ArtSlant - Openings & events en-us 40 Adam Lee - Angell Gallery - June 3rd 7:00 PM - 9:00 PM <div class="text"> <p style="text-align: justify;"><strong>ANGELL GALLERY</strong> is proud to present <strong>ADAM LEE: OF A GREAT AND MIGHTY SHADOW</strong>, the North American debut exhibition by this Melbourne, Australia-based artist. The exhibition will be view in both the Main Gallery space and the Project Gallery from <strong>June 3 to July 2, 2016</strong>. An opening reception will be held on <strong>Friday, June 3, from 7:00 to 9:00 PM</strong>.</p> <p style="text-align: justify;">A family portrait under an overarching rainbow. A funeral scene with twelve mourners watching over an embalmed body, their faces aglow with orange radiance. Tear-like drops of light or fire falling from the sky above and touching figures and landscapes below. These are the symbols and imagery of a world constructed by Australian painter <strong>Adam Lee</strong> in <em>Of A Great and Mighty Shadow.</em></p> <p style="text-align: justify;"><strong>Lee</strong> takes cues from an eclectic range of mystical, religious and cultural references within art history and literature in his development of imagery and symbolism to explore the overarching theme of a divine shadow cast across our personal and collective sense of human history. Many of the figures in these paintings appear with glowing faces, whereby the illumination of light casts a shadow, revealing a kind of transfiguration taking place. This symbolism exists as both a shade of the past and a shadow of things to come.</p> <p style="text-align: justify;">Importantly <strong>Lee</strong> also weaves elements of his own family heritage and experience into the works. Here the imagery of the shadow becomes a powerful reference to the past, as well as metaphoric of a larger presence at play in the affairs of human experience. In works such as <em>A Transfiguration</em> and <em>Zim Zum (Three Tabernacles) </em><strong>Lee</strong> makes references to aspects of Jewish mysticism, where the imagery of the shadow was often used as a means of describing the nature of God as a place under which humankind might take refuge or shade. Importantly it was also seen as symbolic of a point of recreation between humankind and a divine world. <strong>Lee</strong> takes these ideas further in relation to exploring his own sense of family and self, through works such as <em>The Namesake</em>, a double portrait of the artist and his deceased grandfather who both share the same name. Here the artist appears as though looking back in time, or perhaps even gazing forward to the future, aware of a connectedness between generations, people and places. In this sense <strong>Lee&rsquo;s</strong> paintings not only touch upon the artist&rsquo;s own sense of personal history and family, but also wider universal concerns related to a communal understanding of belonging and place.</p> <p style="text-align: justify;">&shy;</p> <p style="text-align: justify;">Another painting, <em>Threshold,</em> takes its genesis from a collected photograph of the front gate at the childhood home of the artist&rsquo;s father. Here, though, it appears as if being a point between two worlds, a marker between the past and the present or perhaps this world and another unseen dimension. In this way <strong>Lee&rsquo;s</strong> work touches not only upon a nostalgic sense of our past and its connections with our experience of the present, but projects a kind of prophetic imagery which might point toward future events and times as well.</p> <p style="text-align: justify;"><strong>Adam Lee&nbsp;</strong>lives and works Macedon Ranges, just outside of Melbourne, Australia, where he recently completed his PhD at Royal Melbourne Institute of Technology.&nbsp; Recent solo-exhibitions include, <em>A Long Obedience</em> at BEERS London, UK (2015) and <em>Eden. Exile. Babel.</em> at Station Gallery, Melbourne (2015). <strong>Lee </strong>was hand-picked by Kim Dorland to be included in his curated exhibition,&nbsp;<em>I </em><em>&hearts;</em><em> Paint 2&nbsp;</em>at&nbsp;<strong>Angell Gallery</strong>. Artist Andrew Salgado included&nbsp;<strong>Lee </strong>in a group exhibition,&nbsp;<em>Fantasy of Representation&nbsp;</em>at BEERS London.&nbsp;<strong>Lee </strong>has been named a finalist for The Arthur Guy Memorial Painting Prize (2015 &amp; 2013), the Geeolong Contemporary Art Prize (2014), the National Works on Paper Prize (2014) and The Churchie National Emerging Artist Award (2012).