BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Nadijah Robinson is a visual a rtist and educator based in Toronto. Her studio practice involves combining found images to create alternative histories and make visual intangible tr uths. Both her education and art work are rooted in addressing her communit ies&rsquo\; particular concerns and telling their stories.

DTEND:20150510T150000 DTSTAMP:20150506T203742 DTSTART:20150510T140000 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Sunday Scene: Nadijah Robinson\, Nadijah Robinson UID:382744 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The curatorial premise of this exhibition is grounded in the work of cultural theorist Stuart Hall (1932- 2014)\, who devoted his life to studying the interweaving threads of cultur e\, power\, politics and history.

Taking Hall&rsquo\;s essay&nbs p\;Encoding and Decoding in the Television Discourse \;as a po int of departure\, viewers will be invited to think about how meaning is co nstructed\; how it is systematically distorted by audience reception and ho w it can be detached and drained of its original intent to produce specific or slanted narratives. \;

Hall's interdisciplinary approach drew on literary theory\, linguistics\, and cultural anthropology in order to analyse and articulate the relationship between history\, culture\, pop ular media\, cold war politics\, gender and ethnicity. By presenting the wo rk of artists who bring into play time\, memory and archives so as to const ruct new readings of the past\, the exhibition will lay emphasis on the ide a that the &ldquo\;visual&rdquo\; is an assimilatory process continuously a t work in the construction of cultural\, political\, personal and national identities.

The Unfinished Conversation: Encoding/Decoding \;will examine the physical manifestations and the mind-set of spec ific visual dynamics of the post-WWII era and it will address itself to the ways in which the image and the archive\, whether personal or national\, h ave influenced the way the subaltern perceive themselves socially and histo rically.

It is our curatorial intention to build a multiple movi ng/still/audio archive\, an image map\, a visual vehicle that will ferry th e audience across the choppy waters of memory\, images and politics to an u ndeterminable\, obscure and un-chartable destination\, where people often m eet with a fatal end. The exhibition aims to take viewers on a journey in t ime\, to bring them to encounter images\, which act as both objects of art and ideas in flux\, circulating in and out of the archive through the corri dors of cultural re-construction. \;

This image map will be drawn by the work of Terry Adkins\, John Akomfrah\, Sven Augustijnen\, Stev e McQueen\, Shelagh Keeley and Zineb Sedira\, six artists whose practice is devoted primarily to commenting on recent socio-political events and situa tions and relating them to the not so distant past in order to help us unde rstand the world we live in.

By stimulating our personal and col lective memory\, these works will show us how history agitates and causes a nxiety in our personal lives and in the political realm as they will reveal the fact that national identity is not an essence or a state of being\, bu t a &ldquo\;becoming\,&rdquo\; a process whereby subjectivities are formed in the interstices between such binary oppositions as us/them\, black/white \, or native/foreigner\, and that it is in those in-between spaces that mar ginalized people are the agents and subjects of many possible futures\, ima gined or real. \;

The thread that connects all these art wor ks is the artists&rsquo\; involvement with the significant social issues co nfronting humanity today and their profound desire to push formal boundarie s in order to tackle them.

DTEND:20150518 DTSTAMP:20150506T203742 DTSTART:20150124 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:The Unfinished Conversation: Encoding/Decoding\, Terry Adkins\, Joh n Akomfrah\, Sven Augustijnen\, Steve McQueen\, Shelagh Keeley\, Zineb Sedi ra UID:382743 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The form of a pot is its basic structure and shape. It can also refer to familiar forms\, such as pitcher \, gourd-shaped vessel\, vase\, or wide-mouthed bottle. The form contains a mysterious space that we can never know. If we open that space\, then that space is lost (and a pot is broken). \;

Pot Diction: (1) Layers of cut painted paper reimagine the secret inside spaces of hi storical pots. (2) A series of hand-built pots are titled as poems which de scribe the unique firing process for each form.


Maura Doyl e lives and works in Ottawa. Her multidisciplinary practice has included vi deo\, ceramics\, sculpture\, book works\, printed matter and drawing. Her r ecent work focuses on the medium of clay\, prehistoric pottery and processe s\, which includes the traditional techniques of hand building and open fla me firing. Her work has been exhibited across Canada in artist-run centres and art institutions\, as well as internationally in New York\, Japan\, Swe den and Vienna.

