durdy Bayramov: Turkmen Village Life, 1960s—80s. Featured Exhibition opening at Durdy Bayramov Art Foundation
Wed May 13 Sam Sciarrino, Nikon Lecture at St Paul’s Bloor St
Thu May 14 Be A Scribe: Treaty Canoe and Voyageur. Gallery Talk with Public Studio at O’Born Contemporary
May 16 Durdy Bayramov: Artist and Photographer. Gallery Talk at Durdy Bayramov Art Foundation
Celebrate the month of photography! Sign up for the CONTACT newsletter and stay up to date. Follow CONTACT on Twitter, Facebook and Instagram.
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.
Amalie Atkins (Saskatchewan, CA), Jason de Haan (Alberta, CA), Melanie Ender (Vienna, AT), Agnes Hamvas (Vienna, AT), Divya Mehra (Manitoba, CA), Mindy Yan Miller (Saskatchewan, CA), Stephanie Patsula (British Columbia, CA), Eva Maria Schartmüller (Vienna, AT), Astrid Sodomka (Vienna, AT)
Curated by Tarin Hughes
In a geographically unlikely partnership, initiated by Regina-based artist Zachari Logan, AKA artist-run and Schleifmühlgasse 12-14 have developed an exchange project connecting Austrian and Canadian artists working in a variety of mediums. Through an ongoing dialogue, curators Denise Parizek and Tarin Hughes and Denise Parizek have connected two exhibitions and adjunct programming around the land, water and geographic space. The slow moving rivers, the Wein/Danube in Vienna and the South Saskatchewan in Saskatoon, are the main geographical similarities shared between the cities. The idea of the slow but purposeful rivers finds resonance in the contemplative nature of the works included in the exchange.
The first exhibition, curated by Hughes, is comprised of artists who consider metaphorical and physical spaces within their individual practices; including natural, industrial, cultural, mythic, aesthetic and theoretical space. Artists included from Canada are connected to the prairie region of Alberta, Saskatchewan and Manitoba, while the Austrian artists mainly based in Vienna. Collectively their works share an open-ended narrative while embedding meaning within deliberate selections of subject matter, medium and material.
Amalie Atkins’ Listening to the Past/Listening to the Future sets two women, twins, in an icy, prairie landscape grounded in the reality of familial knowledge while suggesting a magical mythology. Similarly, Stephanie Patsula’s photographs position the body within the land (in fields, mountain ranges and coastal regions) in performative acts, mirroring its surroundings. While Eva Maria Schartmüller inserts a cut body into a cut quarried landscape, layering aggressive human acts. Mindy Yan Miller lulls the viewer with texture and pattern showcasing shaved cattle hides as trophy-cum-canvas.
Hinting at a historical industrial form while likening the stone to a sentient body, Melanie Ender suspends granite cobblestones, wrapped and knotted in an elaborate constellation; positioned in pairs the stones hang in a balance dependent on their shared weight. Jason de Haan’s Future Age continues the tendency towards discovery, combining a static gold ring with a growing tree; an unknowable, intangible space where time, nature and the will of the bough are ours to surrender. Agnes Hamvas’ prints expand on the artist’s exploration of repetition, touching on the laws of time and space through an ethereal, unending moonlight sky.
Divya Mehra takes up cultural, metaphorical space working through diasporic consciousness and social inequities with frankness and humour, exposing our collective commonalities. In her video Gold, Astrid Sodomka considers homogeneity and repetitious, hypnotic movement; through her frame the artist transforms the material and our aesthetic space.
Together the artists and works deliver a contemplative, paced narrative wandering through a multitude of potential readings.
About Schleifmühlgasse 12-14 & AKA’s partnership Schleifmühlgasse 12-14 is a fusion of artists and simultaneously represents on one hand the name of the exhibition space and on the other hand the address where it is situated. Alternating artists and curators from all over Europe furthermore from around the world, shape the program, contextualize and discuss the viewpoint of the art space, of the art, of the art market, more over of the society. AKA is committed to exploring emerging practices that speak to, reflect and encourage dialogue in our culturally diverse community. Acting as a centre for critical discourse, experimental risk-taking, and as a promoter of artistic self-determination we build connections between artists, their community and a national and international audience.
Together AKA and Schleifmühlgasse 12-14 are paying artists at rates according to the Canadian Artists’ Representation/Le Front des artistes canadiens (CARFAC) 2015 schedule. While this is inclusive of the regular mandate and activities of AKA, including this model in an international exchange speaks to supporting and promoting the professional payment of artists both nationally and internationally. Like professionals in other fields, artists should be paid for their work and share equitably in profits.
