ArtSlant - Recently added en-us 40 - Toronto Sculpture Garden - November 20th - November 20th <p><a href="http://www.DEZMAINART.COM" rel="nofollow">WWW.DEZMAINART.COM</a></p> Thu, 20 Nov 2014 21:02:58 +0000 Group Show - Paul Petro Contemporary Art - November 28th - December 20th Tue, 18 Nov 2014 17:52:42 +0000 Su Rynard - Paul Petro Contemporary Art - November 14th - November 22nd <p style="text-align: justify;">Songbirds are nocturnal travellers. Each night during spring and fall migration, tens of thousands of birds may be passing overhead. Unlike migrating geese or ducks that we can see and hear, these birds fly high in the dark sky, hidden to our eyes and ears. <br /> <br /> Today we are losing our birds at a rate greater than any other time in human history. Birds are bio-indicators for the health of the planet and their diminishing numbers are a warning to us all.<br /> <br /> Viewed from the street at night, this work turns the upstairs gallery at Paul Petro Contemporary Art into a &lsquo;projection booth&rsquo; and the windows into a &lsquo;projection screen&rsquo;. On the windows/screens are images of songbirds in simulated night flight.<br /> <br /> The songbirds were shot in slow motion flying in a wind tunnel. The resulting image is somewhat amorphous and ethereal -- an omen that speaks not only to the disappearance of songbirds &ndash; but also to what this means in terms of losing a piece of our biodiversity and our history.<br /> <br /> <em>Anthropocene</em> is a term coined when scientists recognized that the influence of human behavior on the Earth's atmosphere in recent centuries as so significant that is was necessary to constitute a new&nbsp;geological epoch.&nbsp;Technically, it is up to a group of scholars to decide by 2016 whether to officially declare that the Holocene era is over. But official or not, we are now living in the Anthropocene.<br /> <br /> <br /> Su Rynard is a media artist with a body of work that spans nearly three decades. From her early video art to her feature films, Rynard has worked across a range of approaches: dramatic, experimental, documentary, and installation. Her interest in science, ecology and natural history and has informed and inspired her recent projects. The National Gallery of Canada, The Canada Council Art Bank, and The Museum of Modern Art in New York have purchased and /or programmed Rynard's work.<br /> <br /> Su Rynard was born in Toronto in 1961. She received an entrance scholarship to York University, and was awarded the George A. Reid Scholarship and the Melvile P. White Scholarship before graduating with honours from the Ontario College of Art in 1985. Rynard was a director resident at the Canadian Film Centre in 1996. <br /> <br /> <br /> VIDEO, MEDIA, SHORT FILMS, INSTALLATION<br /> <br /> <em>As Soon As Weather Will Permit</em>, dual screen HD, 2013. 15 MIN.<br /> <br /> <em>Seed Bank</em> &ndash; photo based exhibition and installation, 2011.<br /> <br /> <em>Drowning London</em> &ndash; video installation, HD video 2010. 1 min. loop<br /> <br /> <em>Coronation Park</em> -16mm film / HD video, 2009. I minute<br /> <br /> <em>Apples (Malus Domestica)</em> - video installation, S16mm film &amp; HD video, 2009. 6:45 min. loop<br /> <br /> <em>Bear</em> &ndash;short film / video installation, 2004. 10 min.<br /> <br /> <em>Bug Girl</em> &ndash; short film / video installation, 2003. 6 min. <br /> <br /> <em>Strands</em> &ndash; short drama, 16mm film, 1997. 23 min. <br /> <br /> <em>The Day Jesus Melted</em> &ndash; video, 1999. 3 min.<br /> <br /> <em>Eight Men Called Eugene</em> &ndash; video 1996. 12 min. <br /> <br /> <em>Big deal So what</em> &ndash; short drama, 16mm film, 1995. 25 min. <br /> <br /> <em>Signal</em> &ndash; short film, 35mm film / video 1993. 3 min. <br /> <br /> <em>What Wants To Be Spoken, What Remains To Be Said</em> &ndash; short drama, 16mm, 1993. 25 min. <br /> 1932 - video art, 1988. 9 min. <br /> <br /> <em>Within Dialogue (Silence)</em> - video art, 1987. 5 min. <br /> <br /> <em>Absence</em> - video art, 1986. 5 min.<br /> <br /> <br /> FEATURE FILMS<br /> <br /> <em>SongbirdSOS</em> &ndash; feature film, 2015. 100 min. <br /> <br /> <em>Kardia</em> &ndash; feature film, 35mm film 2005. 85 min.<br /> <br /> <em>Dream Machine</em> &ndash; feature documentary, video, 2000. 76 min. <br /> <br /> <br /> AWARDS<br /> <br /> Best Feature Doc Pitch. Sunnyside of the Doc. <em>SongbirdSOS</em>, 2012<br /> Alfred P. Sloan Award Feature Film Prize. <em>Kardia</em>, 2006. <br /> SCinema, Sydney Australia, Best Narrative Film Award. <em>Kardia</em>, 2006<br /> Creative Vision Award. Earth Dance Film Festival, <em>Bug Girl</em>, 2005<br /> Silver Award winner Worldfest Houston, <em>Strands</em>, 1998<br /> Mediawave Festival Hungary, Best Editing, <em>Signal</em>, 1994<br /> Best Short Film Cabbagetown Film and Video Festival. SIGNAL<br /> Nomination for M. Joan Chalmers Documentarian Award for Film &amp; Video. <em>Sexual Healing</em>, 1996</p> Tue, 18 Nov 2014 17:50:27 +0000 Carol Wainio - Paul Petro Contemporary Art - November 14th - January 10th, 2015 <p style="text-align: justify;"><em>Carol Wainio: Long Ago, Far Away, Wish&hellip; </em><br /> <br /> I make pictures, and very occasionally, write words. Sometimes failed words produce pictures. Sometimes pictures need words. Some words, like those written by Walter Benjamin almost a century ago, return again and again, like old stories, and remain powerful, poetic frameworks for wondering about present and future. Here, with a few of them, I wonder aloud and try to &lsquo;picture things&rsquo;&hellip; <br /> <br /> In &ldquo;On Some Motifs in Baudelaire&rdquo; and &ldquo;The Storyteller&rdquo;, Walter Benjamin evokes the <em>mentalit&eacute;s</em> of an earlier time. Central to his insight into the modern moment is his notion of &ldquo;experience&rdquo; &ndash; a word that for most of us means &lsquo;what happens to us&rsquo;. But Benjamin had something specific in mind when he spoke of experience. And it&rsquo;s appropriate that his definition reflects its &lsquo;means of production&rsquo;, rather than its content. Experience was what occurred in slower times when sensory matter slipped, un-registered, into memory. <br /> <br /> &ldquo;<em>Where there is experience&hellip;certain contents of the individual past combine in the memory with material from the collective past&rdquo;. &ldquo;Rituals, with their ceremonies and their festivals&hellip;kept producing the amalgamation of these two elements of memory over and over again. They triggered recollection at certain times and remained available to memory throughout people&rsquo;s lives.</em>&rdquo; <br /> <br /> Benjamin saw this kind of experience overtaken by a kind of self-consciousness resulting from the &lsquo;shocks&rsquo; of industrialism, urbanism, technology, and the sudden speeding up of life &ndash; things which necessitated anticipatory awareness. One had to be ready to be jerked to attention, responding to machines that brought &lsquo;work&rsquo; within reach and quickly removed it, sometimes along with a finger or hand. Citing Freud, Benjamin imagines shock&rsquo;s psychic side effects. &ldquo;<em>The more readily consciousness registers shocks&rdquo;, &ldquo;the less likely they are to have a traumatic effect</em>&rdquo;, but so too, &ldquo;<em>the less likely they are to enter long experience</em>&rdquo;. A shift in the fabric of life was occurring. He described this &ldquo;shrinking of experience&rdquo; as &ldquo;disenchantment&rdquo;. <br /> <br /> Interested in vernacular as much as high art, Benjamin collected fairy tales. This passage in &ldquo;The Storyteller&rdquo; suggests why: <br /> <br /> <em>The reception of a story&hellip;requires a state of relaxation which is becoming rarer and rarer&hellip; boredom is the apogee of mental relaxation&hellip; the dream bird that hatches the egg of experience. A rustling in the leaves drives him away. His nesting places &ndash; the activities that are intimately associated with boredom &ndash; are already extinct in the cities, and are declining in the country as well&hellip; lost because there is no more weaving and spinning to go on while they are being listened to. The more self-forgetful the listener is, the more deeply is what he listens to impressed upon his memory&hellip;This is how today it is becoming unraveled at all its ends after being woven thousands of years ago in the ambience of the oldest forms of craftsmanship.</em><br /> <br /> I thought of these words while reading picture books to young children - the slurred sense of time, rituals of repeated images and stories at regular intervals, children who see their first images as both forever and true - an early developmental moment that evokes an historical one. Benjamin again in The Storyteller:<br /> <br /> <em>There is nothing that commends a story to memory more effectively than that chaste compactness which precludes psychological analysis&hellip;And the more natural the process by which the storyteller foregoes psychological shading, the greater becomes the story&rsquo;s claim to a place in the memory of the listener, the more completely it is integrated into his own experience, the greater will be his inclination to repeat it to somebody else, sooner or later&hellip; </em><br /> <br /> <br /> He describes a kind of copying arising in conditions of scarcity &ndash; one which honoured, rather than evacuated, earlier models or patterns (as distinct from notions of &ldquo;original&rdquo;). So too, in early fairy tale, the magical power of transformational objects (and representations) arose from their scarcity and inaccessibility. The fine boots that helped a clever cat transform his peasant master into a prince are a hinge pivoting backwards and forwards &ndash; from a past where goods were rare, and change in status impossible, to a present where status is routinely achieved through commodities, and its magical &ldquo;aura&rdquo; diminished. <br /> <br /> Testament to narrative&rsquo;s adaptability, &lsquo;animal helper figures&rsquo; like Puss in Boots took on new roles in later centuries, becoming salesmen for consumer products &ndash; marketing smaller, cheaper changes in status as social mobility increased. Countless incarnations of Le Ma&icirc;tre Chat sold matches, soap, shoe polish, or wool. Le Petit Poucet hawked flashlight batteries &ndash; useful for finding one&rsquo;s way out of the forest where hungry peasants had abandoned children they couldn&rsquo;t feed.