ArtSlant - Recently added en-us 40 Zachari Logan - Paul Petro Contemporary Art - June 3rd - July 2nd <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 14:43:54 +0000 Morley Shayuk - Paul Petro Contemporary Art - June 3rd - July 2nd <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 14:42:34 +0000 Matthew Schofield - Nicholas Metivier Gallery - May 26th - June 18th <p style="text-align: justify;">Nicholas Metivier Gallery is pleased to announce an exhibition of paintings by Matthew Schofield. The exhibition will open on May 26th and run until June 18th with an opening reception on Thursday, May 26th. This is Schofield&rsquo;s first solo exhibition at the gallery.&nbsp;<br /> <br /> In his paintings, Matthew Schofield embraces the experimentation of the amateur photographer as well as the photograph as a tactile object. Typically rendered in a 1:1 scale, his work meticulously reproduces every aspect of the photographs, including characteristic markings such as writing, fading and tears. Schofield&rsquo;s process - appropriating the images, rendering them in oil paint and reconfiguring them into a new narrative &ndash;pays homage to the traditional family snapshot that is rapidly becoming obsolete while eschewing sentimentality with his systematic approach.<br /> <br /> Schofield&rsquo;s most recent body of work was derived from a single archive of photographs, gifted to him by someone unrelated and unknown. This unusual act sparked Schofield&rsquo;s curiosity and presented an opportunity to tell a story out of the images left behind. The archive consisted of 39 unique photographs, mostly black and white with some colour Polaroids. Schofield rendered each photograph in oil paint, true to scale, and captured the nuances and tonal variations in vintage photographs with hand-mixed blacks. In reproducing this archive, Schofield elevates the snapshot medium and makes public what was originally intended for an intimate audience.<br /> <br /> <em>The act of painting alters the imagery from its simple record of reality by omission of details, altering the focus of the image and the mood or gesture of the characters. The likeness to the original photograph depends on the way something is considered, weighed and extracted. These alterations hint at the nature of selective memory where the snapshot itself has no real significance other than the psychological connection the photographer has with the image as a symbol of past experience.</em> &ndash; Matthew Schofield<br /> <br /> Matthew Schofield has exhibited in Canada and internationally since 1996. His work has been shown in museums and commercial galleries in Canada, France and the United States.&nbsp; In 2014, Schofield was featured in an exhibition at the Art Gallery of Hamilton, <em>Painting Hamilton</em>.<br /> <br /> For more information on this artist, <a href="" target="_blank">click here</a>.</p> Tue, 17 May 2016 14:39:48 +0000 Adam David Brown - MKG127 - May 28th - June 25th Tue, 17 May 2016 14:37:02 +0000 Kristine Moran - Daniel Faria Gallery - July 9th - July 23rd Tue, 17 May 2016 14:32:35 +0000 Adam Lee - Angell Gallery - June 3rd - July 2nd <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 14:20:15 +0000 Franz Erhard Walther - The Power Plant - June 25th - September 5th <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 10:59:57 +0000 Ulla von Brandenburg - The Power Plant - June 25th - September 5th <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 10:58:05 +0000 Leslie Hewitt - Olga Korper Gallery - April 28th - May 31st <p style="text-align: justify;">The studies of space, particularly in the realm of sculpture and the built environment, have arguably shifted to the role of the photograph and the conceptions of reality and the sensation of the immediate past it creates. &nbsp;The photograph is certainly both an object for constructing and a material/medium for transformation in the work of Leslie Hewitt. Hewitt&rsquo;s engagement with time and the representations of such is motivated by the simple desire to explore the fullness of the experience of looking (observing) by limiting and at times ignoring visual convention.</p> <p style="text-align: justify;">To transform lack of data or information into propositions for viewers to look deeply at the relationships found between images or between images and text, text and subject, scale, color or texture, all creating an expanded visual field.