DTEND:20150711 DTSTAMP:20150506T203742 DTSTART:20150605 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Pot Diction\, Maura Doyle UID:382740 END:VEVENT BEGIN:VEVENT DTEND:20150605T220000 DTSTAMP:20150506T203742 DTSTART:20150605T190000 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Pot Diction\, Maura Doyle UID:382741 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Through large-scale drawing\, ceramics and installation\, Zachari Logan evolves a visual language that ex plores the intersections between masculinity\, identity\, memory and place. In previous work related to his current practice\, Logan investigated his own body as a site of exploration. In recent work\, Logan&rsquo\;s body rem ains a catalyst\, but no longer the sole focus. Employing a strategy of vis ual quotation\, mined from place and experience\, Logan "re-wilds" his body as an embodiment of nature. This narrative shift engages both empirical ex plorations of landscape and overlapping art-historic motifs and in \;Ditches\, Dandies and Lions\, considers the site of ditches as a pla ce where nature meets order and social margins flourish.


Z achari Logan (born 1980\, Saskatoon\,SK\, grad. MFA University of Saskatche wan 2008) is a Canadian artist working primarily in drawing\, ceramics and installation. His work has been exhibited in group and solo exhibitions thr oughout North America and Europe\, including \;Eunuch Tapestry 5\, Leslie-Lohman Museum\, NY (2015)\, \;Sisi Boy\, Schleifm& uuml\;hlgasse 12-14\, Vienna (2014)\, \;Folds\, Angus-Hughes G allery\, London Uk (2014)\, \;Hanging Garden\, cur. Rhiannon V ogl\, Line Gallery\, North Bay\, ON (2014)\,Fugitive Garden\, cur. Wayne Baerwaldt\, Illingworth-Kerr Gallery\, Calgary AB (2013)\,Metamo rphosis / Passages\, Daniel Cooney Fine Art\, NY (2013)\, \;An drophilia Art Project: Vignette\, NAFF-Athina Collective\, elCultur Ar t Space\, Athens (2011) andBeautiful Losers Project\, Headquarters Studio\, NY (2011). Group exhibitions includeFaceless\, cur. Bogo mir Doringer\, De Markten\, Brussels (2015)\, Mediamadik Fabriek\, Amsterda m (2014) and Freiraum quartier21 International\, Vienna (2013)\, \; The Name of Things\, Mendel Art Gallery\, Saskatoon SK (2012)\, \; Melancholia\, cur. Raul Zamudio\, Pristine Galerie\, Monterrey\, M exico (2012) andWhen I Grow Up\, collaboration with Sophie Calle\, Galerie Jean Roch Dard\, Paris (2009). Logan has attended residencies in P aris in conjunction with Galerie Jean Roch Dard\, in rural Tennessee at Sas safras ARC/Liberty\, in Calgary through ACAD&rsquo\;s Visiting Artist Progr am\, in Vienna through both the Museum Quartier&rsquo\;s quartier21: Artist in Residence Program and the project space Schliefmuhlgasse 12-14\, in Lon don at the Angus-Hughes Gallery and most recently in Brooklyn at the Intern ational Studio and Curatorial Program. Logan's work can be found in public and private collections worldwide. \;Ditches\, Dandies and Lionsis Logan's first exhibition at Paul Petro Contemporary Art.

DTEND:20150711 DTSTAMP:20150506T203742 DTSTART:20150605 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Ditches\, Dandies and Lions\, Zachari Logan UID:382738 END:VEVENT BEGIN:VEVENT DTEND:20150605T220000 DTSTAMP:20150506T203742 DTSTART:20150605T190000 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Ditches\, Dandies and Lions\, Zachari Logan UID:382739 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In a series of photographs and two videos\, seasonal phenomena are observed and recorded by means of over 80 named varieties of ice\, snow\, and winter weather in the Newfoundland dialect. These terms are precise\, practical\, evocative\, sonic\, and lyri cal. Knowing them helps us actually see different phenomena\, instead of wi nter being just a cold\, white blur.

Some examples are: \;ballicattered
 \;(covered with a layer of ice from the action of spray or waves)\, \;brickle ice \;(easily broken\, brittle ice)\, \;clinkerbells \;(icicles)\, \;devil's bla nket \;(a snowfall that hinders your usual work)\, \;Mothe r Carey is plucking her chickens \;(snow falling in large fluffy c lumps)\, \;sish \;(fine\, granulated ice floating on the s urface of the sea)\, and \;way ice \;(loose ice that is ea sy to navigate).

