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COOPER COLE i s pleased to announce a solo exhibition from gallery artist Georgia Dickie titled Stivverin'.

This exhibition will debut an new body of t he artist's sculptural works and feature an accompanying essay written by L ucas Soi.

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Not all banalities are totally dada\, but every banality hides a load of dadaistic nonsense.

- Kurt Schwitters


Early incarnations of the Internet relied upon the user's anonymity when connecting to the virtual public. Cyberspace was an environment where the u ser could be who they wanted to be\, rather than who they actually were. Ac tivity was conducted in stealth\, through chat rooms and instant messages. With a simple setting all browser history could be erased\, leaving no trai l of the sites visited and people talked to. Yet in the 21st century\, Web 2.0 relies upon users creating a permanent record of their activity by uplo ading evidence from their everyday lives in real time. Thanks to user-gener ated content\, social networking sites help compile this information togeth er to identify and define people through their own efforts and actions.

The German critic Boris Groys has observed that "social networks like Facebook\, MySpace\, YouTube\, Second Life\, and Twitter… offer global populations the opportunity to post their photos\, videos\, and texts in a way that cannot be distinguished from any other conceptualist or post-conc eptualist artwork."1 This "accidental audience\," according to American cri tic Brad Troemel\, has embraced the virtual tools of production and elabora ted on this process of pastiche\, "without any particular awareness that th ey are engaging with 'art' at all." 2 In the same way that people gather ex perience and knowledge during their lifetime\, so do objects. In the materi al world\, every object accrues a bounty of information that it holds intri nsically through time. The inherent history contained in the most banal fab ricated materials accumulates the longer it is used and valued. The popular saying "if these walls could talk" is a fitting anecdote to define the his torical properties of our built environment.

DTEND:20130427 DTSTAMP:20141023T003926 DTSTART:20130418 GEO:43.6492577;-79.4214691 LOCATION:Cooper Cole\,1161 Dundas Street West \nToronto\, ON M6J1X3 SEQUENCE:0 SUMMARY:Stivverin'\, Georgia Dickie UID:268292 END:VEVENT BEGIN:VEVENT DTEND:20130418T220000 DTSTAMP:20141023T003926 DTSTART:20130418T180000 GEO:43.6492577;-79.4214691 LOCATION:Cooper Cole\,1161 Dundas Street West \nToronto\, ON M6J1X3 SEQUENCE:0 SUMMARY:Stivverin'\, Georgia Dickie UID:268785 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Observatory is an exh ibition of new paintings by John Eisler. Although this series continues Eis ler’s process-based exploration of folded canvases and staining\, the final works are much less divulging of their journey. Instead\, subtle suggestio ns of relations to objects slowly reveal themselves through their repeated stenciled impressions upon the canvas. What results is not a painting of so mething\, but impressions of imagined networks. Eisler’s process of image-m aking exists between a painterly approach and one evocative of photographic and other technological processes.
 

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John Eisler received his MFA from the University of Guelph in 2008 a nd his BFA from the Alberta College of Art and Design in 1997. He has previ ously had solo exhibitions at Paul Kuhn Arts in Calgary and the MacDonald S tewart Art Centre in Guelph\, Ontario. He has also exhibited in softcor e HARDEDGE at the Art Gallery of Calgary (2010)\, which also travelled to the East and Peggy Phelps Galleries\, Claremont Graduate University in Claremont\, CA (2011). Most recently\, Eisler was part of the major exhibit ion of Canadian painting\, 60 Painters at the Humber Arts and Medi a Studios in Toronto. He is featured in the collections of the Alberta Foun dation for the Arts and the Macdonald Stewart Art Centre. Eisler has exhibi ted with Diaz Contemporary since 2008.