<br /> <br /> For centuries, fabled characters from these narratives walked down through the farm fields of the past into the cities of early advertising, &lsquo;illustrating&rsquo; a larger, and very real story of social transformation, with pictures first reproduced by hand, then mechanically. Early methods of hand copying echoed Benjamin&rsquo;s sympathy for pre-modern aural stories, expressed here: &ldquo;Experience which is passed on from mouth to mouth is the source from which all storytellers have drawn. And among those who have written down the tales, it is the great ones whose written version differs least from the speech of the many nameless storytellers&rdquo;. Words like these problematize his well-known writings on mechanical reproduction. And early hand copied illustrations themselves &lsquo;illustrate&rsquo; Benjamin&rsquo;s suggestion for stories; tiny, stiff figures lacking in artistic shading, simultaneously &ldquo;original&rdquo; and &ldquo;copy&rdquo;, occupy an uneasy intersection between Benjamin&rsquo;s views on visual &ldquo;mechanical reproduction&rdquo; and the kind of copying in storytelling. Later, as bits of commodified labour, engraved copies of mass produced vagabonds migrated between different narratives, identical figures appearing in Hansel and Gretel and Le Petit Poucet &ndash; interchangeable &lsquo;products&rsquo; of a burgeoning story &lsquo;industry&rsquo; coinciding with the invention of romanticized childhood.<br /> <br /> While scarcity, traditional farm labour, and hierarchical social structures of fairy tale remain in our distant past, the scythe, ox and plough seen in 18th century illustrations of Perrault &ndash; are still visible in parts of the globe where these conditions persist - where European modernism is &lsquo;reproduced&rsquo;. Western &ldquo;long ago&rdquo; meets &ldquo;far away&rdquo; in new(s) stories. <br /> <br /> Old narratives are full of tropes in which a long absent lover returns unrecognized, where clothing is scarce, proscribed, and narratively significant (&ldquo;She put on her robes of green&hellip;&rdquo;). Disconnected from our past and at war with history, we too may encounter (and fail to recognize) our former selves when disguised in an &ldquo;other&rsquo;s&rdquo; clothing &ndash; robes of Afghan blue, for example. In these &ldquo;meetings on the road&rdquo; or &ldquo;knocks at the door&rdquo;, our forgotten tales encounter a contemporary variant &ndash; which we, like maidens in forgotten ballads, fail to recognize.<br /> <br /> In the contemporary far away, the &ldquo;shock of the new&rdquo; may produce societal earthquakes, while in the digital post-industrial west, Benjamin&rsquo;s &lsquo;shock&rsquo; has become background. Smaller, cheaper forms of &lsquo;shock&rsquo; are even self-administered to ward off a boredom so old and foreign it feels like death. &ldquo;<em>Thinking about the past or imagining the future is&hellip; a uniquely human trait. But&hellip; people who were asked to spend a few minutes alone with their thoughts disliked it so much that they would zap themselves with electricity,</em>&rdquo; researchers reported recently. We know this already &ndash; the clicks that ward off dreaded blank spaces, the lost ability to gaze out the window of a train&hellip; <br /> <br /> Benjamin&rsquo;s factory &not;&ndash; where work is &ldquo;<em>sealed off from experience</em>&rdquo; has inched closer to his description of gambling, &ldquo;where no game is dependent on the preceding one&rdquo;; &lsquo;winning&rsquo; now ascendant, from commerce to culture. But the financier, smartphone addict, or reality contestant&rsquo;s desires are not &ldquo;wishes&rdquo;. A wish lives in experience:<br /> <br /> <em>The earlier in life one makes a wish&hellip;the further [it] reaches out in time, the greater the hopes for its fulfillment&hellip;it is experience that accompanies us to the far reaches of time, that fills and articulates time. Thus, a wish fulfilled is the crowning of experience. In folk symbolism, distance in space can take the place of distance in time; that is why the shooting star&hellip; has become the symbol of a fulfilled wish.</em><br /> <br /> Psychology offers other metrics of shrinking experience. Now in eclipse like weaving and spinning, handwriting is subject to forensic study: In another psychology experiment, pre-literate children were asked to reproduce a letter by drawing it freehand on blank paper, tracing it, or typing the appropriate key. Only the freehand drawers &ldquo;exhibited increased activity in three areas of the brain&rdquo;. &ldquo;When we write, a unique neural circuit is automatically activated&hellip;There is a core recognition of the gesture&rdquo; which echoes other such gestures &ndash; from the common architecture of stories retold across early empty landscapes, to the rewriting of architectural types &ndash; silver spired churches or prairie grain elevators &ndash; variable, yet similar figures that once punctuated blank, white geographies, and which we come to recognize as we do different handwriting.