ArtSlant - Recently added en-us 40 Becky Beasley, Adrian Blackwell, Heat Bunting, Kajsa Dahlberg, Jesse Darling, Claire Fontaine, Goldin+Senneby, Janez Janša, Kernel - Onsite [at] OCAD U - July 16th - October 11th <p style="text-align: justify;">British artist&nbsp;<strong>Becky Beasley</strong>&nbsp;explores relationships between photography and objects, the body and interiority in a way that is highly subjective and yet developed through deep immersion in the thoughts and methods of other artists and writers. Literature is particularly generative for the artist, providing her own work with a place to start from and journey into. She graduated with an MFA from the Royal College of Art in 2002 and her recent solo exhibitions include&nbsp;<em>The Walk&hellip; in green</em>&nbsp;at Laura Bartlett Gallery, London (2014);&nbsp;<em>The Outside</em>&nbsp;at Tate Britain (2012) and Francesca Minini Gallery, Milan (2011); and&nbsp;<em>Setting&nbsp;</em>at Laura Bartlett Gallery, London (2012).</p> <p style="text-align: justify;"><strong>Adrian Blackwell</strong>&nbsp;is an artist, designer and urban theorist whose work focuses on the relationship between urban spaces and political/economic forces. He has been a visiting professor at Harvard University and is a full-time faculty member at the University of Waterloo. Blackwell is also a founder and editor of the journal&nbsp;<em>Scapegoat: Architecture / Landscape / Political Economy</em>.</p> <p style="text-align: justify;"><strong>Heath Bunting</strong>&nbsp;is a contemporary British artist based in Bristol, U.K. His work focuses on the development of open democratic communication systems and social structures on the Internet and in the public space. He came from the street up, passing through (and often revisiting) graffiti, performance, intervention, pirate radio, fax /mail art and BBS systems to become an active participant in the explosion of the Internet. He is co-founder of and has created many accredited works. Bunting&rsquo;s work often explores the porosity of borders, both in physical space and online.</p> <p style="text-align: justify;">Swedish artist&nbsp;<strong>Kajsa Dahlberg</strong>&nbsp;has exhibited internationally and studied at the Whitney Independent Study Programme. Several of her projects focus on questions of anonymity and collective subjectivities. In&nbsp;<em>Female Fist</em>, 2006, a video about lesbian feminist porn makers, the filmmakers&rsquo; voices, but not their faces, appear. For&nbsp;<em>A Room of One&rsquo;s Own: A Thousand Diaries</em>, 2006, Dahlberg created a palimpsest from copies of Virginia Wolf&rsquo;s 1929 book in the Swedish library system. By layering the pages on top of one another, Dahlberg almost submerges the printed text with readers&rsquo; marginal comments and annotations.</p> <p style="text-align: justify;">London, U.K.-based&nbsp;<strong>Jesse Darling</strong>&nbsp;works between performance, installation and the Internet. She has made work for Tumblr and Facebook that explores the Internet as a space for self-fashioning, performance and viral proliferation. She has also performed and exhibited in galleries, including a solo show at London&rsquo;s Arcadia_Missa in 2012. She received her MFA from the Slade School of Art.</p> <p style="text-align: justify;"><strong>Claire Fontaine</strong>&nbsp;is a Paris-based collective artist, &ldquo;founded&rdquo; in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a &ldquo;readymade artist.&rdquo; Her practice interrogates the political impotence and the crisis of singularity that seem to define contemporary art today. But if the artist herself is as displaced, deprived of its use value, and exchangeable as the products she makes, there is always the possibility of the &ldquo;human strike.&rdquo; Claire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, d&eacute;tournements, and the production of various devices for the sharing of intellectual and private property. Recent selected solo exhibitions include&nbsp;<em>Tears</em>, The Jewish Museum, NY (2013);&nbsp;<em>1493</em>, Espacio 1414, San Juan, Puerto Rico (2013); and<em>&nbsp;Sell Your Debt</em>, Queen&rsquo;s Nails, San Francisco (2013).