ArtSlant - Recently added en-us 40 Karen Kraven - Mercer Union - A Centre for Contemporary Art - July 7th 7:00 PM - 8:00 PM <div style="text-align: justify;">Please join us for an artist talk by&nbsp;<strong>Karen Kraven</strong>&nbsp;in conversation with Georgina Jackson and Cait McKinney. The talk will take place in the gallery&nbsp;on&nbsp;Tuesday 7 July&nbsp;starting at&nbsp;7PM.&nbsp;</div> <p style="text-align: justify;">Karen Kraven&rsquo;s works set up unexpected encounters between sculptures and images, uncanny resemblances and misleading juxtapositions.&nbsp;<em>Flip Flop, Punch Front&nbsp;</em>continues Kraven&rsquo;s interest in sport with an exploration of adornment, performance and conceptions of gender, class, race and nation state. The title of the exhibition refers to specific moves within gymnastics where action, stasis and the ability to push oneself manifests through composed performance. Focusing on excerpted elements of gesture, costume, decorated nails and leotards, and unbridled conviction, Kraven gathers bodily forms and images to question what is absent from the sidelines.</p> Sat, 04 Jul 2015 18:00:58 +0000 VSVSVS - Mercer Union - A Centre for Contemporary Art - July 9th 7:00 PM - 8:00 PM <p style="text-align: justify;">On&nbsp;Thursday 9 July, join us for an artist talk by VSVSVS in conversation with Georgina Jackson and Ashley McLellan. This talk will take place in the gallery starting at&nbsp;7PM.&nbsp;<br />&nbsp;</p> <div style="text-align: justify;"><em>Not together, but alongside</em>&nbsp;explores the potentiality of relationships between the viewer and the artist, the collective and the individual, and the gallery and the studio. In VSVSVS'&nbsp;large scale installation sprawling through the front gallery of Mercer Union, platforms become seats, objects perform and the potentiality of action plays out. Their material exploration and unfixed nature in the work conflates the formal and the comedic. The disparate elements that comprise the installation further emphasize its makers as a group of individuals with different ideas and art practices working together. That spirit and the process of discovering alternate viewpoints extends to the gallery visitor, because the experience is a negotiation of both physical bodies in space and what it means to assess or determine: to do or undo, the separation between the studio or gallery, and experiment or art object.</div> Sat, 04 Jul 2015 18:00:04 +0000 Gary Evans - Paul Petro Contemporary Art - July 17th - August 15th <p style="text-align: justify;">The work in <em>Ghost Host</em> comes from two different groups of imagery and media. The process of constructing the imagery however shares some common attributes: both are additive processes that start with fragmented sources. In the case of the paintings, small isolated areas of the landscape are recombined to create a sense of unique space and presence. In the collage work, imagery with inherent texture and photographic detail become edited shapes or fragments with a sense of their own shape identity, combined to create new imagery.<br /> <br /> The paintings are inspired by historic reference points but combine painted elements derived from a variety of source material. My main intention is to create an underlying feeling, where one place with obviously physical exterior familiarity represents in a masquerade of sorts something psychological, a thought or sensation with its own sensibility. I like the idea that two or more things are going on simultaneously, objectivity being shaped and given new structure by the subjective. The structural aspect of composition resolving, binding and freezing in place. Although the paintings are full of flux and movement I also hope that a static balance is a recognizable point of entry into the simultaneity of image and mystery.