One of the video works is a 26-minute-long docu mentary video-poem based on the Blast Hole Pond River that flows through th e patch of boreal forest where the artist lives in Portugal Cove\, Newfound land\; the other video is a real-time\, single take of sea ice in Conceptio n Bay shot from the Bell Island ferry in March 2014 when it was so cold tha t the bay itself froze for the first time in decades. It's not uncommon for Arctic ice or \;drift-ice \;(floating masses or fragments of ice driven by wind and current) to float into the bay\, but this was&nb sp\;local ice\, or \;bay ice.

The word "tr easury" usually describes a collection of highly valued poems\; it is used in the exhibition's title to describe a collection of highly valued poetic terms. There is a wide local vocabulary to distinguish specific phenomena i n the continuous modulations of winter weather. Several of the terms are fr om 17th-century English\, brought to Newfoundland with the settlers\; other s arose from particular occupational activities in this climate. This diale ct is important to me because some of these words would have been in the mo uths of my Newfoundland ancestors. But this vocabulary is now a fragile int angible artifact. The loss of local linguistic complexity is a result of ma jor changes in Newfoundland &\; Labrador\, particularly the decline of t he fishery as an occupation. And these terms are fragile for another reason &mdash\;climate change.

With special thanks to the Newfoundland &\; Labrador Arts Council and The Canada Council for the Arts.



Marlene Creates is an environmental artist and poet who lives and works in a 6-acre patch of boreal forest in Newfoundland. Underlying a ll her work is an interest in place &mdash\; not as a geographical location \, but as a process that involves memory\, multiple narratives\, ecology\, language\, and both specialized and vernacular knowledge. Her work has been presented in over 300 exhibitions\, both nationally and internationally\, and is in numerous public collections\, including the National Gallery of C anada. Recent awards include the 2013 BMW Exhibition Prize at the Scotiaban k CONTACT Photography Festival for her solo exhibition at Paul Petro Contem porary Art\, and the Grand Jury Award at the 2014 Yosemite International Fi lm Festival\, which she received for a documentary video-poem that is inclu ded in her solo exhibition at Paul Petro Contemporary Art for CONTACT 2015.

DTEND:20150530 DTSTAMP:20150506T203742 DTSTART:20150501 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:A Newfoundland Treasury of Terms for Ice and Snow\, Marlene Creates UID:382737 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Abstraction is challenging. Ha ng Looser.

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Doubleheader  \;alludes to Etant Donnes without the predictable outcome.

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We play to our wishes not to their rules. Ai m for high standards and no drama.

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It&rsquo\;s the gaps that change the sequence. Dangerous to step out of line and lethal not to.

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Happy Together. No matter how they toss the dice.

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Home Sweet Home. Be it ever so humble.

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Join the resistance. Stop being right and see where wrong goes.

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Working in both collage and sculpture\, Elizabeth Zvonar&rsquo\;s work utilizes strategies of aesthetic seduction and sex often found in advertising as a means of te asing out a possible metaphysical or supernatural undercurrent. \;T HE CHALLENGE OF ABSTRACTION \;draws on advertising imagery found i n luxury good magazines from an earlier era and fuses it with that found in contemporary fashion magazines. Zvonar&rsquo\;s positioning and iconizatio n of the subject highlights their ability to act as the sacred.

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In keeping with her commitment to material explo ration\, Zvonar&rsquo\;s current body of work explores expanded sensory mec hanisms that trigger devotion by pairing visual and tactile objects with sc ent. Adopting the tools of ritual found in a variety of spiritual practices and merging them with the production of sculptural objects\, Zvonar is int erested in the interplay between the invisible and the physical world. Duri ng the installation process Zvonar will burn incense that has a specificall y commissioned west coast scent. The partially burned sticks will remain as an element of the concrete cast sculptural objects. This quiet act\, obser ved in the remains of the partially burned incense stick\, reinforces the s acrosanct relationship of the meditative ritual of arrangement. Focusing on our culture&rsquo\;s enthusiasm for reverence\, Zvonar makes work that bot h questions and opens up the possibility of the extraordinary.