</p> <p style="text-align: justify;"><strong>Goldin+Senneby</strong>&nbsp;is a framework for collaboration set up by Swedish artists Simon Goldin and Jakob Senneby. Since 2004 they have deployed forms of performative and delegated activity to examine legal, economic and spatial constructs. They have made projects for institutions including Tensta Konsthall, Stockholm; Kadist Foundation, Paris; and the Power Plant, Toronto. For their<em>Headless</em>&nbsp;project, Goldin+Senneby explore the notion of &ldquo;offsite&rdquo; in financial, aesthetic and political terms.</p> <p style="text-align: justify;"><strong>Janez Jan&scaron;a</strong>&nbsp;is a conceptual artist, performer and producer living in Ljubljana, Slovenia. In 2007, together with Janez Jansa and Janez Jan&scaron;a, he changed his name to that of the Slovenian right-wing Prime Minister. The three artists' collective work has strong social connotations and is characterized by an inter-media approach. He is the author of numerous videos, performances, installations and new media works which have been presented in several exhibitions, festivals and lectures around the world. He is the director of the film&nbsp;<em>My Name Is Janez Jan&scaron;a</em>, co-founder and director of Aksioma &ndash; Institute for Contemporary Art, Ljubljana and artistic director of the Aksioma | Project Space (</p> <p style="text-align: justify;"><strong>Janez Jan&scaron;a</strong>&nbsp;is an conceptual artist, writer, performer and director of interdisciplinary performances. In 2007, together with Janez Jansa and Janez Jan&scaron;a, he changed his name to that of the Slovenian right-wing Prime Minister. The three artists' collective work has strong social connotations and is characterized by an inter-media approach. His socio-political work is focused on relationships between art, society and politics. He is author of the book J<em>an Fabre: La Discipline du chaos, le chaos de la discipline</em>, Armand Colin, Paris 1994; and was editor in chief of&nbsp;<em>Maska: The Performing Arts Journal</em>, from 1999 to 2006. He is the director of Maska, Institute for Publishing, Production and Education based in Ljubljana, Slovenia.</p> <p style="text-align: justify;"><strong>Janez Jan&scaron;a</strong>&nbsp;is a visual artist, working in the cross section of traditional visual art practices, conceptual art and new media. In 2007, together with Janez Jansa and Janez Jan&scaron;a, he changed his name to that of the Slovenian right-wing Prime Minister. The three artists' collective work has strong social connotations and is characterized by an inter-media approach. In 2003 he represented Slovenia at 50th Venice Biennial. Selected exhibitions include the Sao Paolo Biennial, Prague Biennial and Limerick Biennial (</p> <p style="text-align: justify;"><strong>Kernel</strong>&nbsp;is an art collective founded in 2009 by architect Pegy Zali and artists Petros Moris and Theodoros Giannakis. They live and work between Athens and London. Their practice develops at the intersection of critical research, art, architecture and curating. Kernel has presented solo projects at SPACE, London 2013 and XYZ Outlet, Athens 2011. Selected group exhibitions include Afresh, National Museum of Contemporary Art, Athens; V22 Young London, V22, London; and the<em>3rd Athens Biennale &ndash; Monodrome</em>, Diplareios School, Athens. They have organized curatorial projects such as&nbsp;<em>Word of Mouth</em>&nbsp;for the 3rd Athens Biennale, Athens;&nbsp;<em>THE PUBLIC SCHOOL&nbsp;</em>in Athens;&nbsp;<em>BYOB</em>&nbsp;London, The Woodmill, London; and&nbsp;<em>Full/Operational/Toolbox</em>, M21, Athens (</p> <p style="text-align: justify;"><strong>Helena Reckitt</strong>&nbsp;is a critic and curator based in London, U.K. She was Senior Curator of Programmes at the Power Plant in Toronto from 2006 to 2010 and since 2011 has been senior lecturer in Curating at Goldsmiths, University of London. Currently Reckitt is co-editing a special issue of the&nbsp;<em>Journal of Curatorial Studies</em>&nbsp;with Jennifer Fisher on Curating and the Affective Turn, and working with art historian Catherine Grant to develop the group exhibition&nbsp;<em>O Sister, O Shadow.