<br /> <br /> The collages are driven by a sense of drawing through editing and cutting. The availability of printed colour, it&rsquo;s quality and ubiquity, lend the collages a different sensibility. However, the formal sensations I hope to evoke are similar to those in the paintings. What manifests itself is thankfully less controlled as the context of one shape against or over another creates novelty and spatial anomalies. That is for me the engaging process decided through the arranging that happens before the gluing. <br /> <br /> When I initially started this process I would carefully excise shapes from pictures with a knife leaving the page in the magazine. I was struck by how the remaining combinations revealed an underlying image far superior in a way to the constructed image I was making in white space. I realized at that point our expectations of collage are often predicated on it making random and unsettling or uncanny juxtapositions. In this way I actually feel that these collages are better described as a process of montage, with the specifics of form and the sense of photographic space and texture being composed in a very purposeful manner. The vibrancy that [I hope] they achieve comes from the juxtaposition of flatness, in both the white space and the magazine surface, against the form found in both the volume depicted in imagery and the identity of the shape and outline. <br /> <br /> It is the mystery of perceived movement that these montage works suggest which I find compelling; the sense of presence in the fabrics and shapes that speak of structure, like some great apparatus that has held them in place has suddenly disappeared and we see the impressions and tensions left behind. This idea of an inherent yet mysterious structure is the inspiration for the show&rsquo;s title and hopefully the link between the two bodies of work.<br /> <br /> -- Gary Evans, June 2015</p> Wed, 01 Jul 2015 11:43:14 +0000 André Ethier - Paul Petro Contemporary Art - July 17th - August 15th Wed, 01 Jul 2015 11:43:38 +0000 Andrew Harwood - Paul Petro Contemporary Art - June 5th - July 11th Wed, 01 Jul 2015 10:36:37 +0000 Jen Aitken, Abbas Akhavan, Aude Pariset, Nicolas Sassoon, Mark Soo, Rachelle Sawatsky - Diaz Contemporary - July 18th - August 22nd Wed, 01 Jul 2015 10:33:38 +0000 Nicholas Crombach - Angell Gallery - July 25th - August 15th <div class="text"> <p style="text-align: justify;"><strong>ANGELL GALLERY</strong> is pleased to present <strong>NICHOLAS CROMBACH</strong><strong>: <em>TRAPPED</em></strong>, a solo exhibition of recent figurative sculpture by this award-winning artist. The show runs in the east gallery from <strong>July 25 to August 15, 2015</strong>, with an opening reception on <strong>Saturday, July 25, 1:00 to 4:00 PM</strong>.</p> <p style="text-align: justify;">In the past two decades, figurative sculpture has re-emerged as a potent form, with international heavy hitters such as Kiki Smith, Charles Ray, Maurizio Cattelan, Carole Feuerman and Pierre Huyghe using figuration to express a wide spectrum of issues.</p> <p style="text-align: justify;">In presenting 2014&rsquo;s twenty-five person group show, <em>The Human Factor: The Figure in Contemporary Sculpture</em>, the Hayward Gallery in London noted that artists today &ldquo;use the figure as a point of departure for exploring a far-ranging social landscape, and for questioning the ways in which we represent the &lsquo;human&rsquo; today.&nbsp;</p> <p style="text-align: justify;">Within Canada, emerging artist <strong>Nicholas Crombach</strong> is quickly joining the ranks of Evan Penny, Stephen Scofield and Karine Giboulo as an important figurative sculptor. While working within the tradition of representation, <strong>Crombach</strong>, like Giboulo, tackles contemporary ethical issues, specifically our dependency on, and obsession and coexistence with the animal world. Raised on a dairy farm, <strong>Crombach</strong> grew up surrounded by animals, and the works in <em><strong>Trapped</strong></em> act as a metaphor for humankind&rsquo;s paradoxical relationship with our fellow creatures.</p> <p style="text-align: justify;">Canny juxtapositions of domestic objects, human figures and animals, sculpted in clay then cast in resin, represent the complex dynamics of instinct and emotion. An aging male wearing long johns and a toque, a classic Canadian symbol, carries a toy bow and arrow. Like the other figures in <em><strong>Trapped</strong></em>, he appears resigned, exhausted, a prisoner of life, his weapons transformed from tools of survival into the accoutrements of a child&rsquo;s game. In the large wall-mounted sculpture, <em>Still Life</em>, a representation of a bear hide, coupled with a bouquet of flowers and an empty vase, reference the Dutch 17th century vanitas tradition, while questioning the ethics of trophy hunting and taxidermy.</p> <p style="text-align: justify;">Several works feature the unusual technique of embroidered lead. The contrast between these two very different materials is mirrored by the opposing themes they embody. In <em>Kissed Goodbye</em>, a pebble, slingshot and dead bird evoke both regret and triumph, a fitting statement on the human-animal relationship.