<br /> <br /> In the old world of experience, Benjamin observed, &ldquo;spaces for recollection&rdquo; (like pages for creating letters) had been &ldquo;left blank&rdquo;. But &ldquo;<em>the bells, which once played a part in the holidays, have [now] been dropped from the calendar&hellip;</em>&rdquo; <br /> <br /> Almost a century later, we might wonder whether the calendar itself is in eclipse. Synonymous with &ldquo;labours of the months&rdquo;, the seasons have worn grooves into life&rsquo;s structures over centuries. Old ballads began with time and season (&ldquo;it was on a May morning&rdquo;; &ldquo;as I walked out one summer&rsquo;s evening&rdquo;), and were anchored in the reliable, reassuring narrative of recurrence around which past and future, self and society, human and nature, clustered and coalesced. Even now, the seasons may be one of the few drawings young children still make, before that space is overwritten by digital devices. But this ground, this fundamental narrative, is eroding too. Along with the small shocks of self-conscious, self-administered interruptions, the larger &ldquo;shocks&rdquo; of severe, unpredictable &ldquo;weather events&rdquo; and increasingly &ldquo;unseasonable weather&rdquo; associated with climate change add to a diminishing ability to absorb the physical world as &ldquo;experience&rdquo; in Benjamin&rsquo;s sense. While potentially calamitous, how much more meaningful may be the interior loss of those quiet, unconsciously absorbed rhythms - the reliable return of spring, monsoon, or long winter? What will happen when &lsquo;the seasons&rsquo; as metaphor or a kind of &lsquo;grand r&eacute;cit&rsquo; is &ldquo;unraveled at all its ends&rdquo;?<br /> <br /> Sometimes it seems that the &lsquo;shock&rsquo; Benjamin first articulated so long ago leaves us constantly wakeful, yet under a deep sleeping spell. And while the great literary critic worried about the impact of shrinking experience on poets, the Marxist hinted at larger impacts, now more pronounced than when he sketched them out. It remains to be seen whether we can create a space in which to wish for a happy ending &hellip;<br /> <br /> -- Carol Wainio, November 2014<br /> <br /> <br /> <br /> In his essay, <em>On Some Motifs in Baudelaire</em>, Walter Benjamin observes that modern Westerners, who have lost their capacity for experience, feel as though they have been &ldquo;dropped from the calendar&rdquo;. Quoting Baudelaire, he notes the violent self-consciousness with which the sound of bells accosted revolutionary listeners after they had lost their ages old cues for the &ldquo;blank spaces&rdquo; of recollection. <br /> <br /> While &lsquo;blank spaces&rsquo; are now under assault from many directions, and while the physical, environmental effects of the loss of reliable seasons are significant enough, one wonders how much more meaningful will be the psychic and social loss of these fundamental rhythms and narratives.<br /> <br /> These paintings consider, with a kind of elegiac wonder, both the past, and the now constant, momentary, wakeful sleeping spell with which we approach the future.<br /> <br /> <br /> Carol Wainio was born in Sarnia, Ontario in 1955. After studies at the Nova Scotia College of Art and Design and the University of Toronto, she earned an M.F.A. from Concordia University in 1985. She taught in the Visual Arts Department at the University of Ottawa from 1987 to 1989 and was an assistant professor in the Department of Visual Arts at Concordia from 1989 to 1998. She lives and works in Ottawa, where she is an adjunct professor at the University of Ottawa.<br /> <br /> Wainio's recent exhibition <em>The Book</em>, curated by Diana Nemiroff for Carleton University Art Gallery, contains works from 2002-2010 and toured extensively in Canada. A comprehensive hardcover catalogue is available. An exhibition of new work, <em>Old Masters</em>, took place at the Kitchener Waterloo Art Gallery, March 8 - April 28, 2013. Wainio is a 2014 recipient of the Governor General's Award in Visual and Media Arts. <br /> <br /> A catalogue of new work, with essays by Jeet Heer and Carol Wainio, is forthcoming.</p> Tue, 18 Nov 2014 17:48:57 +0000 Chris Kline - Diaz Contemporary - November 27th - January 10th, 2015 Tue, 18 Nov 2014 17:46:07 +0000 Joseph Tisiga - Diaz Contemporary - October 16th - November 22nd <p class="style8 style9 style5" style="text-align: justify;" align="left">Diaz Contemporary is pleased to present the first solo exhibition of works by Joseph Tisiga. With a series of watercolours, collages on canvas and sculpture, Tisiga reflects on his impressions of indigenousness within the modern world. He cites a range of influences to his approach, from the philosophy of Paulo Freire, whose work served to acknowledge and empower the disenfranchised and oppressed; to Carl Jung for his articulation of archetypal images as emerging from the collective unconscious; and Samuel Beckett for the minimal and bleak environments that characterized his writing.