Gun Roze: Manhattan 1982

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Published on : 2015-03-21 01:00:00


Photographic works of Gun Roze

March 21 - April 25, 2015
opening reception March 21 6-8pm

Toronto born - Brooklyn based photographer and self-professed visual sensualist, Gun Roze, captures the essence of an era gone by: the kinetic streets of New York City, circa 1982.

These reportage-style images are all captured on 35mm, colour-negative film, and are visual articulations of the feel,
energy, and effortless style exclusive to the streets of Manhattan in 1982.

akasha art projects inc.
511 church st, suite 200
toronto, on  m4y 2c9


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DIYsect. A series about the DIY Biology & Biology-Art intersection

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Published on : 2015-03-20 09:50:55

DIYsect is s documentary series 'about the DIY Biology & Biology-Art intersection' and it is rather good.

Baltimore's Underground Science Space (BUGSS), Nurit Bar-Shai's bacteria sculpture (top middle), and Nikki Romanello in her studio in Red Hook (bottom right)

In Summer 2013, filmmaker Benjamin Welmond and artist-biologist Mary Maggic Tsang traveled across the U.S. and Canada to meet the biohackers, artists, synthetic biologists, writers and curators and talk with them about the possibilities, challenges and dilemmas brought forward by biotechnology. The result is a portrait of DIY biotech hack and biotech art by the very people who are directly involved in it.

The authors of the series write:
Our goal is to discuss the way biotechnology is changing our society: What are its political, social, and even philosophical implications? What happens when manipulating life becomes as simple as writing a line of code? And more importantly, what does this mean for average citizens and their future?

I only discovered the existence of the episodes a few days ago (thanks Adam Zaretsky!) The films are short and sharp. They are released as soon as they have been edited. For free. On vimeo. Let's go!

The first episode of the web-series, Learning in Public is of course the introductory one. The directors interview members of the DIY biology movement as well as artists such as Steve Kurtz from the Critical Art Ensemble, Claire Pentecost, and subRosa.
The image/sound synchro is a bit wonky (at least when i watched it) but don't let that discourage you from watching the episode.

DIYSECT Episode 1: Learning in Public

Episode 2: Bioterror & Bioerror gets political. It starts with the FBI bioterrorism case against Steve Kurtz and then goes on to reflect the FBI's change of tactics. Realizing its errors, the FBI is now reaching out to the DIY BIO community 'for mutual education.'

DIYSECT Episode 2: Bioterror & Bioerror

Things are gettng tricky with episode 3. Fear of the Unknown which should be out on vimeo today!

The episode delves into the discussions surrounding synthetic biology. On the one hand, a project like the Kickstarter-funded Glowing Plant is creating controversy by bringing synthetic biology to the consumer market in the form of a plant that glows in the dark. Its developers' rhetoric is fairly unconvincing (at least as far as i am concerned.) On the other hand, the technology watchdog group ETC. Its members fear the lack of regulation (the plant doesn't require any form of approval in the U.S. since it is not food) and the potentially damaging impact that the release of the plant might have on the environment. Somewhere in the middle is artist Adam Zaretsky who has long used his provocative performances to try and raise a broader debate about what is ethical or not in the field of synthetic biology. There's this great moment in the film when he explains that we don't really know what we are doing and that we need to stop and think before we 'fuck up our world' beyond human control.

On a side note, i believe we need to see more of Zaretsky's provocations and reflections here in Europe, so let's help him fund his next trip to the old continent.

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SAM by SandBay Pictures, Contender for Phase 2 of IPF Web Drama Series Program

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Published on : 2015-03-20 01:00:00

View, Comment, Like, Subscribe, and Share Our YouTube Trailer by March 31 to Help Us Advance to Phase 2 in the Independent Production Fund (IPF) Web Drama Series Program Competition:


The Sam scripted web series is the brainchild of Sarah Fodey, President & Executive Producer of Ottawa's SandBay Pictures ( The series is competing for this year’s Independent Production Fund ( Web Drama Series Program. Applicants with the highest engagement metrics by March 31—

  • Views
  • Comments
  • Likes
  • Subscriptions
  • Shares

—will advance to Phase 2 of the competition, the final step toward securing production financing.

Sam was conceived, written, directed, and produced by women, and stars a predominantly female cast. “We’re a small group of female industry professionals who want to tell our stories, our lives, in our way,” explains Sarah Fodey. “More female filmmakers should have an opportunity to tell their stories; we’re creating that opportunity for ourselves with Sam.”

Sam Storyline

Sam is an intelligent, character-driven drama series. At its centre is Sam Kirkpatrick, the girl-next-door everywoman who hits the reset button on her life in her 33rd year, her so-called Jesus year.