DTEND:20130427 DTSTAMP:20141023T003926 DTSTART:20130328 GEO:43.6417293;-79.4027528 LOCATION:Diaz Contemporary\,100 Niagara St. (at Tecumseth) \nToronto\, ON M 5V 1C5 SEQUENCE:0 SUMMARY:Observatory\, John Eisler UID:265457 END:VEVENT BEGIN:VEVENT DTEND:20130328T200000 DTSTAMP:20141023T003926 DTSTART:20130328T180000 GEO:43.6417293;-79.4027528 LOCATION:Diaz Contemporary\,100 Niagara St. (at Tecumseth) \nToronto\, ON M 5V 1C5 SEQUENCE:0 SUMMARY:Observatory\, John Eisler UID:265458 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aleesa Cohene’s new video inst allation\, I Told You That Might Happen\, draws upon tenuous relat ionships between film-watching and our experience of present time. Known for her dissection\, appropriation and re-contextualization of popul ar 1980s and 1990s Hollywood film footage\, Cohene meticulously crafted thi s latest work from the 236 films that Gilles Deleuze discusses in his criti cal texts Cinema I and Cinema II.
 
I Tol d You That Might Happen explores the relationship between a dream anal yst and her analysand: the former\, a composite character of numerous on-sc reen women\, and the latter\, an off-screen male voice. The unraveling of t he analysand’s dream and thoughts mirrors Cohene’s process of creating from disjointed fragments. 
 
Cohene’s installation invites viewers to engage themselves physically with the work’s fabricated plot. A single narrative divided into three linear parts is realized through a physical ex perience of journeying through three different viewing stations. The viewin g experience also features accompanying sculptural work that further implic ates the viewer into a bodily experience. I Told You That Might Happen< /em> challenges our expectations of cinematic viewing and space with insert ions of physical reality that may ultimately appear more uncanny than real.
 
Aleesa Cohene’s videos have been screened throughout North A merica and abroad in Germany\, Netherlands\, France\, Sweden\, Denmark\, Tu rkey\, Finland\, Greece\, Spain\, Indonesia\, Japan\, Cambodia and Brazil. Recent solo exhibitions include: Sequences in Reykjaík\, Iceland\, Hart Hou se at the University of Toronto and Galerie Suvi Lehtinen in Berlin\, Germa ny. In 2011\, Platform Gallery and MAWA in Winnipeg presented a multi-venue retrospective of Cohene’s work. She will receive her Masters of Visual Stu dies from the University of Toronto in 2013 and previously completed a fell owship under Matthias Müller at the Kunsthochschule für Medien in Cologne\, Germany in 2010.

DTEND:20130427 DTSTAMP:20141023T003926 DTSTART:20130328 GEO:43.6417293;-79.4027528 LOCATION:Diaz Contemporary\,100 Niagara St. (at Tecumseth) \nToronto\, ON M 5V 1C5 SEQUENCE:0 SUMMARY:I Told You That Might Happen\, Aleesa Cohene UID:267682 END:VEVENT BEGIN:VEVENT DTEND:20130328T200000 DTSTAMP:20141023T003926 DTSTART:20130328T180000 GEO:43.6417293;-79.4027528 LOCATION:Diaz Contemporary\,100 Niagara St. (at Tecumseth) \nToronto\, ON M 5V 1C5 SEQUENCE:0 SUMMARY:I Told You That Might Happen\, Aleesa Cohene UID:267683 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130427 DTSTAMP:20141023T003926 DTSTART:20130406 GEO:43.6525824;-79.4468751 LOCATION:Olga Korper Gallery\,17 Morrow Avenue \nToronto\, ON M6R 2H9 SEQUENCE:0 SUMMARY:Solo Show\, Reinhard Reitzenstein UID:268311 END:VEVENT BEGIN:VEVENT DTEND:20130406T170000 DTSTAMP:20141023T003926 DTSTART:20130406T140000 GEO:43.6525824;-79.4468751 LOCATION:Olga Korper Gallery\,17 Morrow Avenue \nToronto\, ON M6R 2H9 SEQUENCE:0 SUMMARY:Solo Show\, Reinhard Reitzenstein UID:268312 END:VEVENT BEGIN:VEVENT DESCRIPTION:

It Never Really Happened is a visual and whimsical reworking of many of the signs and narrative tr opes inherent in documentary\, crime and forensic genres.