</p> <p class="style8 style9 style5" style="text-align: justify;" align="left">Tisiga&rsquo;s investigations into the complication of identity culminate in works with disjunctive, cultural iconographies woven into one narrative field. Incorporating depictions of ritual and seemingly randomized symbols, Tisiga builds scenes with complex but ambiguous objectives. For Tisiga, the drawings and paintings began with the consideration of a state of &ldquo;aimless ambition,&rdquo; in which the figures or inhabitants of this fictional space could be understood to be compelled into action, though without a discernible motive to that action. Whether absurd spiritualism, trivial creation or simple makework, the inhabitants appear unable to know how to casually exist, persisting instead to awkwardly feel out solutions. Here, Tisiga equates Beckett&rsquo;s barren landscapes to the worn and makeshift states of many First Nation communities, or settled, indigenous communities worldwide, and sees the tragic monotony of Beckett&rsquo;s world aligning with the insistent survival of the &ldquo;indigenous soul&rdquo;.</p> <p class="style8 style9 style5" style="text-align: justify;" align="left">Tisiga grapples with the idea of&nbsp;&ldquo;a supernatural banality which conceals the criticality of our contemporary condition, effectively muting any singular history's (perspective&rsquo;s, memory&rsquo;s, culture&rsquo;s) ability to translate reality. Perhaps it is that the 'supernatural banality' is a kind of magic that dilutes particularities and reduces culture and time to one continuum that in turn must be reworked on an individual basis, returning everything to pure narrative in which everything and nothing are happening.&rdquo;&nbsp;This viewpoint can be perceived throughout the work, particularly in the collaged material, with its interplay of social, cultural and historical reference.</p> <p class="style8 style9 style5" style="text-align: justify;" align="left">Joseph Tisiga was born in 1984 in Edmonton, Alberta and is a member of the Kaska Dene Nation. He is currently based in Whitehorse, Yukon. He studied at Nova Scotia College of Arts and Design and has been a finalist in the RBC Painting Competition (2009) and was longlisted for a Sobey Art Award (2011). His work was included in the recent<em>Oh, Canada</em>, an exhibition curated by Denise Markonish for MASS MoCA in North Adams, Massachusetts.</p> Tue, 18 Nov 2014 17:44:54 +0000 Marianne Lovink - Olga Korper Gallery - December 13th - January 24th, 2015 Tue, 18 Nov 2014 17:32:15 +0000 Matt Donovan - Olga Korper Gallery - November 1st - December 6th Tue, 18 Nov 2014 17:31:05 +0000 - Nicholas Metivier Gallery - December 17th - January 17th, 2015 <p>Please join us for a 2015 season preview.</p> Tue, 18 Nov 2014 17:27:30 +0000 Charles Bierk - Nicholas Metivier Gallery - November 13th - December 13th <p style="text-align: justify;">Nicholas Metivier Gallery is pleased to present its first solo exhibition with Charles Bierk. The exhibition features eleven paintings from Bierk&rsquo;s <em>Portrait</em> series made over the last year. The exhibition will open on November 13 and will be on view through December 13 with a reception for the artist on Thursday, November 13 from 6&ndash; 8 PM.<br /> <br /> After studying at OCAD University in Toronto between 2007 and 2011, Charles Bierk has quickly emerged as one of Canada&rsquo;s most exciting young talents. For the last five years Bierk has painted large-scale portraits of family, friends and acquaintances with astonishing photographic likeness and hyper-realistic detail. Restricting his palette to black and white, Bierk exaggerates contrast and accentuates every line, freckle, hair follicle and other unique characteristics.<br /> <br /> In this exhibition, Bierk expands on the frontal perspective used in earlier works. His subjects are painted looking down, to side or from behind, implying a narrative or a particular emotion. The models are all similar in age to Bierk, now 27 years old. Isolating this demographic is an important part of Bierk&rsquo;s practice - he regards each work as a self-portrait, documenting a specific moment in his subject&rsquo;s life and consequently his own. Bierk plans to revisit the same subjects in several years to record the passage of time.<br /> <br /> Bierk&rsquo;s process begins with photographing the models &ldquo;as they are&rdquo; in his studio. In addition to a compelling photograph, Bierk looks for a psychological connection with the subject. Once an image is selected, Bierk works square by square, often taking up to six weeks to complete a large portrait. Scale is essential to the success of Bierk&rsquo;s paintings. The abstraction created by the enlarged features takes away from the edge of photorealism and draws the viewer into the nuances of the painting and the psyche of his subject.<br /> <br /> In 2013, Bierk completed a commission for the Ivey School of Business in London, Ontario. His work has been included in several exhibitions and was most recently on view in <em>After</em> at the Art Gallery of Peterborough for which a catalogue was published.<br /> <br /> For more information on this exhibition <a href="" target="_blank">click here</a>.