The pilot episode of Sam sees our heroine in apparent turmoil. She has recently left her boyfriend, the apartment they shared, and her bland job in a bid to redefine her life. Free from these tethers, she discovers the everyday bliss of a solo apartment, a job at the local independent bookstore, and, most acutely, the explosive reawakening of her sexual curiosity, which she captures in her blog.

During their last year together, her boyfriend Jack had begun corralling Sam towards commitments she wasn’t prepared to make: children, marriage, home ownership. Meanwhile, the tedium of her overpaid, but underwhelming job became unbearable. As her ambivalence wedged itself between her and her boyfriend and her disgust with her career threatened to raze any creative ambition she once had, Sam formed a plan for self-preservation.

The abrupt sea change in Sam’s life confuses her family. Only her father seems reconciled with Sam’s decisions, and his unexpected death late in the broadcast season nearly ruins her resolve. Desperate for comfort and distraction in the midst of this new pain, Sam begins to rely on the escapism of sexual encounters, challenging herself to defy the boundaries she once considered non-negotiable.

As her grieving evolves into acceptance, she emerges with a new sense of sexual identity, and the realization that her blog—her constant companion through each adventure—has achieved immense popularity among men and women who are themselves searching for sexual expression under the floorboards of quotidian life.

Sam Cast

Sarah Fodey assembled a cast and crew from Toronto and Ottawa to shoot the proof of concept trailer:


Celine Filion

Celine Filion is an Ottawa-based actor whose film career includes: No Easy Days, The Key, Dreams and Spaces In Between, and Having a Drink. Backed with a long list of commercial and theatre credits, Celine’s stage and screen presence is as she is: eclectic and passionate. (The Mensour Agency)

Francesca D’Ambrosio

A native Montrealer, Francesca is an actress and model who boasts an impressive life path that includes everything from international politics and med school, to activism and philanthropy. Francesca works in both French and English, and most recently appeared in the CBC series, Michael: Tuesdays & Thursdays. (The Mensour Agency)

Joe Marques

Originally from Kingston and now Toronto, Joe Marques always had a passion to perform. He’s appeared in films A Sister’s Revenge, Crook, and The Boy She Met Online, while flexing his improv muscles with Second City. His vivacious charm and chameleon personality shine through in all of his performances. (The Mensour Agency)

Jennilee Murray

Jennilee Murray was born and raised in Kelowna, BC. After earning a BFA at UBC, she followed an artistic path to Ottawa where she started modeling and acting. Jennilee can be seen in many films and television series including Smash Cut, Stripped Naked, Crook, The Secret Sex Life of a Single Mom, No Easy Days, and Tell the World. (The Mensour Agency)

About Sarah Fodey, Sam Creator
President & Executive Producer of SandBay Pictures

Since founding SandBay Pictures as a boutique production agency in 2004, accomplished producer and writer, Sarah Fodey, has evolved the company into a diversified storytelling collective dedicated to content creation for all screens.

Her 18-year career has spanned feature films, scripted series, factual entertainment, documentary production, and branded corporate storytelling. Sarah has executive produced, produced, and line produced for networks such as the CBC, Global, APTN, Comedy, Bravo!, TFO, City, and TMN. Her features have screened at festivals and have broadcast globally. She is currently co-executive producing the second season of the documentary series Playing with Fire; producing and co-writing a feature-length documentary The Fruit Machine; and producing and writing Sam, a scripted web drama.

In addition to her entertainment experience, Sarah has written and produced hundreds of hours of award-winning content in branded corporate storytelling. In 2013-2014, Sarah led a team of writers, directors, researchers, designers, composers, and creative post personnel on a large-scale project for the Canadian Museum for Human Rights in Winnipeg, Canada, delivering 59 original films and two sound landscapes for the Museum’s inaugural launch.

A graduate in English Literature from Queen’s University and an honour’s graduate of the Television Broadcasting program at Algonquin College, Sarah has been a member of the Advisory Board of Algonquin’s Scriptwriting Program and is a former board member and executive of the Ottawa-Gatineau Film and TV Development Corporation. In 2015, Sarah was a founding member of Women in Screen-Based Media, a collective dedicated to professional development, mentoring, and advancement.

About the Independent Production Fund (IPF)

Independent Production Fund was established in 1991 by Maclean Hunter Limited with capital endowments of $29.2 million. A charitable organization, Independent Production Fund has offices in Toronto and Montreal.

Help Make Sam a Reality:

For information: Suki Lee,, 416-529-7979

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Image Coming Soon #1

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Published on : 2015-03-20 01:00:00

The Justina M. Barnicke Gallery presents:

Image Coming Soon #1

March 20 – June 6, 2015
Curated by Liora Belford

Opening Reception: Friday, March 20, 6:00-8:00 pm at UTAC
Erratum Musicale Performance: 6:00 pm at the Justina M. Barnicke Gallery
Remarks: 7:00 pm at UTAC

Public programming: see details below.