</em></p> Thu, 10 Jul 2014 14:37:00 +0000 Group Show - Katzman Contemporary - July 12th - August 30th Thu, 10 Jul 2014 14:15:08 +0000 Atsmon Ganor, Ilya Gefter, Jiri Ladocha, Mats Nordstrom, Susan G. Scott, Gideon Tomaschoff - Julie M. Gallery Toronto - July 5th - August 31st <p style="text-align: justify;">In the spirit of summer, Julie M. Gallery is pleased to present Summer Landscapes, a celebration of the beauty of the summer months. Featuring work by Atsmon Ganor, Ilya Gefter, Jiri Ladocha, Mats Nordstrom, Susan G. Scott and Gideon Tomaschoff, we invite you to contemplate the effervescent light and saturated hues that characterize summer.</p> Thu, 10 Jul 2014 14:12:08 +0000 Divya Mehra, Suzy Lake, afallenhorse, Tommy Kha - Georgia Scherman Projects - July 23rd - August 16th Thu, 10 Jul 2014 14:05:22 +0000 Colleen Heslin, Lili Huston-Herterich, Abby McGuane, Josh Thorpe, Renee van Halm - Birch Contemporary - July 17th - August 30th <p style="text-align: justify;">BIRCH CONTEMPORARY is pleased to present a selection of works by contemporary Canadian artists.</p> <p style="text-align: justify;">Considering the dynamic between the body and the constructed form in which it finds itself, the works included in this exhibition offer alternate perspectives in how the body negotiates, informs and confronts material surroundings.</p> <p style="text-align: justify;">Works by Colleen Heslin include collage and painted fabric mounted on stretchers. Heslin unpacks the associations of gender, labour and material through alternative methods of painting, while taking up a modernist aesthetic based in reduction, limits and structure. Her work juxtaposes the modernist line with non-traditional methods of construction. Using scraps of fabrics, hand died by the artist, the artist&rsquo;s use of fabric brings together traditional quilting techniques with the influences of minimal form and composition.</p> <p style="text-align: justify;">The restrictions of minimalist form are also taken up in Renee Van Halm&rsquo;s Privacy Screen, 1997, which cites the infamous battle between Mies van der Rohe and his client Edith Farnsworth in her commission of a summer home. The construction of the glass house made the patrons body a constant element of display, the partitions in the home only reaching the patrons shoulders, leaving the head "wandering over the top of the partition without a body." (Dr. Churchill, Farnsworth and the Anatomy of Occupation). The experience of furniture informing a body-awareness is carried on in works by Lili Huston-Herterich's.&nbsp; Huston-Herterich's wall mounted works bring together histories of domestic design and the changing ways that decorative modes interact and shape sensory experience.</p> <p style="text-align: justify;">The precarious relationship between body and minimal form continues in the work of Abby McGuane and Josh Thorpe. McGuane's sculptural "window" works use construction materials, here using glass, to erect minimal constructions that echo bodily gesture. Instead of acting as a protective screen between the interior and exterior, framing a view while remaining invisible, the panes act as both objects and bodies, ambiguous in their precarious nature. Josh Thorpe's architectural intervention brings the sensory experience of the body into the walls of the gallery space.</p> Thu, 10 Jul 2014 13:47:28 +0000 - The Red Head Gallery - July 23rd - August 9th <p style="text-align: justify;">The Red Head Gallery is pleased to present&nbsp;<em>SQUARE</em>, an exhibition by members of ARC Gallery.</p> <p style="text-align: justify;">ARC Gallery, celebrating 40 continuous years in Chicago, presents "SQUARE," an exhibition investigating the many connotations of the square. Using this simple, contemporary format as a jumping-off point for ideas, the members of this women artist-run gallery will play with square as a shape, a space, a measurement and a metaphor.