BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20140802 DTSTAMP:20140728T083754 DTSTART:20140722 GEO:43.6542099;-79.3927314 LOCATION:Bau-Xi Gallery - Toronto\,340 Dundas St. \nToronto\, Ontario SEQUENCE:0 SUMMARY:Gallery Artists Show UID:348343 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A Zine Dream window by Eunice Luk and Alicia Nauta. A collaborative window of larger than life wooden boo k sculptures exploring the form and function of zines and artist books. Thr ee different sculptures consider some of the many forms a book can take\, a nd celebrate the potential of printed matter as a platform for creating\, s haring and circulating ideas. The sculptures represent independent publishi ng as a way to create an alternative to the traditional art object\, encour aging experimentation in an accessible form.

DTEND:20140830 DTSTAMP:20140728T083754 DTSTART:20140806 GEO:43.6497137;-79.4317968 LOCATION:Art Metropole\,1490 Dundas Street West \nToronto\, Ontario ON M6K SEQUENCE:0 SUMMARY:Zine Dream\, Alicia Nauta\, Eunice Luk UID:348341 END:VEVENT BEGIN:VEVENT DTEND:20140808T220000 DTSTAMP:20140728T083754 DTSTART:20140808T190000 GEO:43.6497137;-79.4317968 LOCATION:Art Metropole\,1490 Dundas Street West \nToronto\, Ontario ON M6K SEQUENCE:0 SUMMARY:Zine Dream\, Eunice Luk\, Alicia Nauta UID:348342 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As per Propeller's new motto\, our summer pop-up group show is based on the theme\, "Artists Empowering A rtists." Acting members of Propeller will be sharing the gallery space with artist friends\, colleagues and mentors that they've invited to co-exhibit .

DTEND:20140810 DTSTAMP:20140728T083754 DTSTART:20140730 GEO:43.6446171;-79.4168107 LOCATION:Propeller Centre for the Visual Arts\,948 Queen Street West \nToro nto\, ON M6J 1H1 SEQUENCE:0 SUMMARY:Shared Places\, Shared Spaces UID:348339 END:VEVENT BEGIN:VEVENT DTEND:20140731T210000 DTSTAMP:20140728T083754 DTSTART:20140731T180000 GEO:43.6446171;-79.4168107 LOCATION:Propeller Centre for the Visual Arts\,948 Queen Street West \nToro nto\, ON M6J 1H1 SEQUENCE:0 SUMMARY:Shared Places\, Shared Spaces UID:348340 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Behind the High Grass (2012-)< /p>\n

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The mutable nature of space and time seems a ll the more evident given the post-digital capacity in which we lead our li ves today. Much of human existence is now poised on the act of travel\, fro m the intertwined subterrain of urban public transit to sky-born birds of m etal leaving white trails in their wake. This physical ubiquity runs parall el to that of the contemporary technological id\, a psychic force that seek s both immediate consumption of and presence in the everyplace.

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A foundation of Soft Turns ' long-term research\, movement in space and time is a topic of continual c ontention. The reason\, other than its wily character\, is that it is belie d by stasisâ\;&euro\;&rdquo\;the human experience is oftentimes a bise ction of the self wherein past and present bodies coexist. The same can be said of distance and proximity\, collapsing perception into something of a closed circuit. For their second presentation in O'Born Contemporary's gall ery space\, \;Behind the High Grass (2012&ndash\;)\, Soft Turns has ens nared this particular perceptive enigma\, reiterating it through three dist inct video works and a suite of auxiliary paintings and installations. This project is an ongoing excavation of source images taken from a found post- war travel book by Czech explorers and filmmakers Jiří\; Hanzelka and Miroslav Zikmund.

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The documentation found within\, suitably amateur photographs of the wa nderers' car\, sites seen\, and of themselves\, becomes the raw matter for paintings and animations as well as a guide for Soft Turns' own travels. Th e perceptive shift between old and new is often at the hilt of their projec ts\, as when using stop-motion animation of simple\, home-made sets to pres ent clean\, high definition video works. In fact\, the counter-position of technologies within Soft Turns' formal output is a material referent to the conceptual rehearsal the traveling pair enacts in reverence for Hanzelka a nd Zikmund.