The Justina M. Barnicke Gallery is pleased to exhibit Image Coming Soon #1, a Master of Visual Studies Curatorial graduating exhibition by Liora Belford.

Shared Opening Reception with the Master of Visual Studies Studio Program Graduating Exhibition, presented at UTAC.


Image Coming Soon #1 re-stages the late American composer John Cage’s groundbreaking composition for a museum, titled museumcircle (1989-1995). Informed by Marcel Duchamp’s first musical work Erratum Musicale (1913), Cage’s work entails the use of chance operations to determine the spatial composition of an array of objects borrowed from over thirty museums in the Greater Toronto area, and an assortment of rocks, plants, books, chess tables and pieces of ephemera.

Image Coming Soon #1 juxtaposes Cage’s historical project with unannounced performances of Duchamp's Erratum Musicale, to allow a contemplation of the two scores, and more specifically, the consequences of Cage’s spatial adaptation of sound composition principles. Performers of Erratum Musicale include Ido Govrin, Martin Arnold, Ryan Driver, Doug Tielli, Christine Duncan, Michael Davidson and Patrick O’Reilly.

Lending institutions:

Art Gallery of Ontario, Blackwood Gallery, Campbell House, City of Toronto Museums & Heritage Services (Colborne Lodge Museum, Fort York National Historic Site, Gibson House Museum, City of Toronto Historical Collection, The Market Gallery, Spadina Museum, Todmorden Mills Heritage Site, York Museum), Design Exchange, Doris McCarthy Gallery, Gardiner Museum, Gendai Gallery, Hart House Collection, Museum of Inuit Art, The Morris and Sally Justein Heritage Museum at Baycrest, Malcove Collection, Mercer Union, Museum of Contemporary Canadian Art, MZTV Museum of Television, Open Studio, Ontario Science Centre, Royal Ontario Museum, Ryerson Image Centre, University College Collection, University of Toronto Collection.


Public Programming:

The exhibition includes unannounced performances of Erratum Musicale (1913) by Marcel Duchamp. Performers include: Ido Govrin, Martin Arnold, Ryan Driver, Doug Tielli, Christine Duncan, Michael Davidson and Patrick O’Reilly.

ARTbus Tour: Sunday, March 29, 12:00-5:00 pm.
Tour to the Justina M. Barnicke Gallery, University of Toronto Art Centre, Art Gallery of Mississauga, and Oakville Galleries
$10 donation. For reservations contact or 905.844.4402, ext. 24 by Friday, March 27, 4:00 pm.

Show and Tell: Conversation and Panel Discussion: Wednesday, May 6, 5:00 pm.

45’ for a Speaker (1954) by John Cage: Performer Martin Arnold, Wednesday, June 3, 7:30 pm.


For more information about the MVS Studio Program Graduating Exhibition, please visit the UTAC website.

This exhibition is part of the graduating Master of Visual Studies 2015 cohort, including:

Comfort Zones Part #2: Behind the Scenes, a research-creation project curated by Yan Wu at the Blackwood Gallery, University of Toronto Mississauga Campus.

You Speak / I Dance, curated by Nam-In Kim at the Doris McCarthy Gallery, University of Toronto Scarborough Campus.


For more information, please contact Daniella Sanader: (416) 978 5488,


Justina M. Barnicke Gallery
7 Hart House Circle
Toronto, ON  M5S 3H3

University of Toronto Art Centre (UTAC)
15 King's College Circle
Toronto, ON  M5S 3H7

Gallery Hours
Tuesday - Saturday 12:00-5:00 pm
Wednesday 12:00-8:00 pm
Sunday and Monday closed

Admission is FREE to all exhibitions.
The Galleries are wheelchair accessible.

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Patrick Mikhail Launches New Montreal Gallery with Exhibition Featuring Andrew Wright

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Published on : 2015-03-20 01:00:00




MARCH 20 TO APRIL 28, 2015

FRIDAY, MARCH 20, 2015
5:30 P.M. TO 10 P.M.


PATRICK MIKHAIL is pleased to announce the launch of its new Montreal gallery on Friday, March 20, 2015. The gallery launches its 2015-2016 programming with two exhibitions of work by its gallery artists at its new location at 4445 Rue Saint-Antoine Ouest in the city’s Westmount district.