</p> Thu, 10 Jul 2014 13:35:02 +0000 Vivian Maier - Stephen Bulger Gallery - July 17th - September 13th Thu, 10 Jul 2014 13:27:41 +0000 Michael Awad, Jeffrey Blondes, Edward Burtynsky, Greg Hardy, John Hartman, Mara Korkola, Brent McIntosh, Michael Smith - Nicholas Metivier Gallery - July 22nd - August 21st Thu, 10 Jul 2014 13:16:41 +0000 Jessamine Kahn - loop Gallery - July 19th - August 10th <p class="paragraph_style_5" style="text-align: justify;">Loop Gallery is pleased to announce a new exhibition by guest artist,&nbsp;Jessamyn Kahn, entitled&nbsp;Allsorts.&nbsp;</p> <p class="paragraph_style_5" style="text-align: justify;">Allsorts&nbsp;presents recent abstract paintings which continue Kahn&rsquo;s exploration of colour, shape and depth. These vibrant canvases playfully juxtapose hard-edge geometry with organic shapes implied by brushstrokes.Kahn&rsquo;s&nbsp;works are process-based; the paintings are built dialogically in a series of strokes and layers where each mark responds to the one before. The resulting space is rife with unexpected visual conundrums and optical possibilities. Also featured in&nbsp;Allsorts&nbsp;is a collaborative work with Toronto artist,&nbsp;Paulina Wiszowata.&nbsp;</p> <p class="paragraph_style_5" style="text-align: justify;">&nbsp;</p> <p class="paragraph_style_5" style="text-align: justify;">Kahn&nbsp;is a Toronto-based artist whose paintings can be found in corporate and private collections. She holds a BFA from OCAD University. In 2013, her work was featured in Hazelton Lanes Arts Festival: Unfolding the Oval Square and in Mercedes Benz Financial Services&rsquo; Experiencing Perspectives exhibition. Allsorts is Kahn&rsquo;s debut solo exhibition.&nbsp;</p> Thu, 10 Jul 2014 13:07:59 +0000 - John B. Aird Gallery - July 22nd - August 22nd Thu, 10 Jul 2014 13:01:18 +0000 Group Show - Gallery Gevik - July 19th - August 8th Thu, 10 Jul 2014 12:57:09 +0000 Neil Campbell, Nicole Ondre - Diaz Contemporary - July 26th - August 23rd Thu, 10 Jul 2014 12:51:06 +0000 Paul Kajander, Allyson Vieira - Daniel Faria Gallery - July 24th - September 6th <p style="text-align: justify;">Paul Kajander (b.1980) lives and works in Seoul, South Korea. Kajander received his MFA from the Visual Arts Program at the University of British Columbia (Vancouver) and a BFA in Visual Arts from Simon Fraser University (Vancouver/Burnaby). His work was recently exhibited at the Seoul Museum of Art (Seoul), the National Museum of Modern and Contemporary Art&rsquo;s International Residency Program (Seoul), &nbsp;The Real DMZ Project (Cheorwon-gun &amp; Seoul) and ArtSonje Center&rsquo;s inaugural banner project (Seoul). &nbsp;Kajander has also participated in exhibitions for artist run centers as well as publications and screenings, including&nbsp;the&nbsp;<em>Montr&eacute;al Underground Film Festival</em>,&nbsp;<em>The Beacon for which We Long at Nautical Dusk and Dawn,&nbsp;</em>Film Festival<em>&nbsp;</em>(Durham),&nbsp;<em>Is Future Boring?,&nbsp;</em>Gallery Hit (Bratislava) and&nbsp;<em>Rehearsal Research</em>, Western Front (Vancouver).</p> <p style="text-align: justify;">Allyson Vieira (b.1979) lives and works in New York City. Vieira holds an MFA from the Milton Avery Graduate School of Arts, Bard College, (Annandale-on-Hudson, NY) and a BFA from The Cooper Union for the Advancement of Science and Art (New York, NY). In 2013, Vieira&rsquo;s work was the subject of a solo show titled,&nbsp;<em>The Plural Presen</em>t, at Kunsthalle Basel (Basel)&nbsp;which traveled to The Swiss Institute (New York). Vieira has also exhibited in solo exhibitions at Laurel Gitlen Gallery (New York), Monica de Cardenas (Milan) and will open a new solo exhibition this September at The Breeder (Athens). Vieira&rsquo;s work has also been included in various group contexts; most recently in&nbsp;<em>Remainder</em>&nbsp;at the Philbrook Museum of Art (Tulsa, OK);&nbsp;<em>Configurations: Katinka Bock, Valerie Blass, Esther Klas, Allyson Vieira,</em>Metrotech Center (Brooklyn, NY), curated by Andria Hickey for Public Art Fund;&nbsp;and&nbsp;<em>Lilliput,</em>&nbsp;curated by Cecilia Alemani for the High Line (New York).</p> Thu, 10 Jul 2014 12:44:02 +0000 Farrah Khan - A Space Gallery - June 20th - July 19th <div class="programdescription"> <p style="text-align: justify;"><em>Beti&nbsp;</em>reflects on the family as a site of both love and fear, and the ways in which familial homophobia and Islamophobia impacts one's personal identity and truths.