&nbsp;</p> Tue, 18 Nov 2014 17:25:10 +0000 Douglas Coupland - Museum of Contemporary Canadian Art (MOCCA) - January 31st, 2015 - April 19th, 2015 Tue, 18 Nov 2014 17:21:43 +0000 Vera Frenkel - Museum of Contemporary Canadian Art (MOCCA) - November 15th - December 28th <p style="text-align: justify;"><em>Vera Frenkel: Ways of Telling</em> is a comprehensive presentation of the work of the Toronto-based artist whose interdisciplinary approach to video, performance, sculpture, printmaking, and installation has earned widespread international acclaim. The exhibition showcases rarely seen early works such as The Storyteller&rsquo;s Device, alongside more recent projects such as ONCE NEAR WATER: Notes from the Scaffolding Archive, and the monumental, multichannel video/photo project, The Blue Train. The exhibition also features a reconstruction of the artist&rsquo;s storied six-channel video installation and fully functioning piano bar "&hellip;from the Transit Bar", being installed as a special presentation of the NGC@MOCCA program.<br /> <br /> Pianist/composer Tom Szczesniak will play the Transit Bar piano at the opening and during the exhibition.</p> <p style="text-align: justify;">Supporting Sponsors:<br /> BMO Financial Group<br /> PIA<br /> <br /> Exhibition Supporters:<br /> Eb and Jane Zeidler<br /> Latner Family Foundation<br /> The Ouellette Family Foundation<br /> Armstrong Fine Art Services<br /> P&amp;L Catering</p> Tue, 18 Nov 2014 17:16:28 +0000 Winnie Truong - Erin Stump Projects (ESP) - November 22nd - December 20th <p style="text-align: justify;">In her fourth solo exhibition with ESP, Winnie Truong presents a new series following her continued fascination with hair and its relationship to line. Truong plays within the boundaries of drawing, challenging the possibilities of a single and static surface. Invisible/visible conceals and reveals the internal images within the immediately visible subjects of each drawing. Through hidden imagery, she re-imagines her portraits as X-Rays. This new series consists of layered drawings of blue and red on translucent surfaces. Alternate images are obscured within a single drawing surface, with viewing devices provided as tools for further inspection. The viewer can examine, conceal and reveal the latent imagery, shifting their focus from the invisible to the visible.<br /> <br /> Born in 1988, Winnie Truong lives and works in Toronto, where she received a BFA from the Ontario College of Art and Design&rsquo;s drawing and painting program. Truong is a recipient of the Toronto Arts Council and Ontario Arts Council visual arts grants and is the recipient of numerous awards, including W.O. Forsythe award, the 401 Richmond Career Launcher prize and the BMO 1st! Art Award for Ontario, through which she exhibited at the MOCCA. Winnie has exhibited internationally in galleries across Toronto, LA, and Copenhagen and in New York where she was featured at VOLTA, NY Art Fair. Her work has been published in numerous art publications, including the cover of Hi-Fructose, Juxtapoz, and Walk the Line: The Art of Drawing. Her work is in the collection of The Nerman Museum of Contemporary Art, Overland Park, Kansas, Doris McCarthy Gallery at the University of Toronto, and Bank of Denmark.</p> Tue, 18 Nov 2014 17:12:54 +0000 Tiziana La Melia - Mercer Union - A Centre for Contemporary Art - November 28th - January 24th, 2015 <p style="text-align: justify;">Mercer Union is delighted to present a new solo exhibition by Vancouver-based artist Tiziana La Melia, opening Friday 28 November with an artist talk at 7PM, followed by a public reception until 10PM.</p> <p style="text-align: justify;">Tiziana La Melia weaves writing, sculpture, painting and performance in layered installations which speak to female archetypes, personal narratives, passions and teenage desires. Exploring the potentiality of slippages between language and form, her work seeps between figuration and abstraction, in all senses of the terms.</p> <p style="text-align: justify;">Canadian poet Daphne Marlatt has described &ldquo;the active intelligence of language,&rdquo; for La Melia there is no distinction between the different art forms or objects, everything is a signifier. References are multi-faceted, from Greek tragedy, teenage obsessions, the writings of Joyce Carroll-Oates, Mark Twain, Gertrude Stein or Yvonne Rainer among others, the personal and incidental, to female icons throughout history and in the present, pushing and pulling in different directions.</p> <p style="text-align: justify;">Writing is often the starting point, from poem to script to play. Poetry lines become work titles, transforming the written word into the physical space of the gallery, or walls become pages, unfolding narratives populated by objects and materials. The exhibition is a space in which hierarchies collapse, theatre, poetry, writing, mythological female figures, personal narratives and popular culture are combined and meaning becomes elastic in form. Transmutability lingers throughout the work, in a photographic collage, <em>Surface Instruction</em> (2011), a worn apron becomes an oversized handbag while a twin table with pink glass emerges and recedes as Janis Joplin&rsquo;s rose-tinted glasses in <em>Aquarium Club Console (Janis)</em> (2014). And yet underlying sometimes playful juxtapositions are historical instances and trajectories. Live snails drawing on plastic speaks to the use of their shells in making the colour purple for women only manuscripts, becoming in of itself purple prose.