In the gallery’s main space, we present ANDREW WRIGHT’s new body of work, UNTITLED PHOTOGRAPHIC PICTURES. Through photography and sculpture, the project explores points of intersection and exchange between several pictorial idioms and practices. It runs concurrent to his exhibition presently on view at the Ottawa Art Gallery entitled “Pretty Lofty and Heavy All At Once,” and follows a career highlight in February 2015 in which his works were installed at the newly refurbished Canada House in London and launched at a ceremony in the presence of Her Majesty, Queen Elizabeth II.

In the gallery’s supporting exhibition spaces, we present a selection of new works by Sara Angelucci, Jessica Auer, Scott Everingham, Jay Isaac, Thomas Kneubühler, Jennifer Lefort, Natasha Mazurka, Andrew Morrow, Amy Schissel, Cindy Stelmackowich, and Michael Vickers. The works have been selected to indicate new directions in each artist’s professional practice, and to signal new tendencies in the gallery’s upcoming programming.

Andrew Wright
Untitled Photographic Pictures
In Untitled Photographic Pictures, Andrew Wright explores points of intersection and exchange between several pictorial idioms and practices. Printed using some of the latest print-making technologies, these monumental pictures suggest the grandeur of classical painting, and raise the question of photography’s relationship with a tradition of producing and exhibiting large-scale gallery pictures. On the other hand, as a series of “straight-from-the-camera” snapshots, this series was made using a uniquely photographic technique. The snapshot has become an important dimension of how we see and imagine the world today, and Wright contrasts this with the highly valued museum picture. The digital photographs themselves exhibit qualities that seem to emulate the effects of older lenses and photographic processes: inconsistencies, odd and unexpected optical effects, and the use of a pre-set, black-and-white treatment all contribute to evoking out-of-date, or even outmoded, pictorial concerns. The neglected and rural landscape captured in these photographs struggles to emerge as the subject of these pictures. Instead, Untitled Photographic Pictures explores an approach to photography in which ideas of the Romantic, the picturesque, and the monumental filter and condition our experience of the visible subject matter.

Ultimately, these photographs present themselves as straddling, and sometimes confusing, a variety of techniques and visual languages. Untitled Photographic Pictures is, in part, a series of landscape scenes. At the same time, this series is a further step in Andrew Wright’s ongoing investigation into the material and visual conditions that constitute photography as such.

Andrew Wright's artistic practice is multifarious and is characterized by breadth as much as it is by depth. Central to his inquiries are lens-based technologies and photographic techniques. In Illuminated Landscapes, Wright's images of pines, boulders and rock use artificial light to reconstruct a sense of the staged, the protected, the artificial and the segregated. The artist's objects and settings, both living and inanimate, are presented as pre-formed, illuminated and plastic. By the simple addition of artificial light into so-called natural and even remote locales, his images encourage a reconsideration of existing space that is both disconcerting and beautiful. They posit nature as a series of vistas constructed solely for the eyes, designed to be consumed and knowable within the bright glow of highly controlled illumination.

Wright's work has appeared in exhibitions across Canada, Spain, Germany, the U.S., and the U.K. Essays, reviews, and illustrated discourses have appeared in publications such as Canadian Art, Border Crossings, PREFIX PHOTO, The National Post, and the Globe and Mail. His works are in private and corporate collections, as well as in the collections of Foreign Affairs Canada, Canada Council Art Bank, Kitchener-Waterloo Art Gallery, Ernst & Young, Royal Bank of Canada, and Museums London. He has been nominated for the Sobey Art Award five times and was a semi-finalist in 2007. In 2011, Wright was the recipient of the BMW Photography Prize for Most Outstanding Exhibition at Scotiabank Contact Photography Festival in Toronto. He has a Master's of Fine Arts, Concentration in Sculpture, Photography and Installation, from the University of Windsor; an Honours Bachelor of Art, Visual Art and Art History, from the University of Toronto; and a Diploma in Studio Art from Sheridan College.

For more information:


4445 Rue Saint-Antoine Ouest
Montreal, Quebec
Canada  H4C 2Z6
Tel. 514.439.2790

2401 Bank Street
Ottawa, Ontario
Canada  K1V 8R9
Tel. 613.746.0690


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Master of Visual Studies Studio Program Graduating Exhibition

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Published on : 2015-03-20 01:00:00

The University of Toronto Art Centre presents:

University of Toronto Master of Visual Studies Studio Program Graduating Exhibition

March 20 – April 11, 2015
Featuring work by Roya Akbari, Jesse Boles, Ali El-Darsa, and Claudia Zloteanu.

Opening Reception: Friday, March 20, 6:00-8:00 pm
Remarks: 7:00 pm

ARTbus Tour: Sunday, March 29, 12:00-5:00 pm – more details below.

The University of Toronto Art Centre is pleased to exhibit the projects of the 2015 Master of Visual Studies graduate students: Roya Akbari, Jesse Boles, Ali El-Darsa, and Claudia Zloteanu.