</p> <p style="text-align: justify;"><strong>Nicholas Crombach</strong> graduated from OCAD University&rsquo;s Sculpture and Installation program in 2012. He has been awarded the Hayden Davies Memorial Award, Samuel Lazar Kagan Award, Abraham and Malka Green Award, and a BMO 1st Art Nomination. His work has been seen at Word On The Street, Katharine Mulherin Contemporary Art Projects, the Al Green Gallery and Whippersnapper in Toronto. He was also preselected for <em>Figurativas 13</em> at the Museum of Modern Art in Barcelona. In 2012 Crombach executed a public art commission, <em>Billy, Nanny, and the Kids</em>, in Burlington.</p> </div> Wed, 01 Jul 2015 11:43:41 +0000 Nadia Belerique, Lili Huston-Herterich, Laurie Kang - The Power Plant - June 20th - September 7th <h2 class="contentSummary" style="text-align: justify;"><span style="font-size: small;">A collaborative project by Nadia Belerique, Lili Huston-Herterich and Laurie Kang. The forms of collaboration implicit in this project are not found simply within the artists&rsquo; collectivity but implicate the curator, the institution, the viewer and the space of the gallery itself.</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Nadia Belerique, Lili Huston-Herterich and Laurie Kang employ distinct approaches to the investigation of the intrinsic playfulness and performativity of objects and photographs in their individual artistic practices. Invited to work collectively for The Power Plant, the artists&rsquo; first group project appears within the frame of a wider examination of contemporary collaboration. </span><br /> <br /><span style="font-size: small;"> Taking this invitation as its starting point, <em>The Mouth Holds the Tongue</em> foregrounds the pleasures inherent in representing and experiencing time and space. It points towards collaborative methodologies by privileging temporal fissures and offering temporality as a visceral means of organizing individuals non-hierarchically. The forms of collaboration implicit in this project are not found simply within the artists&rsquo; collectivity but implicate the curator, the institution, the viewer and the space of the gallery itself. </span><br /> <br /><span style="font-size: small;"> Aimed at redistributing institutional forms of power, the artists&rsquo; site-specific architectural structure renders fluid the roles of all those involved in the exhibition as well as those of the artworks and walls that bear them as they begin to meld and fold into one another. Effectively turning the gallery space upside-down, this approach functions to entangle bodies through non-sequential interactions. In so doing, the artists provide opportunities for those navigating their space to connect in varying degrees of reciprocity.</span><br /> <br /><span style="font-size: small;"> The structure&rsquo;s reference point comes from architect Aldo Van Eyck&rsquo;s temporary pavillion built for the 1966 Sonsbeek Exhibition in Arnhem, Netherlands. The pavillion, originally intended to house a series of artworks, sought to achieve Van Eyck&rsquo;s concept of labyrinthine clarity, an architectural approach aimed at offering a more playful and fluid interaction amongst individual users. Such structures employing this concept embrace the ambiguity of time and space and prompt their users to move freely within them. The artists&rsquo; reworking of Van Eyck&rsquo;s Sonsbeek hinges on a sense of feminist rigour in its redistribution of the architectural elements typically found in the white cube. Having been turned upside-down, the walls of the structure curve and bend spontaneously, hanging above the floor in an effort to propose a more horizontal approach to interaction. More, the artists&rsquo; choice of construction materials themselves evoke possibilities for growth and activity to occur. </span><br /> <br /><span style="font-size: small;"> The exhibition&rsquo;s title therefore alludes to the artists&rsquo; conception of the space itself: a richly active and fertile environment that breeds multiple metaphors and interpretations. By reframing conventional hierarchies through the exhibition&rsquo;s form and gestural treatments, the artists provoke consideration of both the feasibility and impossibility of the concepts underpinning their project through its concrete manifestation. The space and its users are thus at once the mouth and tongue working