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An approach to the \;provisional \;underlies the varied works comprisi ng this latest execution of Behind the High Grass (2012&ndash\;). Monumenta lizing the common sight of discarded cans and bottles on the ground of publ ic transit vehicles\, "Traveller Never Feels the Wind\, or Hears It" (2014) meditates upon the tides of being. The slow\, pendular movement of glass o ver surface activates an irreducible contingency between self and other\, a lways connected at a node despite never existing as one. The stop-motion an imation's premise ignites an unusual exploration of "physical provenance" a s trails of dripping water track the pathway of the glass\, only to evapora te in an act of time-based erasure. The transient state of emptied beverage vessels becomes an entry point into understanding the oscillatory truth of the travelers to whom they are underfoot.

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A similar shuddering\, like the alternation of an electrical current\, can be seen in "Solitary Man with Nature" (2011) as a man standing in tall grass seems to continuously advance towards and ret ract from the picture plane. The animation primes acute scrutiny through th e mismatched scale between figure and landscape\, not only muddling their t raditional visual pragmatic but also the relationship between body and envi ronment. If all entities in the natural world are made up of the same base molecules and elements\, Soft Turns asks here how time and space enter into the larger conversation of exchange between energy and matter.

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Echoing the syncopation ma de so palpable by "Solitary Man with Nature" is a set of painted transparen ciesâ\;&euro\;&rdquo\;-transcripts of waterfall scenery taken from Han zelka and Zikmund's travelogue. Hovering slightly off the surface of the wa ll\, these reactivated images cast shadowy specters of themselves as if in imitation of light's refraction through a lens. Tentative penetrations into the past\, these impermanent imprints are the conjoined twins of their pre sent\, painted selves.

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"P-19720" (2013) is perhaps the most literal exacting of the parall el research and travel habits between Soft Turns and the Czech explorers. C reated in Bergen against a landscape of water\, cliffs\, and harbour fare\, the video frames a rear windshield modeled after the silver Tatra 87. It w as this vehicle\, a recurring subject in Soft Turnsâ\;&euro\;&trade\; photographic reference material\, which transported Hanzelka and Zikmund th roughout their journey. Blank pieces of postcard-sized paper\, hung like la undry across the broad window\, are the recipients of projected landscape i mages from the Czech travel account. As the day's light shiftsâ\;&euro \;&rdquo\;-a product of stop-motion time lapseâ\;&euro\;&rdquo\;the fl ickering of the pages makes the images unsubstantial and undermines the pho tograph's veridical index of time. These haphazard screens seem like miniat ure versions of the actual scenery beyond them in the distance and successf ully form an equation of proximity and distance\, of past travels and prese nt experiences.

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The summation of Soft Turns' current expression of \;Behind the High G rass (2012&ndash\;)\, cast in the indecisive light of today's technological reality\, is both a registration of physical awareness and an utter disavo wal of belonging to space and time.

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- Rachel Anne Farquharson\, 2014

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about the artists

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Soft Turns \;is the collaborative effort of artists \;Sarah Jane Gorlitz \;and \;Wojciech Olejnik. Currentl y based in Toronto\, Canada\, they have been collaborating on video install ation and stop-motion animation since 2006. The idea of an encounter with s omething\, as an ever-changing space between the foreign and the familiar\, the accessible and inaccessible\, is a central theme of their practice. Th eir collaborations employ found objects\, common\, easily available materia ls (i.e. paper and plywood)\, D.I.Y. methods\, and experimentation as much as intuition to make stop-motion animations and installations that invite v iewers into an active encounter with a narrative\, subject or space.