</p> </div> Tue, 17 May 2016 14:20:17 +0000 Morley Shayuk - Paul Petro Contemporary Art - June 3rd 7:00 PM - 10:00 PM <p style="text-align: justify;">In <em>English Breakfast</em>, a series of small abstract oil paintings by Morley Shayuk observe the virtues of the organic shape. Compositions are disturbed by rigorous reshaping of surface and form which explore the garden and facilitate renewal both conceptually and personally. Themes of nature become ornamental, objectified and controlled through experimental and time based working methods. The organic qualities of Shayuk's painterly approach are interrupted by the artist's objective to communicate possible functions for his subject matter. In doing so, Shayuk's abstractions present a science fiction that considers aesthetic and consumptive values, and offers ambiguous strategies for harvesting infinite energy sources. <br /> <br /> Morley Shayuk lives and works in Toronto.</p> Tue, 17 May 2016 14:44:01 +0000 Zachari Logan - Paul Petro Contemporary Art - June 3rd 7:00 PM - 10:00 PM <p style="text-align: justify;"><em>When we ignore the realms beyond consciousness , we ignore our connections to the larger community of living beings, most of which, over immense spans of time, have lived and died without once awakening. Plants are reminders of the structures that sustain consciousness. Plants are reminders of our forgotten selves.</em><br /> <br /> - George Gessert, <em>Green Light, Towards an Art of Evolution</em>, (Leonardo Series)<br /> <br /> <br /> Zachari Logan (born 1980, Saskatoon,SK, grad. MFA University of Saskatchewan 2008) is a Canadian artist working primarily in drawing, ceramics and installation. His work has been exhibited in group and solo exhibitions throughout North America and Europe, including <em>Eunuch Tapestry 5</em>, Leslie-Lohman Museum, NY (2015), <em>Sisi Boy</em>, Schleifm&uuml;hlgasse 12-14, Vienna (2014), <em>Folds</em>, Angus-Hughes Gallery, London Uk (2014), <em>Hanging Garden</em>, cur. Rhiannon Vogl, Line Gallery, North Bay, ON (2014), <em>Fugitive Garden</em>, cur. Wayne Baerwaldt, Illingworth-Kerr Gallery, Calgary AB (2013), <em>Metamorphosis / Passages</em>, Daniel Cooney Fine Art, NY (2013), <em>Androphilia Art Project: Vignette</em>, NAFF-Athina Collective, elCultur Art Space, Athens (2011) and <em>Beautiful Losers Project</em>, Headquarters Studio, NY (2011). Group exhibitions include <em>Faceless</em>, cur. Bogomir Doringer, De Markten, Brussels (2015), Mediamadik Fabriek, Amsterdam (2014) and Freiraum quartier21 International, Vienna (2013), <em>The Name of Things</em>, Mendel Art Gallery, Saskatoon SK (2012), <em>Melancholia</em>, cur. Raul Zamudio, Pristine Galerie, Monterrey, Mexico (2012) and <em>When I Grow Up</em>, collaboration with Sophie Calle, Galerie Jean Roch Dard, Paris (2009). Logan has attended residencies in Paris in conjunction with Galerie Jean Roch Dard, in rural Tennessee at Sassafras ARC/Liberty, in Calgary through ACAD&rsquo;s Visiting Artist Program, in Vienna through both the Museum Quartier&rsquo;s quartier21: Artist in Residence Program and the project space Schliefmuhlgasse 12-14, in London at the Angus-Hughes Gallery and most recently in Brooklyn at the International Studio and Curatorial Program. Logan's work can be found in public and private collections worldwide.</p> Tue, 17 May 2016 14:43:56 +0000 Nathalie Du Pasquier - Cooper Cole - June 24th 6:00 PM - 8:00 PM Tue, 17 May 2016 10:13:26 +0000 Vanessa Maltese - Cooper Cole - June 24th 6:00 PM - 8:00 PM Tue, 17 May 2016 10:13:41 +0000 Ulla von Brandenburg - The Power Plant - June 25th 10:00 AM - 5:00 PM <h2 class="contentSummary" style="text-align: justify;"><span style="font-size: small;">Ulla von Brandenburg's major exhibition will include a new film and installation, both responsive to the site where the film is shot, Th&eacute;&acirc;tre des Amandiers, France, and the space of the exhibition at The Power Plant.</span></h2> <p style="text-align: justify;"><span style="font-size: small;"><strong>GUEST CURATOR: ALEXANDRA BAUDELOT, CO-DIRECTOR, LES LABORATOIRES D'AUBERVILLIERS, FRANCE AND DIRECTOR OF ROSASCAPE (PARIS)<br /> <br /> ASSISTANT CURATOR: CLARA HALPERN, RBC CURATORIAL FELLOW, THE POWER PLANT<br /> </strong></span><br /><span style="font-size: small;"> Ulla von Brandenburg has developed a visual art practice in which films, performances, sculptures, installations, books, and drawings exist side by side. The apparatuses in her films and installations echo those found in the history of theatre and stage design. Her work explores states of consciousness that allow the characters in her films and the viewer to experience worlds caught between past and present, reality and illusion, the sacred and the secular. </span><br /> <br /><span style="font-size: small;"> <em>It Has a Golden Red Sun and an Elderly Green Moon</em>, Ulla von Brandenburg's first solo exhibition in Canada, brings together five recurring themes in her work: colour, ritual, movement, stairs and textiles. The inspiration for these themes are drawn from the architecture of modern theatre and theorist Adolphe Appia's stage designs; the dances of movement theorist Rudolf von Laban and the Judson Dance Theater; the work on movement by playwright Samuel Beckett and the artist Bruce Nauman; and John Cage's musical constructions on randomness.