Ques tioning our obsession with certainty\, it floats freely between conviction and confusion\, trace evidence and trance\, measurement and amusement.

Structured as a chaptered documentary\, it posits a less “evidenci ary” existence\, where a widow can be happy\, a fingerprint is simply somet hing to be cleaned and a life sentence does not necessarily take place in a jail.

DTEND:20130427 DTSTAMP:20141023T003926 DTSTART:20130329 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:It Never Really Happened\, Dennis Day UID:266981 END:VEVENT BEGIN:VEVENT DTEND:20130329T220000 DTSTAMP:20141023T003926 DTSTART:20130329T190000 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:It Never Really Happened\, Dennis Day UID:266982 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mélanie Rocan completed her MF A in the painting program at Concordia University\, in Montreal (2008). In 2003\, she graduated from the University of Manitoba with a Bachelor of Fin e Arts Honours Degree\, thesis in painting.

Artist Statemen t

"My recent paintings speak of the fragility of human bei ngs and the reality of the subconscious state. I want to capture a distress ed beauty\, which suggests an inner emotional condition of highs and lows a nd psychological unease. There is a dichotomy between the difficulty of com prehending the reality of the internal world and a reaction to the outside world’s fragility and the present state of the earth. I rely on an intuitiv e process to create my paintings\, which gives me freedom to explore and ma ke discoveries. I find the struggle of creating work by intuition and memor y produces a constant search to re-invent and build the work within the int ernal domain of my subconscious. This process also allows room for balance between my hand and the medium itself to communicate. Relying on an intuiti ve process to make paintings brings forth thoughts that are weighing upon m e\, because of a constant bombardment and awareness of the reality of the s tate of the earth and the world. In some of my work I attempt to show unity between humanity and nature\, working together\, existing as one without o verpowering the other. Two worlds intertwined working collectively\, agreei ng and abiding by a natural contract.

I am interested in illus trating opposing forces in my work\, and by unifying and combining these du alities\, they can exist together as one entity\, one cannot exist without the other. I want to evoke an inconsistency of emotions\, making the work l inger in-between a darkness and a playfulness\, with the ability to affect and give sensations. For example in Caught In Hula-Hoops\, there is a conflict in deciphering what is happening to the figures. They could be s een as either vulnerable beings who are caught by the mass of evocations th at whirl around them or are playing in this maze of disparate objects. The contrast between the loss of control in the debris and turmoil\, with a rat her quiet and serene figures and setting\, creates tension between calm and chaos and targets dimensions of the unconsciousness. The mass or fragments floating around them\, reveal the inside and outside state of the figures\ , like a mirror\, window or multiplication of mirrors. It explores external and personal sources and the dichotomy between symbols of the self and the environment\, divided by psychological turmoil.

I often focus on gothic elements of familiar places\, in finding horror or feelings of f oreboding in our existence\, in our memory and in living. I also merge auto biographical themes\, dreams and reality. In combining nostalgic elements o r familiars within the paintings\, I want to convey a sense of security\, w hich brings balance to the work. I am interested in creating a unity by com bining dualities existing within the difficulties of life and nostalgic ele ments\, which are evidence of our humanity. Nostalgia represents an uncanny timelessness\, an anchor that provides us with a sense of stability\, brin ging us to another moment in our lives and allowing us to lose ourselves in the innocence.

I have recently found inspiration in my earlie r works\, combining large abstract painting with a miniaturization and an a ttention to detail. By bringing these techniques together on one surface\, I am not only concerned with the process of painting but the balance betwee n paint and content\, and want to leave room for interpretation and suggest ion. By combining these two ways of working\, abstract planes and particula r details\, I want to create two opposing forces in the work\, an indetermi nacy and an over-determination of space. I often use prairie landscapes as backdrops or fields for composition in creating a painting. The environment is often overcrowded with information\, not only in the elements in the pa inting but in the psychoanalytic sense\, by emphasizing the dichotomy betwe en reality and inner life and the psychological borders that are evoked.