&nbsp; Art Historian Courtney J. Martin in her 2009 essay &ldquo;And Sometimes an Orange&rdquo; wrote: <em>Hewitt has some interest in the currency of common objects, having spent time in the Netherlands immersing herself in its art historical literature. Her images, and their ultimate presentation as built forms, take on the task of describing rather than photographing, taking, recording, noting, capturing, or any of the actions normally ascribed to the two-dimensional photographic process. What this means is that what we read into these images is determined by our own connotations led by Hewitt&rsquo;s vivid photo-real descriptions.&nbsp; </em></p> <p style="text-align: justify;">In Still Life (2013), there is a constant throughout the series provided by James Baldwin&rsquo;s seminal 1963 book, The Fire Next Time, seen in each photograph alternating in visibility. Positioned in relation to found photographs, other books, a maple wood board, and a perfectly sliced lemon (a nod toward 17th century still life painting), each composition is a continuum of a deconstructed yet reassembled contemporary still life that points to the socio-political past in letters and interiors. <em>Color Study_00 Series</em> (2016)&nbsp; <em>presence of labor and other intangibles</em> (2016) and <em>Screen Series (2016)</em> continue Hewitt&rsquo;s post-conceptual approach to still life through color, texture and inference interplay.</p> <p style="text-align: justify;"><em>Color Study_00 Series</em> (2016) and <em>Screen Series (2016)</em> takes form after Hewitt spent time researching at the Hasselblad Foundation in G&ouml;teborg, Sweden.&nbsp; Her ongoing interest in the shifting ideas around perception and observation in our ever&ndash;changing image saturated culture and the potential for new ways of seeing and experiencing are paramount.&nbsp; Drawing idiosyncratic connections to the work of botanist Anders Dahl (1751-1789), the botanical diversity in the Americas, the work of abstract painter Alma Thomas (1891-1978) and to her grandmother Helen Hewitt&rsquo;s love of color (1917-2014) through the Dahlia flower, Hewitt uses repetition and subtle almost indiscernible shifts to play openly with the act of&nbsp; &ldquo;searching&rdquo; for a connection to the natural world through the monocular gaze of the camera.</p> <p style="text-align: justify;">Leslie Hewitt&rsquo;s installations often call attention to a dynamic push/pull between the flat and the multi-dimensional, and to the audience&rsquo;s physical relationship to the works on view. In <em>presence of labor and other intangibles</em> (2016), a <em>Riffs on Real Time (1 of 10)</em> photograph and a vinyl line at eye level are shown with a sculpture that leans against the wall and mimics standard wall construction and the dimensions of a doorway. Borrowing the language of modernist architecture, the sculpture creates new relationships between the works on view, shifting attention back and forth between the visual, pictorial images in the photograph (which exist in the past, and are experienced visually, mentally, and emotionally through our eyes and minds) and the experience of the physical encounter.</p> Tue, 17 May 2016 10:50:17 +0000 Sto Len - Katharine Mulherin Contemporary Art Projects - May 13th - June 12th <p style="text-align: justify;">Suminagashi, or floating ink, is a centuries old paper marbling process that originated in Japan and was often practiced as meditation by Buddhist monks. This exercise captures in visual form a moment in time when nature (in the form of water and air currents) bonds with the human spirit (chi, energy and breath or physical movement). </p> <p style="text-align: justify;">In Tsunaminagashi, Sto Len creates an updated version of this method that is akin to disrupting the calm water of its origins with the giant waves of a colorful tsunami. Renouncing the fussiness historically associated with the decorative process of paper marbling, Sto Len's monoprints celebrate chaos and the ability to collaborate with natural forces. </p> <p style="text-align: justify;">Layers of oil paint, spray paint, and dirt are built up on the water surface for hours and sometimes days, creating a floating painting that is then disturbed with brush work, wind, or oils and eventually captured by dragging paper across the surface. This untraditional process allows for the chance intervention of nature to inform these textured and dimensional works. Dense colors float, bleed, and blend with dirt and oils creating a thick residue that is not unlike a psychedelic oil spill. Patterns often emerge over time from evaporation and the end results celebrate nature, gravity, visceral color, time and gestural mark making.