&nbsp;<em>Cab Ride</em>&nbsp;and&nbsp;<em>Walying</em>&nbsp;are video love letters to an estranged father in the hope of return. These stop motion video shorts and accompanying still photographs present a struggle to reconcile community expectations, transgressions and desire. They were created using materials and techniques linked to Farrah&rsquo;s bicultural upbringing &mdash; Indian spices, paper craft, jewelry, and fabric.<br /><br /></p> </div> <div style="text-align: justify;">BIOGRAPHIES</div> <div class="artistbio" style="text-align: justify;">Farrah Khan is a Toronto-based artist who draws from her personal experience as well as her advocacy work in anti-violence to tell stories that challenge dominant narratives about healing, queerness, and Islam. In addition to her own artistic practice, she creates contexts for other young Muslim women to express their voices in order to transform how they are seen and how they see themselves.</div> Thu, 10 Jul 2014 12:27:33 +0000 Virginie Bocaert - Thompson Landry Gallery - Stone Distillery - July 10th - July 27th <p class="texte-reg-tor" style="text-align: justify;">Looking at Virginie Bocaert&rsquo;s canvases is like breathlessly diving into figures that emerge from forms and moods. In the end, these constructed, destroyed and reconstructed figures are all about emotion.</p> <p class="texte-reg-tor" style="text-align: justify;">The 36-year-old painter was born in France and has worked in Montreal since 2002. She became interested in oil painting at the age of 10, coming from a family of great art lovers. Her parents helped to instigate her cultural awareness by bringing her to visit artist&rsquo;s studios, museums and art galleries. In 1997, she graduated with honours from the &Eacute;cole sup&eacute;rieure de mode in Paris, and began a career as a fashion designer. She later returned to painting after taking a few workshops with artists like Anne Van Mierlo, Jennifer Hornyak and Marilyn Rubenstein, and decided to get a studio and work on her style.</p> <p class="texte-reg-tor" style="text-align: justify;">Evidently, Virginie Bocaert&rsquo;s stint in the fashion industry was very trying for her. In many of her works, she utilizes elements and materials from the fashion industry to communicate her own sensations, memories, and emotions. For example, in Bocaert&rsquo;s&nbsp;<em>Si tu savais (If you knew)</em>, we see a woman with her upper body slightly bent over. Several grey threads burst forth from her eyes and evoke tears. We also notice that the edge of the fabric at the bottom of the clothing worn by the figure is frayed, giving the impression of a gradual coming apart at the seams.</p> <p class="texte-reg-tor" style="text-align: justify;">This type of emotive imagery is the artist&rsquo;s way of expressing her anguish around the stereotypes imposed by her profession. In a world where things go so fast, we have to be strong to make our own place in society. Bocaert also uses her artwork to express the extent to which models are treated like objects. When she was painting these figures, she was feeling hurt and her melancholy came through in them.</p> <p class="texte-reg-tor" style="text-align: justify;">Today, Bocaert has reached a more serene space, but she continues to live with the characters that she has constructed. She believes they are like friends and companions for her as they are silent and they do not judge her. The human being is a very strong subject and is quite present in all her work. Bocaert reflects on her work and influences, claiming that "Indeed, because of his complexity and diversity, man puts us in situations or states that can be constructive or destructive. Like Jean-Paul Sartre said, "Hell is other people", and Thomas Hobbes said, "Man is a wolf to man". We must live and struggle with certain states that others impose on us. For a long time, the influence, prejudices, and scrutiny of others were for me a battle in which to grow, to learn to know myself and to acquire self-confidence."</p> Sun, 06 Jul 2014 09:11:41 +0000 Inger Whist, Sumi Zushi - The Elaine Fleck Gallery - July 3rd - July 31st Sun, 06 Jul 2014 09:04:46 +0000