Shared Opening Reception with Image Coming Soon #1, an MVS Curatorial Studies graduating exhibition curated by Liora Belford, presented at the Justina M. Barnicke Gallery.

Left: Claudia Zloteanu, Big Bang of Thought, 2014. Mixed media. Image courtesy of the artist.
Right: Jesse Boles, Untitled (detail), 2015. Photograph. Image courtesy of the artist.

ROYA AKBARI was born in Tehran and has lived in Canada for more than a decade. She is a visual artist and the director of two short films: Dancing Mania (2012) and Only Image Remains (2014). Rooted in documentary as a form, her work creates resonances between visual art and cinema. Her interdisciplinary practice has been presented in both gallery and cinema settings. Recent screenings include Edinburgh International Film Festival in Scotland; Bristol Radical Film Festival in the UK; Fribourg International Film Festival in Switzerland; University of California (UCLA) in the US; and TIFF Cinematheque in Toronto. As part of her Master’s degree, Akbari received the David Buller Scholarship in Visual Studies Department at the University of Toronto. Other awards include Media President Award for the best video installation at Emily Carr University of Art and Design.

JESSE BOLES is a Toronto based photo artist and educator. Born in Mongolia Ontario, he lived throughout York Region before moving to Toronto in 1997. He studied architecture at the University of Toronto and photography at Ryerson University. His work focuses on traces of human activity on landscapes, juxtaposing the subject matter with stylistic references to the traditions of 19th century landscape painters in large format prints. He is represented by the Edward Day Gallery in Toronto. His most recent work has been shot in and around Berlin. He most recently exhibited at the AGO in the exhibition Songs of the future.

Left: Roya Akbari, Untitled (video still), 2015. Video. Image courtesy of the artist.
Right: Ali El-Darsa, Untitled (video still), 2015. Video. Image courtesy of the artist.

ALI EL-DARSA, Beirut-born, is a Montreal/Toronto-based artist working in video, performance and installation. Stressing electronic media’s crucial part in creating networked, mediated memories and narratives, his recent work examines the notion of selfhood in the global context of present-day society, which involves confronting one’s self not only with temporal, but also with physical, political, affective, and ideological displacement. Recent solo exhibitions and performances include: 25/09/2001–Present at Espace Cercle Carré (Montreal); Entr’acte at Hart House co-presented by SAVAC (Toronto); Standing Still at Darling Foundry (Montreal). Group exhibitions and screenings include: No Place: Queer Geographies at Small Projects Gallery (Norway); Brooklyn Film Festival (New York); We Can’t Compete at University of Lethbridge Art Gallery (Calgary); Lite Side Festival (Amsterdam); (In)formal disclosures at Access Gallery (Vancouver); Festival International du Cinéma Méditerranéen (Montpellier); Rendezvous with Madness Film Festival (Toronto); Galerie Sans Nom (Moncton); Festival Les Ecrans Documentaires, (Arcueil); III Festival Internacional de Videoarte Camaguey (Cuba); and Theatre Centre (Toronto). He recently undertook a fellowship with Beirut-based artist, Akram Zaatari.

CLAUDIA ZLOTEANU is currently a graduate student in Visual Studies at the University of Toronto and holds a MFA from the University of Fine Arts, Bucharest, Romania. In August 2014 she was an artist in residence at YYZ Artist Outlet, Toronto. Between 2010 and 2012 she was an artist in residence in Rome, Italy. Her work includes sculptures, drawings, and photography. Recent group exhibitions include Default Programming, North York Centre for the Arts, Toronto (2015), Spazi Aperti X, Romanian Academy, Rome (2012), The Dark side of the Soul, Museo Magma, Roccamonfina, Italy (2012), Edgardo Manucci, Arcevia, Italy (2010), and Body, Caminul Artei Gallery, Romania (2009). Zloteanu currently lives in Aurora, Ontario.


ARTbus Tour: Sunday, March 29, 12:00-5:00 pm.
Tour to the Justina M. Barnicke Gallery, University of Toronto Art Centre, Art Gallery of Mississauga, and Oakville Galleries
$10 donation. For reservations, contact or 905.844.4402, ext. 24 by Friday 27 March, 4:00 pm.


For more information about Image Coming Soon #1, please visit the Justina M. Barnicke Gallery website.

This exhibition is part of the graduating Master of Visual Studies 2015 cohort, including:

Comfort Zones Part #2: Behind the Scenes, a research-creation project curated by Yan Wu at the Blackwood Gallery, University of Toronto Mississauga Campus.

You Speak / I Dance, curated by Nam-In Kim at the Doris McCarthy Gallery, University of Toronto Scarborough Campus.