together; the structure actively embodying the possibility to redistribute the roles and positions of its inhabitants. </span><br /> <br /> <br /> <br /><span style="font-size: small;"> Nadia Belerique constructs installations that engage with the poetics of perception and the ways in which images perform in contemporary culture. She received her MFA from the University of Guelph, and has recently exhibited at such venues as Daniel Faria Gallery, Toronto (2014), and Kunsthalle Wein, Vienna (2014). She was awarded the BMW Exhibition Prize during Scotiabank Contact Photography Festival in 2014. Belerique has upcoming exhibitions at Tomorrow Gallery, New York, and the Art Gallery of Hamilton. </span><br /> <br /><span style="font-size: small;"> Lili Huston-Herterich has maintained an active studio and curatorial practice in Toronto since she received her BFA from York University in 2010. With a focus on multidisciplinary installation, Huston-Herterich's studio practice is informed by the tendencies of space and how it shapes the movements within it. She has recently exhibited at Peregrine Program, Chicago (2015); 8-eleven Gallery, Toronto (2014); Birch Contemporary, Toronto (2014); and OCAD University, Toronto (2014).</span><br /> <br /><span style="font-size: small;"> Laurie Kang works in image-based sculpture and installation. Exhibition and project sites include the Art Gallery of Ontario (2014); Feldbuschwiesner, Berlin (2014); Erin Stump Projects, Toronto (2013); Gallery 295, Vancouver (2013); Camera Austria, Graz (2013) and Art Metropole, Toronto (2012). She is an MFA candidate at Bard College.</span></p> Wed, 01 Jul 2015 10:15:27 +0000 Tercerunquinto - The Power Plant - June 20th - September 7th <h2 class="contentSummary" style="text-align: justify;"><span style="font-size: small;"><em>Mine </em>is a newly commissioned project with a title that refers on the one hand to the commercial activity that involves extracting valuable subterranean minerals and on the other appropriates the possessive pronoun referring to that which belongs to the associated speaker.</span></h2> <p style="text-align: justify;"><span style="font-size: small;">The artist collective jointly known as Tercerunquinto came together in 1998 and is comprised of Julio Castro Carre&oacute;n, Gabriel C&aacute;zares Salas and Rolando Flores Tovar. Their projects involve processes of negotiation that enact architectural or infrastructural interventions within public and private spaces. In an effort to reveal the organization of cultural systems, Tercerunquinto&rsquo;s projects interrogate the limits and possibilities of various institutional spheres and reveal the viewer&rsquo;s subject position within the scope of such domains. </span><br /> <br /><span style="font-size: small;"> In 2005 the collective was invited to create a site-specific intervention at The Power Plant within the framework of a group exhibition entitled <em>Dedicated to you but you weren&rsquo;t listening</em> curated by Reid Shier. Their project <em>Open Access</em> (2005) involved the installation of a second public entrance into the gallery allowing audiences the opportunity to circumvent admission fees and front of house staff and procedures. Ten years later, Tercerunquinto return to The Power Plant and reflect upon the changes to the site and surround of the institution. </span><br /> <br /><span style="font-size: small;"> Their response reduces the pristine white cube to a hole in the ground. Their gesture touches upon the traditions of indoor earthworks from the 1960s and 70s and its foray into a history of institutional critique. <em>Mine</em> is a newly commissioned project with a title that refers on the one hand to the commercial activity that involves extracting valuable subterranean minerals and on the other appropriates the possessive pronoun referring to that which belongs to the associated speaker. Through the artists&rsquo; nimble allusion to linguistic and geographic references, their project points to questions surrounding shifting conceptions of territory. More, their gesture of excavation disrupts the notion of ownership and complicates our understanding of property as it relates to both Canada&rsquo;s mining industry and its relationship to Indigenous populations.