\n< p style="text-align: justify\;">Wojciech (MFA University of Waterloo 2002) and Sarah Jane (MFA Malmö\; Art Academy 2011) have received support fro m the Swedish Edstrand Foundation\, as well as numerous grants from the Tor onto\, Ontario\, and Canada Arts Councils\; including the Joseph S. Stauffe r Prize in 2008 and a 2013 CCA Paris Residency. In 2011 they were featured in the Fall issue of Canadian Art. They have exhibited frequently in Canada and internationally\; having recent solo exhibitions at YYZ (Toronto)\, So uthern Exposure (San Fransisco)\, Foundation 3\,14 (Bergen)\, Skå\;nes konstfö\;rening (Malmö\;) and Greusslich Contemporary (Berlin)\, a nd significant group exhibitions such as SESC_Videobrasil 18th and 17th Int ernational Contemporary Art Festival (Sã\;o Paulo)\, Now&\;After ' 12\, Museum of Modern Art (Moscow)\, Interaccess (Toronto)\, Dortmund Bodeg a (Oslo)\, Soap Factory (Minneapolis)\, and in early 2014\, Oakville Galler ies (Oakville).

DTEND:20140828 DTSTAMP:20140728T083754 DTSTART:20140807 GEO:43.6471456;-79.4198319 LOCATION:O'Born Contemporary\,131 Ossington Avenue \nToronto \, ON M6J 2Z6 SEQUENCE:0 SUMMARY:Behind the High Grass (2012–)\, Soft Turns\, Wojciech Olejnik\, Sa rah Jane Gorlitz UID:348337 END:VEVENT BEGIN:VEVENT DTEND:20140807T200000 DTSTAMP:20140728T083754 DTSTART:20140807T180000 GEO:43.6471456;-79.4198319 LOCATION:O'Born Contemporary\,131 Ossington Avenue \nToronto \, ON M6J 2Z6 SEQUENCE:0 SUMMARY:Behind the High Grass (2012–)\, Soft Turns\, Sarah Jane Gorlitz\, Wojciech Olejnik UID:348338 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For this project\, I have chos en to use wood\, and more specifically the commodity version of this materi al &ndash\; lumber &ndash\; as a means to take a closer look at how standar ds shape us and our world.

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Dimensiona l lumber is largely used by the construction industry worldwide. In North A merica\, a majority of households are built with a wooden structure or fram e made from dimensional lumber.

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This series is about encouraging people to question and understand the reasoning (thought process) and decision-making behind the 'shape' of things. Moreov er\, it is about the natural resources we harness from the earth and the fo rm\, function and role they play in our everyday lives. Economies and indus tries are built around these decisions and they 'echo' off the center as ri ngs in the core of a tree. Those standards set the 'tone' for future genera tions.

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As Lawrence Busch explains in his book\, Standards: A recipe for reality\, "standards (and technologies) are dangerous because they are so easily naturalized\, because in following them we amplify certain aspects of the world while reducing others\, and w e are thereby overwhelmed by their (and our) power." Standards are also nec essary\, constructive and productive as long as they are fair\, equitable a nd effective. Standards are essential to civilization and they "shape not o nly the physical world around us but also our social lives and even our sel ves." \;

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AR TIST BIOGRAPHY: \;
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SUSANA REISMAN
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Susana Rei sman was born in Caracas\, Venezuela in 1977. She received a BA in Economic s from Wellesley College (Boston\, 1999) and an MFA in photography from the Rochester Institute of Technology (Rochester\, 2005). After teaching photo graphy for a number of years\, Susana now dedicates her time to making art and running \;Circuit Gallery. She lives and works in Toronto.

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DTEND:20141018 DTSTAMP:20140728T083754 DTSTART:20140912 GEO:43.6476631;-79.394744 LOCATION:Gallery 44 Centre for Contemporary Photography\,401 Richmond Stree t West Suite #120\nToronto\, Ontario M5V 3A8 SEQUENCE:0 SUMMARY:Standardizing Nature:: Trees\, Wood\, Lumber\, Susana Reisman UID:348333 END:VEVENT BEGIN:VEVENT DTEND:20140912T200000 DTSTAMP:20140728T083754 DTSTART:20140912T180000 GEO:43.6476631;-79.394744 LOCATION:Gallery 44 Centre for Contemporary Photography\,401 Richmond Stree t West Suite #120\nToronto\, Ontario M5V 3A8 SEQUENCE:0 SUMMARY:Standardizing Nature:: Trees\, Wood\, Lumber\, Susana Reisman UID:348334 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Resting squarely in the interstices of science\, tradition \, mythology and nostalgia\, the almanac is a particularly \;unique&nbs p\;cultural artifact. As an annual reference for recording and predicting a stronomical events (the rising and setting of the Sun\, for instance)\, tid es\, weather\, and other phenomena\, or as a collection about a specific su bject\, this appendage offers a meditation on the \;cataloguing \;o f time and object\, and specific paradigms of accuracy. A kind of museum of the everyday\, the populist document was not only meant to help farmers pl an the planting of crops\, as in the \;18th \;century th ese ubiquitous monographs became compendia of folk literature and entertain ment. In an era of sparse reading material\, the farmer&rsquo\;s almanacs o f North America and elsewhere became instruments of rural and urban connect ivity.