</span><br /> <br /><span style="font-size: small;"> The exhibition unfolds in a large installation designed for this particular site. It operates simultaneously as both a stage set and a film. The spectator is invited to become an integral part of the apparatus deployed in the space of The Power Plant; projected into the film, audiences finds themselves immersed in a physical and aesthetic experience, caught up in the film's images and the scenographic setting. </span><br /> <br /><span style="font-size: small;"> The film <em>It Has a Golden Sun and an Elderly Grey Moon</em> (2016) takes place on the stage of Th&eacute;&acirc;tre des Amandiers in Nanterre, France. This space is structured by two large staircases that serve as a platform. Comprised of different levels, the staircase is a means of architecturally representing hierarchies in space, and in the various actions taking place there, which are embodied by dancers&rsquo; simple movements and handling coloured pieces of cloth. The staircase mirrors the place occupied by the spectators, from whence they are observing the action of the film; it plays the role of the stage. </span><br /> <br /><span style="font-size: small;"> Alongside the new film and installation, The Power Plant presents a survey of von Brandenburg&rsquo;s film works in an installation designed by the artist. The selection includes works from 2005 to 2014 such as <em>Die Strasse</em> (2013), <em>Singspiel </em>(2009) as well as<em> The Record </em>(2005-2014), which was filmed in Toronto. </span><br /> <br /><span style="font-size: small;"> The exhibition is also accompanied by the publication <em>It Has a Golden Sun and an Elderly Grey Moon</em>, edited by Alexandra Baudelot. Between a monograph and an artist's book, this publication brings together texts by various authors exploring the five themes of the exhibition, which are also present in Ulla von Brandenburg's wider work.<em> It Has a Golden Sun and an Elderly Grey Moon </em>is published by Mousse and co-produced by the Australian Centre for Contemporary Art (ACCA), Melbourne; The Power Plant, Toronto; Aarhus 2017: European Capital of Culture, Denmark and Museum Haus Konstruktiv, Zurich.</span><br /> <br /><span style="font-size: small;"> <em>It Has a Golden Red Sun and an Elderly Green Moon</em> is presented concurrently with an exhibition at the Darling Foundry, Montreal.&nbsp; </span><br /> <br /> <br /><span style="font-size: small;"> <strong>Ulla von Brandenburg </strong>(born 1974 in Karlsruhe, Germany) lives and works in Paris. Her work has been exhibited at The Common Guild, Glasgow (2016); 19th Biennale of Sydney (2014); Witte de With, Rotterdam (2014); WIELS, Brussels (2013); Succession, Vienna (2013); Kunsthaus Hamburg (2013); Biennale de Lyon, France (2011); Chisenhale Gallery, London (2009); Irish Museum of Modern Art, Dublin (2008); Kunstverein, D&uuml;sseldorf (2007); Art:Concept, Paris (2007); Tate Modern, London (2007); Palais de Tokyo, Paris (2006); and Kunsthalle Z&uuml;rich (2006). Von Brandenburg is nominated for the 2016 Prix Marcel Duchamp.</span></p> Tue, 17 May 2016 10:58:08 +0000 Franz Erhard Walther - The Power Plant - June 25th 10:00 AM - 5:00 PM <h2 class="contentSummary" style="text-align: justify;"><span style="font-size: small;">The Power Plant presents the first Canadian solo show of the seminal German artist Franz Erhard Walther</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Franz Erhard Walther's first major solo exhibition in Canada brings together a body of work produced between the 1950s to the present. <em>Call to Action </em>offers insight into Walther&rsquo;s radical ideas about the relationship between space, object and the human body. Presenting sculptural form, drawing and video, Walther&rsquo;s influential work emphasizes action. His work sheds light on the potential of spectators to consider their body as a means to activate sculpture and disrupt the space of display and the landscapes in which it is presented.