The Ferris wheel is often present in my work\, as is the repetit ion of the circle in the representations and composition of the work\, whic h represents a structure of life. This circular composition also refers to the way our eyes and our mind sees the world. Fragments and isolation are t he raw material furnished by memory\, allowing the painting to be assembled and organized into larger and more substantial dramatic structures. By exc luding certain elements of the outer world\, such as space\, time\, and cau sality\, and by adjusting the events to the forms of the inner world\, I br ing attention to memory\, imagination and emotion. I want to focus on the c omplex interaction between the real and the fantastic by blurring the disti nction between these elements."

DTEND:20130427 DTSTAMP:20141023T003926 DTSTART:20130329 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Hold On\, Mélanie Rocan UID:272279 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130427 DTSTAMP:20141023T003926 DTSTART:20130402 GEO:43.6765183;-79.3974868 LOCATION:TeodoraART Gallery (T-ART)\,214 Avenue Road \nToronto\, Ontario M5 R 2J4 SEQUENCE:0 SUMMARY:April Bloom\, Emilio Pica UID:273722 END:VEVENT BEGIN:VEVENT DTEND:20130402T170000 DTSTAMP:20141023T003926 DTSTART:20130402T150000 GEO:43.6765183;-79.3974868 LOCATION:TeodoraART Gallery (T-ART)\,214 Avenue Road \nToronto\, Ontario M5 R 2J4 SEQUENCE:0 SUMMARY:April Bloom\, Emilio Pica UID:273723 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Audrey: What Jane Austen n ovels have you read?

Tom: None. I don't read novels. I prefer good literary criticism. That way you get both the novelist’s ideas as well as the critic’s thinking. With fiction I can never forget that none of it really happened\, that it's all just made up by the author. 

- Whit Stillman



In 1966 the American literary journa l Yale French Studies dedicated an issue to Structuralism\, a fashionable t heory pursued by European literary critics. The theory held that a close re ading of any text should be considered with a greater awareness of its hist orical context\; that every piece of writing existed in a historical timeli ne and popular discourse\, and it was only through the identification of th ese contexts that the true meaning of a text could be interpreted. [1] 

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Four American critics working at Yale Un iversity felt limited by their French colleagues’ approach. They believed t hat the “existing conceptions of the world” were too limiting and that “the defining characteristic of literature was its interiority.” [2] The Yale C ritics adopted a different theory of interpretation\, that of Deconstructio n. Textual deconstruction was “an attitude towards the apparent structures embedded in works\, and an attempt to interrogate those structures\, initia lly by inverting the hierarchies which the structures represent.” [3]

Art has always been defined by its internal and external context\, and in Laurie Kang’s new solo exhibition at Erin Stump Projects her gesture is to re-consider the power structure of the gallery space through the dec onstruction of the art objects on display. An artwork’s traditional role as the center of meaning is subservient in this exhibition to the social stru cture of the white cube. This inversion of the classic hierarchy is made th rough an installation created specifically for the gallery’s location at 10 86 1/2 Queen Street West.

Along the perimeter of the exhibitio n space hang the contents of one box of Ilford Multigrade IV RC Deluxe silv er halide photo paper. All fifty pages are empty except for the subtle trac e of an action: the entire stack has been dipped into liquid fixer. Similar to how an object is taken from an artist’s studio and submerged into a pub lic gallery\, anointing it as a viable work of art\, Kang’s gesture reflect s this process. Art is elected through consensus\, and the public’s agreeme nt that certain spaces should promote systems which justify the significanc e of objects or gestures is a social process that relies upon predefinition . The consistency of each of Kang’s pages bearing the mark of the chemical fixer reflects this agreement. 