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Taking the almanac as a point of departure artists \;Colin Miner\, Maggie Groat and Lili Huston- Hert erich&rsquo\;s site-specific\, vitrines installations consider almanac-rela ted themes\, visually tracing the dialectic possibilities of informational patterns\, text as artifact and alternative research collections.

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\nARTIST BIOGRAPHY: \ ;
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COLIN MINE R
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Colin Miner is an artist from Halifax now based in Toronto. Since completi ng a BFA and MFA at The University of British Columbia he is now finishing a PhD in Visual Arts and Culture at Western University. Miner has presented solo exhibitions nationally and participated in group exhibitions both nat ionally and internationally in Germany and China. Alongside an art practice Miner works with writing\, design\, and a curatorial practice through the publication \;Moire.

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ARTIST STATEMENT \;

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T he relations and connections between the absent and present provide access to the political. The evil eye approaches while keeping distance\, signifyi ng a boundary of the in-between. What askew traces might be left in the dar kness of the subterranean and the constellation? Coal becomes Aniline: chem ical of alchemical properties that bring forth all color. Taken together th e brilliant white of stars\, of reflection and refraction\, is light that s hunts back to darkness through blindness and overexposure. Presently we occ upy the blue hour\, a haunting and anxiety resting within the photographic as a shimmering cloak of silver. \;My artistic practice seeks to evoke\ , rather than seize\, a photographic state of being. I think of this along philosophical terms as a questioning of the ontology of photography &ndash\ ; as a study of being through an artistic practice. This takes form in the production of photographic prints\, sculptural assemblage and video work th at investigate the material and conceptual nature of photography. Essential to this investigation is a consideration of the qualities of lightness\, d arkness\, reflection\, and refraction. In posing the question of how photog raphy might be\, my work attempts to position a conversation in relation to the terms of the anxious\, cyclical\, and askew.

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MAGGIE GROAT
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Maggie Groat is a visual artist working in a variety of me dia including collage\, sculpture\, artists&rsquo\; books\, site-specific i nterventions\, and field studies. Forming an ongoing research-based practic e\, Groat's work explores studies for possible futures\, salvage practices\ , relationships and reconnections to place and ancient knowledge systems fr om an indigenous perspective. Through reconfiguring and recontextualizing f ound materials\, she assembles collages\, sculptures and tools that enable moments of envisioning and the potential for action. \;Maggie studied v isual art and philosophy at York University before attending The University of Guelph\, where she received an MFA degree in 2010. \;She is represe nted by Erin Stump Projects in Toronto.

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Earlier this year\, \;Groat curated and edited an alternative collec tion of research published by Art Metropole entitled \;The Lake\, and was included in \;A Problem So Big it Needs Other People \;curated by cheyanne turions at SBC galerie d'art contemporain in M ontreal. In the coming months\, her work will be a part of shows at Republi c Gallery in Vancouver\, the Elora Centre for the Arts\, and the Museum of Contemporary Canadian Art in Toronto. Solo shows at ESP\, YYZ and a site-sp ecific project and self-directed residency at Brock University&rsquo\;s Rod man Hall in St. Catharines will follow in 2015. Her work has been included or reviewed in Front Magazine\, Kolaj Magazine\, Cmagazine\, The Toronto St ar\, Akimblog and Canadian Art.  \;Maggie currently lives on the southe rn shore of Lake Ontario\, but will spend Fall 2014 in Vancouver as the Vis iting Artist-Scholar-in-Residence at Emily Carr University of Art and Desig n.