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Elizabeth Zvonar graduated from Emily Carr Instit ute of Art + Design in 2001. She has exhibited in solo and group exhibition s in Canada at Artspeak\; Western Front\; Contemporary Art Gallery\; Mercer Union\; Morris and Helen Belkin Gallery\; Vancouver Art Gallery\; Oakville Gallery\; Presentation House\; among others. Internationally in New York\, Australia\, Japan and Belgium. In 2008\, Zvonar was the inaugural artist a t the Malaspina Print Research Residency and was an artist in residence at the Banff Centre for the thematic Cosmic Ray Research. Zvonar received the 2009 City of Vancouver Mayor&rsquo\;s Award for Emerging Visual Artist\; in 2011 she was presented with the Emily Award for outstanding achievement by an Emily Carr alumna. From 2012-15 Zvonar held the post of City of Vancouv er Artist in Residence. Her work has been seen most recently in Canada in t he group show \;On Stage\, Recent Acquisitions at the Vancouve r Art Gallery and in her the solo presentation\, I really do believe the be st thing a person can do with themselves is expand their mind at Gallery 29 5. Zvonar was the 2015 recipient of the Shadbolt Foundation&rsquo\;s VIVA a ward.

DTEND:20150606 DTSTAMP:20150506T203742 DTSTART:20150502 GEO:43.6544397;-79.4426724 LOCATION:Daniel Faria Gallery\,188 St Helens Avenue \nToronto \, ON M6H 4A 1 SEQUENCE:0 SUMMARY:The Challenge Of Abstraction\, Elizabeth Zvonar UID:382736 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150530 DTSTAMP:20150506T203742 DTSTART:20150430 GEO:43.6545056;-79.4425989 LOCATION:Clint Roenisch Gallery\,190 Saint Helen's Avenue \nToronto\, ON M6 H 4A2 SEQUENCE:0 SUMMARY:Surplus\, Jimmy Limit UID:382735 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Observations of Foreign Ob jects in a Remote Town \;explores the intersection between science and storytelling\, perceived through the lens of photography. As a medium that boasts power and authority\, photography remains a complex tool that i nherently elicits the truth while simultaneously hinting at the possibility of fiction. These images\, constructed using rocks found from the landscap e surrounding the artist&rsquo\;s studio\, are playfully rearranged and pho tographed within the context of a scientifically ambiguous narrative. Like images mined from forgotten archives\, the photographs borrow reoccurring e lements from space and forensic photography. Collectively\, the work create s a mosaic that re-presents situations from a research project performed in a remote town. Weaving together images of possible lunar samples\, scienti fic machinery and cosmic landscapes\, this book forms an eclectic visual jo urnal of a man and his relationship with the cosmos.

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Containing 70 unique images across 99 pages\, it also inclu des a fictional short story written in dialogue with the images by Australi an playwright Emma Gibson.

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Benjamin Freedman  \;(b. 1990) is a photo based artist presently working in Toronto. He comple ted his \;BFA \;in photographic studies from Ryerson University in 2013. Before moving to Toronto in 2009\, Ben was born and raised in Montrea l.

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DTEND:20150514T200000 DTSTAMP:20150506T203742 DTSTART:20150514T180000 GEO:43.6497137;-79.4317968 LOCATION:Art Metropole\,1490 Dundas Street West \nToronto\, Ontario ON M6K SEQUENCE:0 SUMMARY:Book Launch: Observations of Foreign Objects in a Remote Town\, Ben jamin Freedman UID:382734 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the early 2000s\, the Archi ve of Modern Conflict Toronto acquired the photographs of amateur Canadian photographer Edouard LeBouthillier after his Polaroids were found discarded curbside in The Annex\, a residential Toronto neighbourhood. Employing the medium of instant photography\, LeBouthillier documented his life in Toron to throughout the 1970s and 1980s. From photo booth self-portraits and urba n landscapes\, to vignettes of his eclectic apartment\, he meticulously ann otated all of his images with exact times\, dates\, names\, and locations. LeBouthillier also repeatedly photographed public attractions that were rec ently constructed at the time\, such as the Eaton Centre\, the CN Tower\, a nd Nathan Phillips Square. These photographs document not only his personal travels\, but also the transition of downtown Toronto from a grimy and und erutilized urban centre into a modern metropolis.