</span><br /> <br /><span style="font-size: small;"> Their excavation began as an implicit response to a call for site-specificity, for commissioned work from the artist. As a result, <em>Mine</em> passes through several varied contexts in an effort to create a moment for discursivity, to reflect upon the sets of questions inherent in discussing appropriation. At its core, <em>Mine </em>calls out to its viewers and asks them to question their sense of possession: what does and does not belong to them.</span><br /> <br /><span style="font-size: small;"> Tercerunquinto was formed in 1998 in Monterrey, Mexico. The collective has developed projects that affect both public and private spaces, questioning the limits between the two, disarticulating the elements that make up these systems and disassembling the logical order of their interrelationships. It has also sought to challenge the borders organized around the constitution of a system, be it architectonic or urban, tracing their implications and effects in personal, social, cultural or political orders. Tercerunquinto has had solo exhibitions at Kunstmuseum Bochum, Germany (2014); Galerie Peter Kilchmann, Zurich (2013); Kunsthalle Basel, Switzerland (2013); Proyectos Monclova Gallery, Mexico City (2012); Museum of Contemporary Art Denver (2012); Matadero Madrid (2012); Espai d&rsquo;art contemporani de Castell&oacute;, Castell&oacute;n de la Plana, Spain (2011); and Sala de Arte P&uacute;blico Siqueiros, Mexico City (2011), among others. The artists have also shown in group exhibitions in such venues as The Modern Museum of Fort Worth, Texas; Centro de Arte Contempor&aacute;neo, Quito, Ecuador; Museo Tamayo Arte Contempor&aacute;neo, Mexico City; Stedelijk Museum voor Actuele Kunst, Gent, Belgium; Level 2 Gallery Tate Modern, London; Mus&eacute;e D&rsquo;Art Moderne, Paris; and Centre d&rsquo;Art Contemporain, Geneva, among others. Tercerunquinto is based in Mexico City.</span></p> Wed, 01 Jul 2015 10:12:56 +0000 Bik van der Pol - The Power Plant - June 20th - September 7th <h2 class="contentSummary" style="text-align: justify;"><span style="font-size: small;">For their commissioned project at The Power Plant, Bik Van der Pol continues their investigation on the ways that human activity in the globalized age has a direct effect on ecological systems.</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Liesbeth Bik and Jos van der Pol have worked collectively since 1995. The production and circulation of knowledge is an important tool in their practice, which is predominantly context-specific and largely driven by examining the potential and possibilities of art and research. Their projects often take the form of site-specific installations, participatory environments and discursive activities in order to make visible the largely unnoticed conditions or realities of a globalized economy and its effect on urban and natural spaces. </span><br /> <br /><span style="font-size: small;"> For instance, in 2010 the duo first exhibited <em>Are you really sure a floor can&rsquo;t also be a ceiling</em>; an architectural structure loosely based on Mies van der Rohe&rsquo;s Farnsworth house. Largely considered one of the most radically minimalist homes ever designed, the Farnsworth house aimed to intertwine the realms of indoor and outdoor space. The artists&rsquo; model functioned as a temporary home for butterflies, recognized as an indicator species for climate change as they are particularly sensitive to environmental degradation. </span><br /> <br /><span style="font-size: small;"> For their commissioned project at The Power Plant, Bik Van der Pol continues their investigation on the ways that human activity in the globalized age has a direct effect on ecological systems. Their title references the concept of eminent domain coined by author Hugo Grotius in 1625. Eminent domain is understood as the power that the State may exercise over land within its territory, whereby the government or one of its agencies has the right to expropriate private property for public use through payment or compensation. By foregrounding this concept, Bik Van der Pol&rsquo;s project alludes to the increasing privatization of previously public goods including territory, property and the public domain at large. </span><br /> <br /><span style="font-size: small;"> Through installation and sound, they have conceived of an environment in the gallery that makes it possible to grasp the overwhelming data related to ecology and species extinction figures. Soundscape Ecologist Dr. Bernie Krause contributes to the environment through the installation of collective and structured sounds produced in healthy habitats in