</p> Tue, 17 May 2016 10:18:01 +0000 Jeff Bierk - Katharine Mulherin Contemporary Art Projects - May 13th - June 12th <p style="text-align: justify;">In collaboration with "Jimmy" James Evans, Donald Evans, Brent, Bluenose, &amp; Carl Lance Bonnici</p> <p style="text-align: justify;">Do not let beauty waste in the hairless leg, the supple back, the orgasmic flash in the forest, the hyper saturated sky over the ocean. Let it reign the pale night, the unhinged mane, the crooked nose. Now that the leaves are stripped of their ochre and the wounds of their crimson and all are soaked in soft cyan, do they blend to your walls? Here then, let the vision of Donny sublimated in silk, laid down in leaves wipe away the great distortion. And, if you allow him, Jimmy, taking cover twice over in himself as he has for an entire life, reveals the beauty of all the time in between.-Simone Schmidt</p> <p style="text-align: justify;">In Top Left, Jeff Bierk continues his documentation of the Toronto neighbourhoods where he lives and works, with collaborators "Jimmy" James Evans, Bluenose, Brent, Donny Evans and Carl Lance Bonnici. While often mischaracterized as a street photographer, Bierk has distinguished himself by developing a collaborative portraiture practice that interrogates the ethics of the growing trend. Working in opposition to the widening of class and digital divides, the collaborators work with a principle of full transparency throughout the process of making photographs, mounting shows and profit splitting. In doing so, the photographer acknowledges that without the labour that his collaborators put into daily life, none of the photographs would be possible.</p> <div class="page" title="Page 2"> <div class="section" style="background-color: rgb(100.000000%, 100.000000%, 100.000000%);"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">Jeff Bierk (b. 1982, Peterborough, ON) is an artist who works in photography and video. He works at Downtown Camera, one of the last camera stores in Toronto. He has no formal education or training in photography. Bierk's work has been shown in group and solo exhibitions at A/C Repair, UTAC, O'Born Contemporary, General Hardware, Fountain Contemporary, Mark Christopher Gallery, Toronto, Art Gallery of Peterborough, Peterborough, CRAM Gallery, St. Catharines, and Platform Gallery, Winnipeg, along with a public installation in Ponti di Breta, Italy. He has been published in Flash Forward (Selected Winner Canada, 2012, 2015), Night Papers (Night Gallery, LAABF), Canadian Art, Carbon Paper, Four Poets and Editorial Magazine. Currently his collaborative work with "Jimmy" James Evans and Carl Lance Bonnici, "10 Blankets" is a featured public installation in CONTACT Photography Festival 2016.</p> <p style="text-align: justify;">The artist gratefully acknowledges support from the Toronto Arts Council, Ontario Arts Council and Canada Council for the Arts.</p> </div> </div> </div> </div> Tue, 17 May 2016 10:16:11 +0000 Vanessa Maltese - Cooper Cole - June 24th - July 23rd Tue, 17 May 2016 10:13:40 +0000 Nathalie Du Pasquier - Cooper Cole - June 24th - July 23rd Tue, 17 May 2016 10:13:25 +0000 Alex Morrison - Clint Roenisch Gallery - May 13th - June 18th <p style="text-align: justify;">Clint Roenisch is pleased to present Cat Math, Alex Morrison's first exhibition with the gallery. <br /> <br /> Morrison's art engages a pre-modern architecture and design history - moments from art deco, utopian architecture, and interior design all inform his work. In his installations and objects, Morrison is interested in the constant recycling of aesthetic codes - the post-modern pre-modern - and how these aesthetics are used to stand in for outside notions of authenticity. This is not the history of 'important' art and artists, but rather a history of the kind of peripheral art that ornaments middle-class houses, advertises for small businesses, or hangs behind nostalgic bars. In Morrison's work all these complex references are brought into relation in a single picture frame - like that of the cubists. Depth and surface are in constant disagreement.