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DTEND:20141018 DTSTAMP:20140728T083754 DTSTART:20140912 GEO:43.6476631;-79.394744 LOCATION:Gallery 44 Centre for Contemporary Photography\,401 Richmond Stree t West Suite #120\nToronto\, Ontario M5V 3A8 SEQUENCE:0 SUMMARY:Data Mine\, Lili Huston-Herterich\, Colin Miner\, Maggie Groat UID:348331 END:VEVENT BEGIN:VEVENT DTEND:20140912T200000 DTSTAMP:20140728T083754 DTSTART:20140912T180000 GEO:43.6476631;-79.394744 LOCATION:Gallery 44 Centre for Contemporary Photography\,401 Richmond Stree t West Suite #120\nToronto\, Ontario M5V 3A8 SEQUENCE:0 SUMMARY:Data Mine\, Maggie Groat\, Lili Huston-Herterich\, Colin Miner UID:348332 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140802 DTSTAMP:20140728T083754 DTSTART:20140723 GEO:43.6412968;-79.4331559 LOCATION:Gallery 1313\,1313 Queen Street West \nToronto\, Ontario M6K 1L8 SEQUENCE:0 SUMMARY:Orpheus Within Us\, Andreea Alta Mihartescu UID:348330 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140906 DTSTAMP:20140728T083754 DTSTART:20140807 GEO:43.6492577;-79.4214691 LOCATION:Cooper Cole\,1161 Dundas Street West \nToronto\, ON M6J1X3 SEQUENCE:0 SUMMARY:AS A BODY\, Jody Rogac\, Camilla Wills\, Lauren Luloff\, Jenine Mar sh\, Olivia Dunbar\, Allison Katz\, Mira Dancy UID:348327 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Trinity Square Video is please d to present an exhibition of our latest themed commission series: \;TWO-D: Sculptural Video. \;TWO-D \;presents new wor ks by four artists and one artist collective who employ sculptural approach es to video that rebel against the conventionality and flatness of the scre en\, moving beyond the frame into a spatial\, materialistic and formally un conventional examination of the potential of video.

DTEND:20141019 DTSTAMP:20140728T083754 DTSTART:20140913 GEO:43.6476631;-79.394744 LOCATION:Trinity Square Video\,401 Richmond St. West #376 \nToronto\, Ontar io M5V 3A8 SEQUENCE:0 SUMMARY:TWO-D: Sculptural Video\, Adam David Brown\, Alex M. Lee\, Jordan L oeppky-Kolesnic\, Liana Schmidt\, Emily Hogg\, Janis Demkiw\, Olia Mishchen ko UID:347554 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PFOAC is pleased to present Pa rt II of Luminescences MTL - TO\, a group exhibition of works by gallery&nb sp\;artists in Toronto. Featured \;artists are \;Luc Courch esne\, Karilee Fuglem\, Dil Hildebrand\, John Latour\, Marie-Jeanne Musiol\ , \;Roberto Pellegrinuzzi\, John Player\, Chih-Chien Wang.&nbs p\;This exhibition draws attention to the discreet yet important role that light plays in a wide range of these artists' work.