</p> <p style="text-align: justify;">In this new body of work a series of sequences are presented; hanging photographic collages, a metallic and purple bed, screens, paintings are no longer windows but doors, and a line is drawn along the gallery wall to stretch and physically push one&rsquo;s limits. The potentiality of interplay manifests in the exhibition title, The Eyelash and the Monochrome. The line, a cursor with connotations of femininity and luck, is adjoined to the blank canvas, rather than painterly in reference, it implicates the presence of absence, spaces in which there is potential for new narratives to be created.</p> <p style="text-align: justify;"><strong>Tiziana La Melia</strong> (b. Palmero IT) is an interdisciplinary artist working in painting, installation, film and writing. She received her MFA from the University of Guelph in 2011 and BFA from Emily Carr University of Art and Design in 2008. Recent exhibition venues include Macaulay &amp; Co. Fine Arts , Vancouver; The Apartment, Vancouver; Xspace, Toronto; Western Front, Vancouver, and SBC Galerie, Montreal. La Melia&rsquo;s writing has appeared in <em>Night Papers V</em>, <em>Bartleby Review</em>, <em>Setup Magazine</em>, <em>Millions Magazine</em>, <em>Pelt</em> and <em>West Coast Line</em> among others. Selected readings and screenings of her work include Wendy&rsquo;s Subway, New York; Model, Vancouver, and The Banff Centre, where she participated in the residency Figure in a Mountain Landscape. In 2014, she was the Writer in Residence at TPW R&amp;D, Toronto. La Melia is the 2014 winner of the RBC Painting Prize. She lives and works in Vancouver BC.</p> <p style="text-align: justify;">Mercer Union would like to thank Artscape Gibraltor Point for their support of Tiziana La Melia&rsquo;s residency in Toronto.</p> <p style="text-align: justify;"><a href="">&nbsp;<img class="alignnone" title="Artscape" src="" alt="" width="200" height="66" /></a></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> Tue, 18 Nov 2014 17:10:45 +0000 Lis Rhodes, Elisabeth Subrin - Mercer Union - A Centre for Contemporary Art - November 28th - January 24th, 2015 <p style="text-align: justify;">Taking its starting point from the name of the Women&rsquo;s film and video distribution organisation co-founded by Lis Rhodes in the 1970s, this sequence of screenings engages with questions of representation, politics, language and perception.</p> <p style="text-align: justify;">Friday 28 November &ndash; Saturday 13 December 2014<br /> Lis Rhodes <em>Light Reading </em>(1979)<br /> B &amp;W, 16mm transferred to video, 20&rsquo;</p> <p style="text-align: justify;">A key experimental feminist filmmaker, Lis Rhodes fuses political intent with material &nbsp;means to question the ideological underpinnings of the language of cinema, culture, society and politics. Breaking down formal cinematic structures, disconnecting sound and image, narrative and conclusion, and alluding to photography, writing, performance, collage and political analysis, she explores the authority of language. As Rhodes has stated &lsquo;The view through the lens may be blurred or defined-&ndash;focused or unfocused&ndash;depending on what you think you know; what you imagine you see; what you learn to look for; what you are told is visible.&rsquo; In this key work <em>Light Reading</em> (1979) Rhodes creates a space between language and looking. A litany of words, excerpts from Gertrude Stein, questions of &lsquo;she&rsquo; and descriptions of moments and acts of looking and reading, plays out against a black screen and juxtaposed with fragmentary letters and numbers, collages, measurements and images. The film insistently addresses questions of female representation, personal drama and female subjectivity.</p> <p style="text-align: justify;"><strong>Lis Rhodes</strong> is an artist and filmmaker. After studying Film and Television at the Royal College of Art, she pursued a career as a cinema programmer at the London Filmmakers&rsquo; Co-op in the 1970s, cofounding &lsquo;Circles: Women&rsquo;s Work in Distribution&rsquo;, the first British organization to distribute women artists&rsquo; film and video works. Her films have been screened internationally since the 1970s. Recent exhibitions include; <em>Light Magic</em>, The Tanks, Tate Modern, London, Dissonance and Disturbance, ICA, London (solo) (both 2012). Select screenings include; <em>In person: Lis Rhodes</em>, Film Museum, Vienna, 2009; <em>Essentials: Expression: The Secret Masterpieces of Cinema</em>,Tate Modern, 2008; WACK!: Art and <em>The Feminist Revolution</em>, Museum of Contemporary Art, Los Angeles, 2007. She lives and works in London, UK.