For more information, please contact Daniella Sanader: (416) 978-5488,


Justina M. Barnicke Gallery
7 Hart House Circle
Toronto, ON  M5S 3H3

University of Toronto Art Centre (UTAC)
15 King's College Circle
Toronto, ON  M5S 3H7

Gallery Hours
Tuesday - Saturdays 12-5pm
Wednesday 12-8pm
Sunday and Monday closed

Admission is FREE to all exhibitions.
The Galleries are wheelchair accessible.

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Brendan Fernandes: The Foot Made

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Published on : 2015-03-20 01:00:00

Spring Forward with the New Exhibitions at the Kitchener-Waterloo Art Gallery

Join us at the Opening Reception for Brendan Fernandes’, The Foot Made and the Closing Reception for An Te Liu’s In Absentia on Friday March 20 from 7 to 10 pm. This is the final opportunity to view Liu’s impressive body of work.

Brendan Fernandes, Standing Leg (in process). Created at the Contemporary Art Gallery, Vancouver, Field House
Residency, Summer 2014. Photo credit: Caitlin Carr.

Though non-textual, dance is a language that narrates the memory of the body. In this new work, multi-disciplinary artist Brendan Fernandes posits that stillness and static movements are signs of active endurance, power and hegemony. Central to KW|AG's exhibition is Standing Leg, a document of an endurance solo originally created and performed by Fernandes. This work references the artist's past research on power dynamics seen through the histories of post-colonial violence and struggle. Trained in both ballet and modern dance, Fernandes revisits the hierarchical order of ballet and the historical use of stretching devices to manipulate the body towards a vision of 'the ideal'. In both video documents and sculpture, tension and fragility become apparent. The body tires, but it endures.

Born in Kenya of Indian descent, Brendan Fernandes immigrated to Canada in 1989. He has exhibited internationally and nationally including exhibitions at the Solomon R. Guggenheim Museum, the Museum of Art and Design New York, The National Gallery of Canada, The Art Gallery of Hamilton, Mass MoCA, The Andy Warhol Museum, the Art Gallery of York University, Deutsche Guggenheim. He was a finalist for the Sobey Art Award (2010), and was on the longlist for the 2013 prize. Fernandes is based between Toronto and NY.

An Te Liu, Tropos (for Djuna Barnes) (detail), 2014, cast hydrostone with pigmented wax. Tropos (for Gertrude Stein)
(detail), 2014, cast hydrostone with pigmented wax. Tropos (for Elsa von Freytag-Loringhoven) (detail), 2014, cast
concrete. Installation view. Image: Robert McNair.

An Te Liu’s sculpture and print-based work are ruminations on memory and timelessness. Often working with bronze, ceramic and concrete—the material language of endurance—Liu mines the idioms of ancient and modern sculpture to challenge how we perceive value and time in physical form. In an expansive series of works begun in 2013, Liu has crafted an evolving assembly of objects that suggest the fossilized remnants of present-day material production. Styrofoam packaging, intended to protect goods in transit, provides a point of departure for sculptures that are reminiscent of artifacts found in anthropology museums. In the Tropos works, a disposable form designed to fill negative space is recast and multiplied to provide the basis for a series of delicately balanced orders. Part Brancusi’s Endless Column, part abstract totem, the Tropos works speak to aspiration and precarity as oppositional, yet productive, forces.

KW|AG’s presentation of In Absentia has been expanded to include several related works that address the nuances of memory within contemporary culture. Untitled (Units I – VI), for instance, is a series of photocollages in which planar views of various outmoded computer equipment are reconfigured to echo brutalist architecture. In Agenda, a decade’s worth of the artist’s weekly calendar entries is presented as a script whereby the specifics of the past become cryptic within the present. In a similar trade of specificity for anonymity, White Dwarf is a monochromatic orb that consists of obsolete electronics and appliances. Suspended from the gallery ceiling, White Dwarf might be seen as an interstellar precedent—or finality—for the atomized mass of objects which share its company within the exhibition. Liu complicates perceptions around culture—as both a system and product—while revealing the fine line which separates an artifact from an object which has simply outlived its importance. As an ensemble, these works compel us to consider how ways of seeing and knowing shape our relationship to objects, across cultures and time.

Encounters with Voice and Music
A selection of works from the Permanent Collection
March 15 – August 23

How do artists represent the visual experience of voice and music? In this selection of works, guest curator Emily Berg explores the relationships between visual representations of musical stories and their innate auditory and physical responses.

This exhibition is part of an ongoing series of Community Curator projects that activate our Collection through fresh perspectives.