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LeBouthillier&rsquo\;s story unfolds in this two-part exhibiti on. A selection of his Polaroids documenting some of the city&rsquo\;s most recognizable landmarks are presented as large-scale images on the vitrine windows within Union Station&rsquo\;s \;VIA \;Rail concourse\, a ma jor access hub to the city. Positioned within this historic site\, they act as a reminder of the city&rsquo\;s changing landscape as it currently goes through yet another major transformation. The second part of this exhibiti on appears at Art Metropole\, which features a selection of LeBouthillier&r squo\;s original Polaroids depicting his domestic life. These images allow the viewer to delve further into the private life of this charismatic figur e\, shown posing for the camera\, hand embroidering his clothing\, or relax ing with family\, almost always dressed in plaid. As a whole\, Edouard reve als a private photographic collection chronicling the life of an individual and the city.

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This Art Metropole exh ibition is presented in conjunction with a related public art installation at Union Station as part of theScotiabank \;CONTACT \;Pho tography Festival.

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DTEND:20150530 DTSTAMP:20150506T203742 DTSTART:20150505 GEO:43.6497137;-79.4317968 LOCATION:Art Metropole\,1490 Dundas Street West \nToronto\, Ontario ON M6K SEQUENCE:0 SUMMARY:Archive of Modern Conflict Toronto: Edouard\, Edouard LeBouthillier UID:382733 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ANGELL GALLERY \;is pleased to present \;RAFAEL OCHOA: \;THE PLASTIC ARTS\, a solo exhibition of new digital painting s by this highly regarded young artist. The show runs in the east gallery f rom \;May 1 to May 30\, 2015\, with an opening recepti on on \;Thursday\, April 30\, 6:00 to 9:00 PM.

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The phrase &ldquo\;plastic arts&rdquo\;\, mu ch in use in the 19th century\, traditionally referred to visual arts in wh ich forms are rendered in or as if in three dimensions (sculpture\, paintin g\, drawing\, etc.) In \;Rafael Ochoa&rsquo\;s \;r eclamation of this historical term\, &ldquo\;plastic&rdquo\; refers to both the simulation of solid objects common to representational painting\, and to the artificial nature of painting with digital media. &ldquo\;I like to think of my practice as digital image-making\, with a visual language heavi ly influenced by traditional European painting\,&rdquo\; says \;Ochoa.

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The attraction of hi storical art\, for \;Ochoa\, is the quality of design that artists of the past absorbed and transmitted over many centuries. Pond ering why a painting by Vermeer of a woman reading a letter is more resonan t than a casual snapshot of the same subject\, \;Ochoa  \;concludes that it is the formal elements &mdash\; composition and co lour &mdash\; that are the core strength of Old Master painting\, and it is these qualities he seeks to emulate.

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In this body of work\, \;Ochoa \;mines the fertil e territory of traditional notions of beauty. Fair women in languid poses\, accompanied by exotic birds\, evoke the decadence of the Rococo era of pre -revolutionary France\, when artists such as Watteau and Fragonard painted sumptuously garbed aristocrats at leisure. Platters of rich food and vases overflowing with blossoms hark back to the European still-life tradition\, in which painters immortalized the material accouterments of the good life. Yet \;Ochoa&rsquo\;s \;works are not throwbacks & mdash\; they exude a slightly cartoonish air\, a sensibility not unlike tha t of painter John Currin\, who likewise balances traditional references wit h postmodern awareness.

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Beyond their captivating appearances\, \;Ochoa&rsquo\;s \;image s delight through the unorthodoxy of his process\, which produces results d ecidely unlike most digital art. Rather than allowing what software plug-in s and filters can do to provide the direction\, \;Ochoa \;searches for the tools that will create the brushstrokes he is afte r. Seeds of inspiration may come from internet-sourced images ranging from historical art to fashion photography\, but every element in \; Ochoa&rsquo\;s \;digital paintings are slowly built from scrat ch and assembled using a complex process that \;Ochoa& nbsp\;has spent years developing. Like the Old Master painters who are his spiritual mentors\, \;Ochoa \;doesn&rsquo\;t take shortcuts\, and his sumptuous 21st century tableaux bare witness to his lab ours.

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Rafael Ochoa \;holds a BFA in Photograp hy from OCADU and an MFA in Visual Arts from York University. \;Ochoa \;was a featured artist in both \;Simulators \;exhibitions at Angell Gallery\, and had a solo exhibition there la st year. BlogTo namedOchoa \;one of Top 5 Toronto Arti st To Watch in 2014\, and was a featured artist in The Toronto Star&rsquo\; s Arts an Entertainment section.