AKA artist-run, Schleifmühlgasse 12-14 and the artists would like to thank the Canada Council for the Arts, Creative Saskatchewan, Bundeskanzleramt Osterreich, the Saskatchewan Arts Board, SaskCulture, SaskLotteries and Wien Kultur.
Transitional Spaces Scotiabank CONTACT Photography Festival Exhibition
L. E. Glazer | Thomas Hlavacek | Christine Marshall-Smith | Lisa Murzin Curated by Simone Rojas-Pick
May 5 to 29, 2015 Opening Reception: Thursday, May 7, 6-8 pm Curator and Artist Talk – The Exhibition: Saturday, May 9, 1 pm Artist Talk – Process and Technique: Wednesday, May 13, 1 pm
John B. Aird Gallery 900 Bay Street, Macdonald Block, Toronto, ON Mon-Fri, 10am-6pm, Sat 12-5pm 416-928-6772, www.airdgallery.org
Exploring the concept of liminal space, as a transitional state between phenomena and/or states of being, this exhibition re-imagines everyday spaces in order to examine the relationship between subjective experiences and our material and temporal understanding of place. The four artists assembled for this exhibition have created new bodies of work, which experiment with alternative photographic techniques and processes in order to reveal the transient condition of everyday spaces.
Christine Marshall-Smith’s images of abandoned industrial sites, captured using analogue instant film, reveal the simultaneous overlay of the forgotten past and unknown future of unique urban spaces. Lisa Murzin’s lith prints, featuring a former commercial building repurposed into a makeshift BMX track by local teens, explore the unique character and lost histories of spaces that have been seemingly left behind. Thomas Hlavacek’s studies of trains in motion, recorded using a camera equipped with a high-speed motor drive and specially formulated motion picture film, locate the daily rituals of commuter culture as a transitory state of being. L. E. Glazer’s conceptual aesthetic studies of rail trestles explore the fluidity between real and imagined space and time through the structural decomposition of subject matter into pure form and colour.
Taken together, the works presented as part of this exhibition examine unique sites within the public realm that oscillate between the real and imagined, private and public, domestic and natural spaces, in order to reveal the transformative, at times contradictory, and ever-changing nature of place.
The exhibition is being held to raise funds for the University Health Network and the non-profit John B. Aird Gallery.
May 5 – June 6, 2015 Media conference: Monday, May 4, 2pm Opening reception / performance: Friday, May 8, 2015, 6pm Exhibition curator: Robert Kananaj
ETUDE TO ASYLUM is an Istvan Kantor state. Although since 2005, Kantor has created large installations and performances in contemporary art and media art centres in Germany, Thailand, Japan, Indonesia, Singapore, Estonia, Hungary, Poland and most recently in China, for the past decade in his own country Istvan has had some of his work accessible only from his open studio/garage based in Toronto - except when he has perpetrated unofficial, illegal events with no support. Last year Istvan Kantor reclaimed his fame in New York by splashing his blood on the wall of the Jeff Koons Retrospective at the Whitney Museum of American Art.
Istvan Kantor has chosen to mark his return with ETUDE TO ASYLUM at RKG. A select number of as yet unseen, recent works combine adapted and modified objects, extended mash-up graffiti, video projection, archival material and performance. “Alienation in progress”, the over-institutionalized corporate-governed art world, is the subject explored during this exhibition.
Expelled from university and tagged anti-social, Kantor fled Hungary in 1976. He obtained political refugee status in Paris and shortly after immigrated to Montreal. There he initiated Neoism in 1979. His rebellious ideas and daring artistic activities attracted wide reactions, pro and con, resulting in the formation of an International Neoist Network and also a constant conflict with the authorities. In the early 80’s, Kantor moved his Neoist Headquarters from Montreal to New York and declared himself “Self-appointed leader of the people of the Lower East Side.” He openly challenged institutional rules and corporate gentrification of the arts. Forced back to Canada by criminal charges, Kantor moved his HQ to Toronto in 1991. Here he created a family with partner in crime, Krista Goddess, and raised three children: Jericho, Babylon and Nineveh. With unceasing determination, he has continued his mission, culminating with his ban from the National Gallery of Canada and the Art Gallery of Ontario. In spite of all however, in 2004 he received the Governor General’s Award at which point the media called him a “demonic artist” who “elevated vandalism to high art.”