Mark Your Calendars for These Insightful Art Talks

Art Talk: The RBC Corporate Collection with Robin Anthony | Free
April 15 | 6 - 7 pm
Robin Anthony, Art Curator at RBC, gives us her insights into what goes into developing and growing a thriving corporate art collection for one of Canada's largest banks. She discusses the important role corporations can play in supporting and promoting the arts in Canada. In her role, Robin is involved with the Emerging Artists Programs, which supports artists as they bridge the gap from their academic to professional careers, and with the RBC Canadian Painting Competition, awarded over the past 16 years to emerging artists. The RBC Museum Internship for Emerging Professionals also places young grads in museums across Canada.

Under the Influence: Dave Dyment | Free
Thursday, June 4 | 7-8 pm
Have you ever wondered what catches the eye of an artist? Or what other interests they have? Artist Dave Dyment's talk will reveal what piques his interest as it relates to his own artistic practice, the art and culture that influence him and artists who ignite his curiosity.

About the Kitchener-Waterloo Art Gallery
The Kitchener-Waterloo Art Gallery (KW|AG) connects people and ideas through art. The Gallery emphasizes contemporary art, has a 4,000 work permanent collection and offers creative and artistic experiences for adults, children and families. Established in 1956 and located within Centre In The Square, KW|AG is the oldest and largest public gallery in Waterloo region: roots in the community, eyes on the world.

Media Contact:
Priti Kohli, Communications Coordinator | 519-579-5860 x222 | E:

Kitchener-Waterloo Gallery
101 Queen Street North, Kitchener | 519-579-5860 | Facebook | Twitter

Hours and Admission
M-W 9:30am-5pm., Th 9:30am.-9pm, Fri 9:30am – 5pm, Sat 10am-5pm, Sun 1pm-5pm.
Open before most Centre In The Square performances.
Admission to KW|AG’s exhibitions is free, courtesy of Sun Life Financial

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Dil Hildebrand & Nelson Henricks

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Published on : 2015-03-19 01:00:00


Pierre-François Ouellette art contemporain Montreal presents

Dil Hildebrand
A few good words that still work, and the tide

Nelson Henricks
Endless Paper

March 19 - April 25, 2015
Opening: Thursday March 19th from 5 pm to 7:30 pm
372 Ste-Catherine West - suite 216
Montreal, Quebec

Pierre-Francois Ouellette art contemporain is pleased to present an exhibition of new paintings by Dil Hildebrand in parallel with a projection of Endless Paper, a single-channel video by respected multi-disciplinary artist Nelson Henricks.

A few good words that still work, and the tide represents a synthesis of Hildebrand's two previous painting series. Alternately flat and spacious, this new hybrid body of work examines the artist's ongoing interest in architecture and painting from a new angle.

In Henricks' video Endless Paper a hand enters the screen and removes sheets of paper one at a time. This action continues in a seemingly infinite manner, without beginning or end. This work is an excerpt from the three-channel video installation, The Sirens.


Dil Hildebrand was born in Winnipeg and obtained his MFA at Concordia University in 2008. National winner of the RBC Painting Competition in 2006. Hildebrand has participated in numerous exhibitions including the 4th Beijing International Art Biennale (2010), "Back to the Drawing Board" at YYZ Toronto (2011), "The Builders" at the National Gallery of Canada Biennial (2012), "Re-configuring Abstraction" at the Manitoba University School of Art Gallery (2013), "Le Projet Peinture" at Galerie de l'UQAM (2013), "Shape Shifters" at the Herron Galleries of the University of Indiana (2013), "Young Canadian Painters" at Cambridge Galleries (2014), "La Beauté du geste" at the Musée d'art contemporain de Montréal (2014) and "Land-reform(ed)" at the Canada Council Ajagemô Gallery (2014). His work has been collected by major public institutions throughout Canada, including the Montreal Museum of Fine Arts, Musée d'art contemporain de Montréal, the National Gallery of Canada and the Art Bank of the Canada Council and in several corporate collections including the RBC Royal Bank, the Bank of Montreal, TD Canada Trust, Caisse de dépôt et placement, Bennett Jones LLP, Ernst and Young, Osler Hoskin & Harcourt LLP and McCarthy Tétrault LLP among others. In 2016, he will have a solo exhibition at Plein Sud in Longueuil.