Borneo, Costa Rica, Sumatra and Zimbabwe from the 1990s. Since their original recordings, each habitat has changed drastically as a direct result of human intervention and natural disasters. Krause&rsquo;s soundscapes coupled with figures affected by ecological changes results in a project that moves data from abstraction to experience. </span><br /> <br /><span style="font-size: small;"> By physically situating and mirroring the viewer amidst these statistics, they shift from spectator to engaged participant. As a result, Bik Van der Pol&rsquo;s research offers an opportunity for the gallery to become a site for discursive activities that examines both the re-articulation of public and private property and the threat of such activities on natural environments. </span><br /> <br /><span style="font-size: small;"> Through their practice, Bik Van der Pol aim to articulate and understand how art can produce a public sphere, and to create space for speculation and imagination. This includes forms of mediation through which publicness is not only defined but also created. Their working method is based on co-operation and research inquiries surrounding the activation of situations serving the creation of platforms for various kinds of communicative activities. Recent solo shows and projects include Ternitz, Austria (2014); 31st Bienal de S&atilde;o Paulo (2014); Witte de With Center for Contemporary Art, Rotterdam (2014); CAFAM Biennial, Beijing (2014); the Biennale of Mercosul, Porto Alegre (2013); Hoog Catherijne, Utrecht (2013); Between A Rock and A Hard Place in collaboration with Musagetes, Sudbury, ON (2011); The ENEL Award; MACRO, Rome (2010); and The Western Front, Vancouver (2010). Recent curatorial projects include Kunstfort Asperen, Acqouy (2011); and <em>Plug In</em>, Van Abbemuseum, Eindhoven (2009). They are currently the course directors of the School of Missing Studies at the Sandberg Institute in Amsterdam.</span><br /> <br /><span style="font-size: small;"> Audio field recordings by Dr. Bernie Krause, Wild Sanctuary, Glen Ellen, California. &copy; 2015 Wild Sanctuary. All Rights Reserved.</span></p> Wed, 01 Jul 2015 10:11:30 +0000 - The Power Plant - July 1st - September 7th <h2 class="contentSummary" style="text-align: justify;"><span style="font-size: small;"><em>(art)work(sport)work(sex)work</em> aims to map how ideologies, socially accepted norms and legislations govern the conditions of work and participation within the fields of contemporary art, multi-sports events and sex trade. In an effort to triangulate these fields and situate them within the urban space of Toronto, a series of bus rides will take place each Saturday throughout the duration of the exhibition.</span></h2> <p style="text-align: justify;"><span style="font-size: small;"><strong>YES! Association/F&ouml;reningen JA!<br /> In dialogue with Emy Fem <br /> <br /> Bus rides hosted by Sophy Chan, Mich&egrave;le Pearson Clarke, Emy Fem, Savoy "Kapow!" Howe, Maria Hupfield, Elene Lam together with Butterfly &ndash; Asian and Migrant Sex Workers Support Network, Pearl Love Lee, Frances Mahon and Megan Ross, Leslie McCue and Lindy Kinoshameg, Hazel Meyer and Cait McKinney, Malin Arnell and &Aring;sa Elz&eacute;n from YES! Association/F&ouml;reningen JA! <br /> <br /> CURATED BY JULIA PAOLI</strong></span><br /> <br /><span style="font-size: small;"> Within the context of this season&rsquo;s wider examination of contemporary collaborations, The Power Plant presents a commissioned project by YES! Association/F&ouml;reningen JA!, an art collective, an artwork, an association, an art worker, an institution, a group of people working to overthrow the ruling system of heteronormative, patriarchal, racist and capitalist power structures. YES! Association/F&ouml;reningen JA! puts into practice a structural redistribution of access to financial resources, space and time within the contemporary art sphere through engaging in strategies related to rights discourse and inclusion, radical difference and utopia. </span><br /> <br /><span style="font-size: small;"> <em>(art)work(sport)work(sex)work</em> aims to map how ideologies, socially accepted norms and legislations govern the conditions of work and participation within the fields of contemporary art, multi-sports events and sex trade, by specifically addressing The Power Plant, the Pan Am and Parapan American Games, hosted in Toronto this summer, and Canada&rsquo;s new sex trade law Bill C-36. In so doing, YES! Association/F&ouml;reningen JA!