DTEND:20140823 DTSTAMP:20140728T083754 DTSTART:20140726 GEO:43.6504319;-79.3703923 LOCATION:Pierre-François Ouellette Art Contemporain Gallery - Toronto\,Cent re Space\, 65 George Street \nToronto\, M5A 4L8 SEQUENCE:0 SUMMARY:Luminescences MTL - TO\, Luc Courchesne\, Karilee Fuglem\, Dil Hild ebrand\, John Latour\, Marie-Jeanne Musiol\, Roberto Pellegrinuzzi\, John P layer\, Chih-Chien Wang UID:347553 END:VEVENT BEGIN:VEVENT DTEND:20140726T173000 DTSTAMP:20140728T083754 DTSTART:20140726T150000 GEO:43.6504319;-79.3703923 LOCATION:Pierre-François Ouellette Art Contemporain Gallery - Toronto\,Cent re Space\, 65 George Street \nToronto\, M5A 4L8 SEQUENCE:0 SUMMARY:Luminescences MTL - TO\, Luc Courchesne\, Karilee Fuglem\, Dil Hild ebrand\, John Latour\, Marie-Jeanne Musiol\, Roberto Pellegrinuzzi\, John P layer\, Chih-Chien Wang UID:347708 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Loch Gallery is pleased to present a \;Summer selection \;of paintings &\ ; sculpture in its Toronto location. This group show will feature works by Patrick Amiot\, Ron Bolt\, John B. Boyle\, Philip Craig\, Ivan Eyre\, W. Da vid Ward\, Shannon Craig Morphew\, Michael Forster\, John Hansen\, Jacques Payette\, Tyson Grumm\, and new paintings by Tony Luciani and Carol Stewart .

DTEND:20140813 DTSTAMP:20140728T083754 DTSTART:20140723 GEO:43.6713217;-79.3933849 LOCATION:Loch Gallery - Toronto\,16 Hazelton Avenue \nToronto\, Ontario M5R 2E2 SEQUENCE:0 SUMMARY:"Summer Selection"\, Patrick Amiot\, Ron Bolt\, John B. Boyle\, Phi lip Craig\, Ivan Eyre\, W. David Ward\, Shannon Craig Morphew\, Michael For ster\, John Hansen\, Jacques Payette\, Tyson Grumm\, Tony Luciani\, Carol S tewart UID:347552 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140927 DTSTAMP:20140728T083754 DTSTART:20140905 GEO:43.6493645;-79.4220368 LOCATION:LE Gallery\,1183 Dundas St. West \nToronto\, ON M6J 1X3 SEQUENCE:0 SUMMARY:Solo Exhibition\, Nicholas Di Genova UID:347540 END:VEVENT BEGIN:VEVENT DTEND:20140905T210000 DTSTAMP:20140728T083754 DTSTART:20140905T180000 GEO:43.6493645;-79.4220368 LOCATION:LE Gallery\,1183 Dundas St. West \nToronto\, ON M6J 1X3 SEQUENCE:0 SUMMARY:Solo Exhibition\, Nicholas Di Genova UID:347541 END:VEVENT BEGIN:VEVENT DESCRIPTION:

OUTREACH is our award-winning education program designed specifically for under-served youth\, as a mediu m of creative self-expression.

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The 20 14 exhibition\, installed in the G44 Members' Gallery\, celebrates the hard work and creative accomplishments of the participating youth. \;Featur ing artwork created by over 50 youth from:

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Eva's Phoenix
Nia Centre for the Arts
PEACH
Toronto Co uncil Fire Native Cultural Centre
UrbanArts

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The annual Outreach Zine "Connect\," created by the youth\, is available during the exhibition. Take a copy of the artists' work home with you!

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Every year\, Gallery 44 awards two participants from our OUTREACH program\, the David Barker \;Maltby& nbsp\;Award in keeping with his commitment to education\, community activis m and documentary photography.  \;Award winners\, nominated by instruct ors and selected by a committee\, have excelled within the OUTREACH program .  \;Recipients are awarded based on their talent and commitment to con tinuing with their arts practice. \;

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For more information about OUTREACH please see: \;OUTREACH

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REACH OUT FOR OUTREACH
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Thank you to our supporters &\; donors for ensuring OU TREACH continues to thrive &\; provide access to photography as a means for creative self-expression\, every single year.

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Would you like to show your support? See our indiegogo campaig nin the sidebar for details on how you canReach out for OUTREACH!

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DTEND:20140726 DTSTAMP:20140728T083754 DTSTART:20140620 GEO:43.6476631;-79.394744 LOCATION:Gallery 44 Centre for Contemporary Photography\,401 Richmond Stree t West Suite #120\nToronto\, Ontario M5V 3A8 SEQUENCE:0 SUMMARY:OUTREACH - CONNECT UID:347539 END:VEVENT END:VCALENDAR