The gallery is a place of reco rd\, and the individual pieces of paper are bound to the wall like pages in the spine of a book. Displaying the blank pages in a predefined context re calls Vancouver-based artists Tim Lee and Mark Soo’s book Modern Optical Ex periments in Typography: Univers Ultra Light Oblique (1968)\, where one tho usand and twenty-four pages are left blank except for four words on four se parate pages. Is it a book simply because it is a bound collection of pages with a colour cover? The internal logic of Kang’s pages displayed in the g allery imitate the deconstructionist theory of a fragmented text\, which “p revent their ever becoming works by exposing their central knot of indeterm inacy”.[4] Are they examples of artwork\, or artworks themselves? To extend the tautology of her exhibition\, Kang presents a 1:1 scale replica of the front step of the gallery inside as a sculpture. Outside\, its original fo rm is a long triangular wedge of concrete that stretches underneath the fro nt door and the large front window next to it. Inside\, the silhouette of t he step sits in the centre of the room unobtrusively\, a form to be navigat ed around as the viewer walks along the wall. Are we meant to disregard it in the same way we do the original?

In 1979 the Yale Critics p ublished Deconstruction and Criticism\, a compilation of essays written usi ng their theory. Paul de Man wrote about British poet Percy Bysshe Shelley’ sepic poem The Triumph of Life\, written in 1822 about the supremacy of the natural world over man’s accomplishments. Analyzing a passage about the su n\, de Man observed that “light generates its own shape by means of a mirro r\, a surface that articulates it without setting up a clear separation tha t differentiates inside from outside as self is differentiated from other.” [5] Viewed through the window of Erin Stump Projects\, Laurie Kang’s exhibi tion achieves its full shape from this vantage point\, comprehending itself through the mirror of the gallery space\, in the full view of a willing au dience.

- Lucas Soi

[1] Martin\, Wallace. “Introd uction.” The Yale Critics: Deconstruction in America. Minneapolis: Universi ty of Minnesota\, 1983.
[2] Ibid xxi
[3] Greetham\, D.C. “[Text ual] Criticism and Deconstruction.” Studies in Bibliography\, Vol. 44. Virg inia: University of Virginia\, 1991.
[4] Ibid 14
[5] de Man\, P aul. “Shelley Disfigured.” Deconstruction and Criticism. New York: Continuu m\, 1979.

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Laurie Kang is an artist working in photography\, sculpture\, collage and installation . Exhibition history includes a feature exhibition in Contact Festival 2012 \, and group showings at Gallery 295 in Vancouver\, Gallery 44\, Jen Bekman Gallery in New York\, and most recently The Kitchen at Soi Fischer. In 201 2 she was the recipient of the Duke and Duchess of York Prize in Photograph y from the Canada Council for the Arts. Forthcoming publications include an artist book with Mossless Magazine and a feature in Camera Austria. She li ves and works in Toronto and is an MFA candidate at Bard College. This is h er first solo exhibition at ESP.

DTEND:20130428 DTSTAMP:20141023T003926 DTSTART:20130411 GEO:43.6496049;-79.430576 LOCATION:Erin Stump Projects (ESP)\,1450 Dundas St. W. \nToronto\, Ontario M6J 1Y6 SEQUENCE:0 SUMMARY:Solo Show\, Laurie Kang UID:268295 END:VEVENT BEGIN:VEVENT DTEND:20130411T220000 DTSTAMP:20141023T003926 DTSTART:20130411T190000 GEO:43.6496049;-79.430576 LOCATION:Erin Stump Projects (ESP)\,1450 Dundas St. W. \nToronto\, Ontario M6J 1Y6 SEQUENCE:0 SUMMARY:Solo Show\, Laurie Kang UID:268296 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blind Scribbles is an exciting and luminous new series of paintings by Françoise Sullivan which continues to explore the gestural abstraction for which she is renowned.

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Sullivan’s new series of lush paintings revisit automatism in a way which reveals its current relevance. Making a mark or “ scribble” with her eyes closed\, she builds a painting\, filling the canvas with shimmering colours. This is akin “to Borduas saying I make a mark and from there I make a painting” she states. Taken together\, the new works v isually build upon each other in much the same way that musical notes creat e a symphony.

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Each work is\, however\ , individual in its approach. Although the paintings at first glance imply three-dimensionality\, they are two luminous fields\, one in front of the o ther. The gestures soar weightlessly over pulsating colour to embrace the v iewer.