</p> <p style="text-align: justify;">Tuesday 16 December &ndash; Saturday 10 January 2015<br /> Lis Rhodes <em>A Cold Draft</em> (1988)<br /> B &amp; W/Colour, 16mm transferred to video, 30&rsquo;</p> <p style="text-align: justify;">Made ten years later, <em>A Cold Draft </em>(1988) engages with the rights of women and broader civil rights in the increasingly privatized environment of Thatcher&rsquo;s Britain in the 1980s. The voice is employed, in contrast to fragmented collages of still and moving images of landscapes, streets, interiors, industrial exteriors, as well as words and drawings, to speak of the conflicts and uncertainties of a universal female experience.</p> <p style="text-align: justify;">Tuesday 12 January &ndash; Saturday 24 January 2015<br /> Elisabeth Subrin <em>Shulie </em>(1997)<br /> Black and white, B &amp; W/Colour, video, 36&rsquo; 30&rdquo;</p> <p style="text-align: justify;">Elisabeth Subrin engages in a wide range of genres, forms and contexts to create conceptually driven projects in film, video, photography and installations. Her work seeks intersections between history and subjectivity, investigating the nature and poetics of psychological &lsquo;disorder,&rsquo; the legacy of feminism, and the impact of recent social and political history on contemporary life and consciousness. In this work <em>Shulie</em> (1997) Subrin remade, almost shot for shot, a rediscovered 1967 film made by four male graduate students about a young female art student, 22 year-old Shulamith Firestone, in an attempt to create a portrait of the &lsquo;Now&rsquo; generation. Firestone would later go on to write <em>The Dialectic of Sex: The Case for Feminist Revolution</em> (1970), a key radical in North American feminism, but there are few traces of this future act, and the documentary remained unfound until the mid-1990s. In this layering of the past, 1967 in 1997, and re-presenting this film Subrin addresses the legacy of the past within the present moment, have we changed or has progress been made, and if so to what extent? As Kristin M. Jones writes &ldquo;Shulie is a portrait of one young woman, but it ripples with ghosts and reflections.&rdquo;</p> <p style="text-align: justify;"><strong>Elisabeth Subrin</strong> received a BFA from Massachusetts College of Art and an MFA from The School of the Art Institute, Chicago. Her award-winning work has been exhibited widely including solo screenings at MOMA, New York, the Vienna International Film Festival, the ICA, Boston, Harvard Film Archives, and in group exhibitions, film festivals and museums internationally including The Whitney Biennial, the Guggenheim Museum, the Walker Art Center, the New York Film Festival, and the Rotterdam International Film Festival. Select recent exhibitions include; <em>Lost Tribes and Promised Lands</em>, Vox Populi, Philadelphia (solo) (2013); <em>Anti-Establishment</em>, The Hessel Museum at Bard College, Henceforth and Forever Free, The Haggerty Museum of Art (both 2012); Neighbo(u)rhood, The Mattress Factory Art Museum, Pittsburgh, <em>Shulie: Film and Stills</em>, The Jewish Museum, New York (all 2011); <em>Elisabeth Subrin: Compulsion to Repeat</em>, Sue Scott Gallery, New York (solo); <em>Greater New York</em>, PS1 and MOMA, New York (all 2010). She lives in Brooklyn, New York.</p> Tue, 18 Nov 2014 17:07:48 +0000 Michael Harrington - Katharine Mulherin Contemporary Art Projects - November 20th - December 21st <p style="text-align: justify;">MULHERIN is pleased to present New Paintings by Michael Harrington.<br /><br />Michael Harrington's practice focuses on the depiction of the human form occupying incomplete and ambiguous narratives. Expanding from his ongoing consideration of the male figure in society, this new body of work pulls Harrington away from more transient, exotic spaces: Florida hotel lobbies and gas stations, toward more intimate, private and edge-of town scenarios.<br /><br /><br />These paintings appear to connect the narrative in the form of a "mini-series", recurrent male figures populate landscapes and interiors : a man in red rests in a dark bedroom, a man in red puts his hand out to dogs in a trailer park, a man in red stops at the edge of an isolated body of water. These haunting scenes inhabited by a strange individual might be read as bleak and harrowing psychological landscapes, provoking empathetic response from a viewer. Signature to his style, Harrington captures each uncertain scenario and portrait in the rich and seductive representational style of Impressionism as well as hints of Northern Renaissance, Flemish and Dutch still life. Shrouded in contrasts of darkness and glowing light, what can we take away from Harrington's "red man" in his quiet and mortal moments?<br /><br />Michael Harrington graduated from the Ontario College of Art and Design in Toronto in 1989. He has exhibited extensively in Canada and the United States. His work has been reviewed in Border Crossings magazine, the Globe and Mail, the Boston Globe and has been reproduced in Harper's magazine. Harrington's work can be found in the collections of the Agnes Etherington Art Centre in Kingston, the Canada Council Art Bank, as well as numerous corporate and private collections in North America and Europe. In 2007 Michael was awarded a gold medal from the Canadian National Magazine Awards for a painting commissioned by Toro Magazine. He lives and works in Ottawa.</p> Tue, 18 Nov 2014 17:03:47 +0000