<br /> <br /> Henry Andersen / Sonia Dermience<br /> Komplot<br /> <br /> "Cats are prowlers, uncanny creatures of the night. Cruelty and play are one for them. They live by and for fear, practicing being scared or spooking humans by sudden rushings and ambushes. Cats dwell in the occult--that is, the &lsquo;hidden&rsquo; [&hellip;] The cat is telepathic - or at least it thinks that it is. Many people are unnerved by its cool stare. Compared to dogs, slavishly eager to please, cats are autocrats of naked self-interest. Their 'evil' look at such times is no human projection: the cat may be the only animal who savours the perverse or reflects upon it [&hellip;] Thus the cat is an adept of chthonian mysteries. But it has a hieratic duality. It is eye-intense. The cat fuses the Gorgon eye of appetite to the detached Apollonian eye of contemplation [&hellip;] it also fashionably loves to see and be seen; it is a spectator of life's drama, amused, condescending. It is a narcissist, always adjusting its appearance [&hellip;] Cats have a sense of pictorial composition: they station themselves symmetrically on chairs, rugs, even a sheet of paper on the floor. Cats adhere to an Apollonian metric of mathematical space. Haughty, solitary, precise, they are arbiters of elegance [&hellip;] Cats are poseurs. They have a sense of persona - and become visibly embarrassed when reality punctures their dignity. [&hellip;] The cat's sophisticated personae are masks of an advanced theatricality [&hellip;] The cat is a law unto itself. It has never lost its despotic air of Oriental luxury and indolence. It was too feminine for the male-loving Greeks [&hellip;] The cat spoke of Egypt's invention of femininity, an aesthetic of social practice removed from nature's brutal female machinery [&hellip;] The Egyptians admired sleekness in greyhounds, jackals and hawks. Sleekness is smooth Apollonian contour. But slinkiness is the sinuous craft of daemonic darkness which the cat carries into day [&hellip;] Cats have secret thoughts, a divided consciousness. No other animal is capable of ambivalence, those ambiguous cross-currents of feeling as when a purring cat simultaneously buries its teeth warningly in one's arm [&hellip;] The cat's ambivalent duality is dramatised in erratic mood swings, abrupt leaps from torpor to mania, by which it checks our presumption: 'Come no closer. I can never be known.'<br /> <br /> Taken from Sexual Personae, a book by Camille Paglia, excerpted from the chapter: 'The Birth of the Western Eye'.<br /> <br /> Alex Morrison (1971) was born in Redruth, UK and currently lives and works in Brussels. Morrison has had solo exhibitions at Komplot, Brussels(2016); M&eacute;lange, Cologne(2015), Simon Fraser University Art Gallery, Vancouver, (2015); Burnaby Art Gallery, Vancouver (2015); Natalia Hug Gallery, Cologne (2013); OG2 at K&ouml;lnischer Kunstverein, Cologne (2012); Catriona Jeffries, Vancouver (2011) Artspeak, Vancouver (2010); B&uuml;ro Friedrich, Berlin (2005) and Frankfurter Kunstverein, Frankfurt (2003). Selected group shows include: Cut The World Until It Fits On The Back Of Your Hand, Clint Roenisch, Toronto (2016); Stopping the Sun In It&rsquo;s Course, Fran&ccedil;ois Ghebaly Gallery, Los Angeles (2015); The Poetics of Space, Vancouver Art Gallery (2015); Be Mysterious, Walter Phillips Gallery (2014); Blue Times, Vienna Kunsthalle, Vienna (2014); Melanchotopia, Witte de With, Rotterdam (2011), Sydney Biennial (2010); It Is What It Is, National Gallery of Canada, Ottawa (2010); Following a Line, Contemporary Art Gallery, Vancouver (2010); Cubes, Blocks and Other Spaces, Mus&eacute;e d&rsquo;art contemporain de Montr&eacute;al, (2009); Getting Even, Kunstverein Hannover (2009); Belvedere, Henry Moore Institute, Leeds (2000). Sternberg Press published a monograph on Morrison's work as part of their pocket book series in 2005.</p> Tue, 17 May 2016 10:08:01 +0000