Nelson Henricks was born in Bow Island, Alberta and is a graduate of the Alberta College of Art (1986). He moved to Montréal in 1991, where he received a BFA from Concordia University (1994). A musician, writer, curator and artist, Henricks is best known for his videotapes and video installations, which have been exhibited worldwide. A focus on his video work was presented at the Museum of Modern Art in New York, as part of the Video Viewpoints series in 2000. A mid-career retrospective of his work was presented at the Leonard and Bina Ellen Gallery in Montréal in 2010. Henricks was the recipient of the Bell Canada Award in Video Art in 2002 and received the Board of Governors’ Alumni Award of Excellence from the Alberta College of Art and Design in 2005. Henricks’ work is in the collections of the National Gallery of Canada, the Museum of Modern Art (New York), the Montréal Museum of Fine Arts, the Musée national des beaux-arts du Québec, and the Leonard and Bina Ellen Gallery. He lives and works in Montréal, where he is currently completing a PhD at Université du Québec à Montréal and will be presenting a solo exhibition at Dazibao, "A Lecture on Art" (30 April - 30 June 2015).

Please visit the gallery website for more information.



image credits:
Dil Hildebrand, It begins, it has an end, this is what you will come back to, this is your hand., 2015, oil on canvas, 48" x 36"
Nelson Henricks, Endless Paper, 2008, single-channel video, 30:00

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Carly Butler: The captain knew too well where he was

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Published on : 2015-03-19 01:00:00



Carly Butler
The captain knew too well where he was
March 19 - April 26, 2015

Julie M. Gallery is pleased to present the second solo exhibition in Toronto by interdisciplinary artist Carly Butler.

Butler, whose piece Hurricane was a finalist for the prestigious RBC Canadian Painting Competition in 2014, makes use of subtle and compelling resources to develop her conceptual discourse. The permanent use of white, dark lines and text, confers her work with a minimalist approach that serves to delineate recurrent themes, and reflect on issues around longing, regret, and nostalgia. Her practice is permeated by a sense of displacement caused by often moving from place to place during her youth. The idea that ‘here’ is never good enough, mirrors modern society’s obsession with moving and travelling in order to be relevant, validated.

As the daughter of a Master Mariner, Butler spent much of her childhood close to and at sea, something that would later come to be an intrinsic part of her artistic practice. These pieces, greatly influenced by weather and navigation symbols, poke light fun at those who don’t understand meteorological codes and the language of the sea (herself included). They encourage a different interaction and a newly found space for reinterpretation. The truth of the works, however, lies in the respectful representation of real weather and navigational symbols. They are affectionate and accurate abstractions that read carefully between reverence and absurdity. In her work, Butler often uses direct quotes extracted from navigation manuals and presents them in a decontextualized manner, somehow turning them into inspirational messages—You can always drop the anchor or choose an object which is not too far away, she humorously advises.

Butler’s practice and the works in this exhibition span through a range of artistic manifestations including drawing, photography and video art. She describes her work as idea-based, and her medium of choice determined by her narrative intentions. Even though Butler’s pieces make direct references to nature and her relationship with natural elements, her works on canvas and paper are created on drywall compound and gesso, alluding to a domestic inescapability and an unfulfilled desire to live differently and transcend the confines of conventional living.

Carly Butler currently lives and works in Halifax, Nova Scotia. She holds a BFA from Nova Scotia College of Art and Design, an MA in Post War and Contemporary Art from Sotheby’s Institute and a BA in Sociology and Art History from University of Leeds. She also attended Central Saint Martins in London, UK where she specialized in video, performance and installation. Her work can be found in the collections of the Art Bank of Nova Scotia, Beau’s Brewery, and Concrete Contemporary/Waddington’s Auction House in Toronto.

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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VERGE: Centennial College Fine Arts Studio Program

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Published on : 2015-03-19 01:00:00



March 19-28, 2015

On the verge... of GREATNESS!
The next generation of emerging artists from the CENTENNIAL COLLEGE FINE ARTS STUDIO program strut their stuff.
A vibrant and startling exhibition that redefines ‘being on the verge'!

Artworks by: Airika Dollner, Ashley Martindale, Audrey Suarez, Bhavya Perinda, Chandani Ramnath, Colleen Zimmerman, Courtney Lardizabal, Courtney Regolini, Edmund Shek, Hanna Gibot, Jamie Wood, Laleh Sarami Foroshani, Leovitor dos Santos, Lyndsay Shewchuk, Lynn Ostafichuk, Marija Zoric, Morsel Ganji, Nino Flores, Peter Stone, Sara Pohner, Sara Vargas Nessi, Savannah Kabatay, Victor Vazquez, Victoria Grzincic, Zoe ChangeunSon, Zuley Villatoro.

Location: Urban Gallery, 400 Queen Street East, Toronto, Canada

Exhibition open to public Thursday March 19 2015
Opening Party Saturday March 21, 2015 from 2 PM to 5 PM
rsvp requested by March 18 2015 to
Exhibition runs Thursday March 19 2015 to Saturday March 28 2015

Gallery hours:
NOON to 5 PM Monday through Saturday
NOON to 8 PM Thursdays
Closed Sundays & Holidays


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