DTEND:20150530 DTSTAMP:20150506T203742 DTSTART:20150501 GEO:43.6445305;-79.4190129 LOCATION:Angell Gallery\,12 Ossington Avenue \nToronto\, Ontario M6J 2Y7 SEQUENCE:0 SUMMARY:The Plastic Arts\, Rafael Ochoa UID:382732 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ANGELL GALLERY \;is pleased to present \;EXHIBITION NARRATIVE\, a show featuring photography by internationally exhibiting artists \;< strong>YAEL EBAN\, TIM RODA\, ANDREW B. MYERS\, JAKUB DOLEJ&Scaron\; \; and \;OLI SORENSON. \;Th e show runs in the West Gallery and Project Room from \;May 1 t o May 30\, 2015\, with an opening reception on \;Thurs day\, April 30th\, 6:00 to 9:00 PM. This show is part of the annua l \;Scotiabank CONTACT Photography Festival. \;

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Photography has been a vehicle for stor ytelling since the medium&rsquo\;s inception\, when Victorians brought lite rary themes to life by photographing costumed tableaux. The five contempora ry artists in this exhibition demonstrate that photography remains a vital carrier of narrative\, richly diverse in potential.

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Yael Eban \;is drawn to photography&rsq uo\;s role in recording family narratives. While raised in Indiana and now based in Brooklyn\, \;Eban \;was born in Israel\, and it is her Israeli grandparents whose story is the focus of her installa tion\, \;General Assembly. Collaging images of family document s found online\, ranging from snapshots to fine art photographs to newspape r clippings to a screenshot of an eBay receipt\, \;Eban \;investigates the space between public and private archives and how photographs exist as objects in a digital age.

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Eban \;is a 2014 graduate of the MFA program in Photo\, Video\, &\; Related Media at the School of Visual Arts in Ne w York City. Her work has been shown at SVA Chelsea in New York City\, Gree npoint Gallery and the Dedalus Foundation in Brooklyn and Neue Galerie in A usberg\, Germany. She has also been featured in publications including Floa t Magazine\, Paper Journal and Fotomagazin (Germany). \;Yael \;Lives in Brooklyn\, NY.

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Tim Roda&rsquo\;s \;work reflects his fascination with what stories photographs tell (or don&rsquo\;t tell) about the family dyna mic. Using his children as actors in mysterious dramas\, he creates intrigu ing images that offer more questions than answers. In his new series\,  \;Hidden Father\, both adults and meanings are veiled\, literally and figuratively\, leaving the young protagonist as the chief actor in a va riety of enigmatic scenarios populated by strange props and unfathomable ac tions.

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Roda \;wa s born in Lancaster\, PA and now lives and works in New York as an Angell G allery represented artist. He has an MFA in Ceramics from the University of Washington\, Seattle. He has had exhibitions in public and private galleri es in London (UK)\, Brussels\, Berlin\, Hamburg\, Seattle\, Chicago\, Las V egas and New York City\, to name just a few. Collections include the Bard C ollege Museum\, the Elton John Collection\, the Museum of Contemporary Phot ography in Chicago\, the Seattle Art Museum and the Essl Collection in Aust ria.

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For \;Andrew B. Myer s\, the myths promulgated by commercial photography provide compel ling fodder for social commentary. \;Myers \;engag es the language of advertising to critique the very consumer overload it pr omotes. A plethora of small colourful objects\, ranging from a pink glove t o a lemon to a toy xylophone\, are photographed against a plain coloured ba ckground\, their randomness at odds with the graphic orderliness of their d isposition. The human presence\, represented by a bit a leg here\, and a pa ir of arms there\, suggest both the source of this profusion\, and the conf usion it engenders.

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Myers\,&n bsp\;represented by Angell Gallery\, lives and works in New York. He has a BFA in Photography from Ryerson University and his awards include the Zoom Magazine New Talent Award\, 2011\, the Magenta Foundation&rsquo\;s Flash Forward Emerging Photographer Award\, 2010\, the YG12 award from the ADC Young Guns Competition\, 2014\, and was voted one of this year&rsquo\; s photographers to watch by PDN 30 in 2015. Along with exhibitions in Europ e and North America\, \;Myers \;has done editorial work for the New York Times\, Globe and Mail\, Vice\, Wired\, Juxtapoz\, E squire Russia\, and Canadian Geographic.