DTEND:20130430 DTSTAMP:20141023T003926 DTSTART:20130202 GEO:43.6503762;-79.358817 LOCATION:Corkin Gallery\,7 Tank House Lane \nToronto\, Ontario M5A 3C4 SEQUENCE:0 SUMMARY:Blind Scribbles\, Françoise Sullivan UID:257464 END:VEVENT BEGIN:VEVENT DTEND:20130202T160000 DTSTAMP:20141023T003926 DTSTART:20130202T130000 GEO:43.6503762;-79.358817 LOCATION:Corkin Gallery\,7 Tank House Lane \nToronto\, Ontario M5A 3C4 SEQUENCE:0 SUMMARY:Blind Scribbles\, Françoise Sullivan UID:257465 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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BELOW CHRISTCHURCH

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"Forest fires are neither good nor bad\," observed a public road sign\, as I drove through t he Rockies near Banff.  Many years later\, people on the Greek Island of Sa mos\, unable to blame nature for the fire consuming their forests\, blamed people\, arsonists.  

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Earthquakes are a natural phenomenon\, and on ly partly understood by human scientists\, cannot yet be modified by us. \n

We tend to think of nature\, especially landscape\, as serene.  Yes\ , the weather can change\, but the shape of the earth does not.  However\, the primeval forces of nature are as responsible for the rise of mountain r anges and the delineation of oceans and continents as for earthquakes and t sunamis. 

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"Below Christchurch" is a painting series based on the mo untainous areas in New Zealand's South Island.  The serene and stormy South ern Alps have arisen from the core of the earth\, just as the recent earthq uakes there destroyed parts of the City of Christchurch. – Mary Wright 2 013

DTEND:20130502 DTSTAMP:20141023T003926 DTSTART:20130502 GEO:43.6765183;-79.3974868 LOCATION:TeodoraART Gallery (T-ART)\,214 Avenue Road \nToronto\, Ontario M5 R 2J4 SEQUENCE:0 SUMMARY:Below Christchurch\, Mary Wright UID:273725 END:VEVENT BEGIN:VEVENT DTEND:20130504T170000 DTSTAMP:20141023T003926 DTSTART:20130504T140000 GEO:43.6765183;-79.3974868 LOCATION:TeodoraART Gallery (T-ART)\,214 Avenue Road \nToronto\, Ontario M5 R 2J4 SEQUENCE:0 SUMMARY:Below Christchurch\, Mary Wright UID:273726 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The gallery is pleased to anno unce our sixth exhibition of work by Bertrand Carrière. “Après Strand” revi sits a part of photographic history through the work of American photograph er Paul Strand and his connection to Carrière’s own territory\, Québec.

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During the summer of 2010\, Carrière tra velled to the Gaspé Peninsula\, following the route that Strand took in 192 9 and 1936. From his two trips to Gaspésie\, Strand produced a number of pi ctures\, but few are known to the general public. These two expeditions wer e brief\, but they marked a turning point in his career as he began to tack le the problems raised by a photographic depiction of landscape and\, as a result\, he became the precursor of a new vision. When referring to the Gas pésie photographs\, Strand said\, "Their importance is that they were the f irst more systematic\, conscious efforts to organize a landscape and its el ements\, all its elements.” Strand’s >\;first trip was dedicated to the l andscapes and his second was about making portraits of the people who lived there. These two trips formed what Strand defined as the essential charact er of a place.

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Carrière’s photographs adopt Strand's vision of photography and his approach to landscape. While deliberately avoiding imitation\, he allowed himself to absorb Strand's les sons\, observing time\, memory and landscape. Carrière is fascinated with s tories that are bound to the land\, traces of which persist to this day. Hi s attention was drawn to the social landscape and vernacular architecture\, documenting modest houses\, barns\, fishermen's cabins and wayside crosses . He photographed some of the inhabitants he met\, trying to be faithful to a humanistic approach\, out of respect for the people who have shaped the land and have kept these remote communities alive\, while struggling with a n unforgiving climate and difficult socioeconomic conditions.