</span><br /> <br /><span style="font-size: small;"> He first gave this concept physical form with his <em>1. Werksatz</em> (First Work Set) (1963&ndash;69), a work comprised of 58 objects made of fabric intended to be used by viewers alone or in a group. The sculptures materialize through measured actions laid out for viewers to enact according to the artist&rsquo;s instructions: unfolding them, standing on them, lying down inside them and pulling them around and over one&rsquo;s body. With this approach, Walther&rsquo;s sculptures transcend their physical and formal qualities to position the viewer&rsquo;s body, and the space and time it acts within, as material form. Paired with Walther&rsquo;s 1. Werksatz are a series of videos that show documentation of each fabric piece being activated. Throughout the duration of the exhibition, visitors will be invited to activate various elements, reminding audiences that the work is meant to be physically experienced through their active participation. </span><br /> <br /><span style="font-size: small;"> Walther&rsquo;s interest in the body continues in <em>Wandformationen </em>(Wall Formations) (1979-1985). Made of fabric and hung in the gallery, this body of work is installed with the architecture of The Power Plant&rsquo;s Fleck Clerestory in mind. The dimensions and proportions of the hanging forms make reference to the human body while their spatial configuration calls for a physical experience beyond static spectatorship. Walther does not view the physical form of <em>Wandformationen </em>as a completed work, but rather as objects that must be experienced by the viewer and read by the body. In so doing, Walther relinquishes control of the work&rsquo;s realization by calling upon his respective audiences to contribute to its final form. Analogous to the visitors&rsquo; movement in space, the works are constantly changing.&nbsp; <em>Schreitbahnen </em>(Stride Paths) (1972) and <em>Handlungsbahnen </em>(Action Paths) (1997-2003) will be presented and activated throughout the exhibition at regular hours on a weekly basis in order for visitors to experience the work within the four walls of the gallery as well as outside at the waterfront, where they will change our perception and engagement with the landscape.</span><br /> <br /><span style="font-size: small;"> Walther&rsquo;s<em> Das Neue Alphabet </em>(The New Alphabet) (1990-1996) is comprised of 26 sculptural objects made of fabric and wood that formally relate to the letters of the alphabet. A selection of works from this series on view at The Power Plant &ndash; hung on the wall or placed on the floor &ndash; have a human scale that evokes the possibility of action through linguistic reading. </span><br /> <br /><span style="font-size: small;"> Through the presentation of Walther&rsquo;s past and more recent pieces, as well as video and drawing documentation, <em>Call to Action </em>highlights the artist&rsquo;s and the viewer&rsquo;s shared role in shaping material form. </span><br /> <br /><span style="font-size: small;"> <strong>Franz Erhard Walther </strong>(born in Fulda, Germany, 1939, lives and works in Fulda) is one of Germany&rsquo;s seminal artists whose work has expanded the wider discussion of contemporary art practices. His work has been featured in a number of significant exhibitions including: <em>Live in Your Head: When Attitudes Become Form</em>, Kunsthalle Bern; Museum Haus Lange, Krefeld; and Institute of Contemporary Arts, London (1969); Spaces, MoMA, New York (1970); documenta V, VII and VIII, Kassel (1972, 1982 and 1987); and<em> Out of Actions: Between Performance and the Object</em> (1949-79), Museum of Contemporary Art, Los Angeles (1988). Recent exhibitions of Walther&rsquo;s work include<em> Franz Erhard Walther: The Body Draws</em>, Henry Art Gallery, Seattle (2015); <em>Franz Erhard Walther</em>, MUDAM, Luxembourg (2015);<em> Franz Erhard Walther, The Body Decides</em>, WIELS Centre d'Art Contemporain, Brussels (2014) and CAPC Mus&eacute;e d'Art Contemporain de Bordeaux (2014); and Franz Erhard Walther, Work as Action, Dia Art Foundation, New York (2010&ndash;12). Walther&rsquo;s work was included in group exhibitions in Canada at a very early stage, exhibited at the Institut d&rsquo;art contemporain de Montr&eacute;al and National Gallery of Canada, Ottawa (1977), the Art Gallery of Hamilton (1983) as well as the Mus&eacute;e d&lsquo;art contemporain de Montr&eacute;al (1989).</span></p> Tue, 17 May 2016 11:00:00 +0000 Kristine Moran - Daniel Faria Gallery - July 9th 6:00 PM - 8:00 PM Tue, 17 May 2016 14:32:36 +0000