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Jakub Dolej&scaron\;\, \;represented by Angell Gal lery for many years\, is attracted to the stories inherent in the photograp her&rsquo\;s studio. In his series\, \;Calamity\, \;videos with titles such as \;One thing after another\, \;On and on\, \;Over and over \;and \;Behind my ba ck \;document studio accouterments stumbling through slapstick cha in reactions that call to mind the Fischli and Weiss classic\, \;Th e Way Things Go. Underscoring the accidental side of photography\,&nbs p\;Doleĵs \;makes the most of the magic that can happe n when things go askew.

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Doleĵ s\, born in the Czech Republic and now based in London\, received his MFA in painting in 1998 from the Academy for Art\, Architecture and Des ign in Prague. His work has been included in exhibitions at the National Ga llery of Canada\, Vancouver Art Gallery\, East International in the UK\, an d the National Gallery in Prague\, among others. Doleĵs is represented in c ollections across North America\, including the National Gallery of Canada.

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The photographs of \;Oli Sorenson \;illustrate the end of a story\, namely monitors sh attered during his \;Video Pistoletto Performance. Inspired by the mirror paintings of Arte Povera founder Michelangelo Pistoletto\,  \;Sorenson&rsquo\;s \;performance highlights the perva sive issues of obsolescence and waste. Yet the photographs of the destroyed monitors appear as beautiful abstractions. As light breaks through the dar k\, splintered surface\, creating delicate lines and crystalline forms\, we are reminded of photography&rsquo\;s troubling ability to both record and aestheticize destruction.

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Montreal re sident \;Sorenson \;was born in Los Angeles and li ved in London (UK) from 1999 to 2010\, creating art and curating events at Tate Britain\, the Institute of Contemporary Art and the British Film Insti tute. His work has been exhibited at the Millennium Museum (Beijing)\, the Media Art Institute (Amsterdam)\, ZKM (Karlsruhe) and DokFest (Kassel). He performs regularly in media festivals such as ISEA (Helsinki and Nagoya)\, Mapping Festival (Geneva) and MAF (Bangkok). In 2016 \;Sorenson  \;will obtain a PhD in Interdisciplinary Humanities from Conc ordia University\, Montreal\, CA.

DTEND:20150530 DTSTAMP:20150506T203742 DTSTART:20150501 GEO:43.6445305;-79.4190129 LOCATION:Angell Gallery\,12 Ossington Avenue \nToronto\, Ontario M6J 2Y7 SEQUENCE:0 SUMMARY:Exhibition Narrative\, Jakub Dolejs\, Yael Eban\, Andrew B. Myers\, Tim Roda\, Oli Sorenson UID:382731 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Please join us on Thursday May 7\, from 5-8pm to celebrate t he opening of Grit Schwerdtfeger's exhibition. \;
Refreshments wil l be provided\, and the artist will be in attendance. \;

"Te n" is a Scotiabank CONTACT Photography Festival featured exhibition. \;

Over a one-year period\, German photographer Grit Schwerdtfeger took photographs of her ten-year-old son\, Lorenz. What began as Lorenz's idea to see himself develop evolved into a contemporary document\; the phot ographs demonstrate the closeness and distance between mother and son. By i ntegrating the photograph into their daily routine\, the excitement and des ire of sitting for the photo lapsed. The action became equivalent to any ot her daily task\, performed without question or desire\, and sometimes with aggravation\, simply out of necessity.

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DTEND:20150530 DTSTAMP:20150506T203742 DTSTART:20150507 GEO:43.6503762;-79.358817 LOCATION:Corkin Gallery\,7 Tank House Lane \nToronto\, Ontario M5A 3C4 SEQUENCE:0 SUMMARY: Opening Reception: Grit Schwerdtfeger\, Ten\, Grit Schwerdtfeger UID:382311 END:VEVENT BEGIN:VEVENT DTEND:20150507T200000 DTSTAMP:20150506T203742 DTSTART:20150507T170000 GEO:43.6503762;-79.358817 LOCATION:Corkin Gallery\,7 Tank House Lane \nToronto\, Ontario M5A 3C4 SEQUENCE:0 SUMMARY: Opening Reception: Grit Schwerdtfeger\, Ten\, Grit Schwerdtfeger UID:382312 END:VEVENT END:VCALENDAR