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The Gaspésie that Strand documented no longer exis ts\, but Carrière’s work was deeply inspired by the places Strand photograp hed. He also had the chance to meet with\, and photograph\, the grandson of one of Strand's subjects. During the summer of 2010\, Carrière travelled 5 \,000 miles\, along route 132\, looking for that essential character that S trand tried to capture.

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Carrière teac hes photography at André-Laurendeau College in Montréal and he actively exh ibits and publishes his work across North America and Europe. He has publis hed a number of photographic books\, which include: Après Strand (2012) wit h Musée régional de Rimouski\; Lieux Mêmes (2010) with L’instant même\; Gro und Level (2009) with Sagamie\; Témoin de l’ombre (1995)\, Voyage à domicil e (1997)\, Signes de jour (2002) and Dieppe\, Landscapes and installations (2006) with Les 400 Coups. Carrière’s work can be found in many prominent c ollections including: Bibliothèque Nationale de France\, Paris\; Cinémathèq ue québécoise\, Montréal\; Canadian Centre of Architecture\, Montréal\; Can adian War Museum\, Ottawa\; Collection du Prêt d’oeuvres d’art\, Musée nati onal des
beaux-arts du Québec\, Québec City\; Canadian Museum of Conte mporary Photography\, Ottawa\; Encontros da Imagem\, Braga\; Pôle Image de Haute-Normandie\, Rouen\; Maison Européenne de la Photographie\, Paris\; Ca nadian Council Art Bank\, Ottawa\; Houston Museum of Fine Arts\, Texas\; am ongst others.

DTEND:20130504 DTSTAMP:20141023T003926 DTSTART:20130406 GEO:43.6441048;-79.4197644 LOCATION:Stephen Bulger Gallery\,1026 Queen Street West \nToronto\, Ontario M6J 1H6 SEQUENCE:0 SUMMARY:Après Strand \, Bertrand Carrière UID:268313 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Beat Nation describes a generation of artists who j uxtapose urban youth culture with Aboriginal identity to create innovative and unexpected new works—in painting\, sculpture\, installation\, performan ce and video—that reflect the current realities of Aboriginal peoples today .

Since the early 1990s\, hip hop has been a driving force of activism for urban Aboriginal youth in communities across the Americas. The roots of this music have been influential across disciplines and have been transformed to create dynamic forums for storytelling and indigenous langu ages\, as well as new modes of political expression. In the visual arts\, a rtists remix\, mash up and weave together the old with the new\, the rural with the urban\, traditional and contemporary as a means to rediscover and reinterpret Aboriginal culture within the shifting terrain of the mainstrea m.

While this exhibition takes its starting point from hip hop \, it branches out to refer to pop culture\, graffiti\, fashion and other e lements of urban life. Artists create unique cultural hybrids that include graffiti murals with Haida figures\, sculptures carved out of skateboard de cks\, abstract paintings with form-line design\, live video remixes with Ho llywood films\, and hip hop performances in Aboriginal dialects\, to name a few. Beat Nation brings together artists from across the continen t—from the West Coast as far north as Alaska and Nunavut\, as far east as L abrador and south to New Mexico—and reveals the shared connections between those working in vastly different places.

As Aboriginal identi ty and culture continue to change\, and as artists reinvent older tradition s into new forms of expression\, their commitment to politics\, to storytel ling\, to Aboriginal languages\, to the land and rights remains constant\, whether these are stated with drums skins or turntables\, natural pigments or spray paint\, ceremonial dancing or break dancing.