&rsquo;s project prompts a series of questions: How are these fields connected and entangled with one another? How are the divisions amongst them demarcated? What governing bodies are given the power to define these demarcations? Who is able to work within each field? What are the regulations that condition ones behaviour and why are these regulations within each field markedly different from one another?</span><br /> <br /><span style="font-size: small;"> In an effort to triangulate these fields and situate them within the urban space of Toronto, YES! Association/F&ouml;reningen JA! has allocated a portion of its exhibition budget towards a series of bus rides that will take place each Saturday throughout the duration of the exhibition. People and groups based in Ontario who work within the fields of visual art, sports culture and sex trade have been invited to host each week&rsquo;s ride. </span><br /> <br /><span style="font-size: small;"> The bus rides provide an intimate space, a collective mode of transport, bringing participants together while moving through the infrastructure of the city and offer time and space for collective responsibility, sustained engagement and trust. Before embarking on the ride, participants meet within the exhibition space where YES! Association/F&ouml;reningen JA! has constructed a liminal space, a bus terminal of sorts, that houses material and objects in relation to the invited hosts&rsquo; engagements and work. The space itself is ever-evolving, as documentation from the previous week&rsquo;s ride is continuously added. </span><br /> <br /><span style="font-size: small;"> Through both the scope and framework of <em>(art)work(sport)work(sex)work</em>, YES! Association/F&ouml;reningen JA! presents a project that carries both the risks and the possibilities in positioning the institution as a site that can be regularly taken up, challenged and reconstituted by those who create, inhabit, critique, and disassemble it.</span></p> Wed, 01 Jul 2015 10:09:09 +0000 Dean Baldwin - Katharine Mulherin Contemporary Art Projects - June 18th - July 19th <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">To coincide with the artist's summer exhibition<em> QWYC (Queen West Yacht Club)</em> at the MOCCA in Toronto, MULHERIN is pleased to present a selection of recent photo-based and sculptural work by Canadian artist, Dean Baldwin. The exhibition opens on Thursday, June 18 from 6-9 pm.</span><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"> <br /></span></p> <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Artist Dean Baldwin's installation, photo and video work often employsfood, drink and social practices that actively engage the audience and invite participation. The artist obtained a BFA from York University in Toronto and a Masters of Fine Arts from Concordia University in Montreal. His work h<span style="color: #222222;">as </span><span style="color: #222222;">been </span><span style="color: #222222;">exhibited at Centre Clark in Montreal, the Art Gallery of Ontario, No. 9: Contemporary Art &amp; Environment,</span><span style="color: #222222;"> JMB Gallery Hart House and Katharine Mulherin Contemporary in Toronto, Space Studios in London, Volta 5, Basel (with Katharine Mulherin) and White Box in New York. H</span><span style="color: #222222;">is work was included in</span><span style="color: #222222;"> the Montreal Museum of Contemporary Art's Triennial and the Oh, Canada exhibition at Mass MoCA. </span><span style="color: #222222;">In 2013,</span><span style="color: #222222;"> he was the artist in residence at Darling Foundry </span><span style="color: #222222;">(Montreal) exchange </span><span style="color: #222222;">program in Mumbai, India.</span></span></p> Wed, 01 Jul 2015 10:04:33 +0000 André Kertész - Corkin Gallery - July 7th - August 31st <p>"Buenos Aires, Mexico, New York, Toronto" includes photographs by Andr&eacute; Kert&eacute;sz from across the Pan-Americas.<br /><br />After Kert&eacute;sz and his brother Eugenie fled Hungary, Andr&eacute; immigrated to New York while his brother immigrated to Buenos Aires. The two remained close and frequently visited each other. This is the story of the Americas - of movement and displacement.<br /><br />Known for his lyrical, spontaneous photographs of everyday life, Kertesz's black-and-white images have exerted a strong influence on both art photography and photojournalism.</p> Tue, 30 Jun 2015 19:27:07 +0000