DTEND:20130505 DTSTAMP:20141023T003926 DTSTART:20121215 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Beat Nation \, Jackson 2bears\, KC Adams\, Sonny Assu\, Bear Witnes s\, Jordan Bennett\, Raymond Boisjoly\, Corey Bulpitt & Gurl 23\, Kevin Lee Burton\, Raven Chacon\, Dana Claxton\, Nicholas Galanin\, Maria Hupfield\, Mark Igloliorte\, Cheryl L’Hirondelle\, Duane Linklater\, madeskimo\, Dyla n Miner\, Kent Monkman\, Marianne Nicolson\, Skeena Reece\, Hoka Skenandore \, Rolande Souliere UID:250651 END:VEVENT BEGIN:VEVENT DTEND:20121214T230000 DTSTAMP:20141023T003926 DTSTART:20121214T190000 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Beat Nation \, Corey Bulpitt & Gurl 23\, Jackson 2bears\, KC Adams\ , Sonny Assu\, Jordan Bennett\, Raymond Boisjoly\, Kevin Lee Burton\, Raven Chacon\, Dana Claxton\, Nicholas Galanin\, Maria Hupfield\, Mark Igloliort e\, Duane Linklater\, Cheryl L’Hirondelle\, madeskimo\, Dylan Miner\, Kent Monkman\, Marianne Nicolson\, Skeena Reece\, Hoka Skenandore\, Rolande Soul iere\, Bear Witness UID:250677 END:VEVENT BEGIN:VEVENT DESCRIPTION:

While Thauberger’s practice defies strict definition by medi um\, she has produced remarkable films\, videos\, photographs\, and perform ances over the course of her decade-long career. Driven by her interest in\ , and unique facility for\, collaboration\, the thread that connects her pr ojects is her thoughtful engagement with groups of people – most often well -defined social enclaves – as her subjects. She works with these communitie s to develop performances that offer the participants opportunities for sel f-exploration and self-definition. The final works – whether videos or phot ographs – produced by Thauberger to record the collaborations\, are always striking documents that entice\, engage and surprise her viewers.

Thauberger’s project for The Power Plant is an experimental documentary /video installation about the staging of Peter Weiss’s 1963 play Marat/ Sade at the Bohnice Psychiatric Hospital in Prague. Thauberger’s new w ork approaches issues of timely reassessment\, institutionalization and shi fting political terrain.

The original 1963 play imagines that the Marquis de Sade wrote and directed a play about the assassination of Je an-Paul Marat while the former was interned in the Charenton asylum in 1808 \, nineteen years after the beginning of the French Revolution and a time o f massive institutional reform. This period saw beginnings of the reformati on of the treatment of “mental illness” from punishment to “therapy.” In th e 1963 play\, the inmates enact the drama\, and are always partly themselve s\, as “mental patients\,” and partly in historical character. The play rev eals an ongoing debate about whether the imperatives of revolution originat e within the individual or within society as a whole.

While th e original play is set in the bath house of the Charenton asylum\, Thauberg er’s production is set in the decommissioned laundry/water facilities of an other post-revolutionary institution: Bohnice\, the largest psychiatric cli nic in the Czech Republic. Currently undergoing institutional reform\, Bohn ice is in the beginning stages of de-institutionalization and the final sta ges of privatization of some of its services. The production was a collabor ation with the Prague-based experimental theatre company Akanda and theatri cal director Melanie Rada in which play was presented to the patients and s taff of Bohnice as well as general audiences who came to the hospital over a 5 night run. Thauberger’s THE PERSECUTION AND ASSASSINATION OF JEAN-P AUL MARAT AS PERFORMED BY THE INMATES OF THE ASYLUM OF CHARENTON UNDER THE DIRECTION OF THE MARQUIS DE SADE AS PERFORMED BY THE PRAGUE-BASED EXPERIMEN TAL THEATRE COMPANY AKANDA FOR THE PATIENTS AND STAFF OF THE BOHNICE PSYCHI ATRIC HOSPITAL is a video work that documents and reconfigures the sta ging of the play in this location\, to audiences of the patients and staff of the institution.

DTEND:20130505 DTSTAMP:20141023T003926 DTSTART:20121215 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Marat/Sade at the Bohnice \, Althea Thauberger UID:250654 END:VEVENT BEGIN:VEVENT DTEND:20121214T230000 DTSTAMP:20141023T003926 DTSTART:20121214T190000 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Marat/Sade at the Bohnice \, Althea Thauberger UID:250678 END:VEVENT END:VCALENDAR