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

Cara Barer is renowned for her unique approach to creating abstract imagery using recycled books. In her latest series\, Origins\, Barer contemplates the nature of books a s organic objects in flux. Each book is manipulated beyond recognition usin g various techniques\; the pages are curled into sculptural effect and the flat edges are dyed in vibrant hues. The resulting abstract images referenc e objects in nature\, through subtle allusions to imagery of flowers in blo om and butterflies in flight. Barer&rsquo\;s dynamic compositions invite th e viewer to consider the evolution of each book in its transformation\, and the ephemerality of all objects whether organic or man-made.  \;   \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;

DTEND:20140927 DTSTAMP:20140830T001852 DTSTART:20140913 GEO:43.6543101;-79.3922316 LOCATION:Bau-Xi Photo\,324 Dundas Street\, West \nToronto\, Ontario M5T 1G5 SEQUENCE:0 SUMMARY:ORIGINS\, Cara Barer UID:352934 END:VEVENT BEGIN:VEVENT DTEND:20140913T160000 DTSTAMP:20140830T001852 DTSTART:20140913T140000 GEO:43.6543101;-79.3922316 LOCATION:Bau-Xi Photo\,324 Dundas Street\, West \nToronto\, Ontario M5T 1G5 SEQUENCE:0 SUMMARY:ORIGINS\, Cara Barer UID:352935 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bau-Xi Gallery will be exhibit ing new work by internationally recognized Vancouver based artist\, Andre P etterson. As a painter\, sculptor\, photographer and musician\, Petterson d raws on his varied talents to create the stunning mixed-media panels shown in this exhibition.

Signature imagery from Petterson&rsquo\;s oeuvre\, such as pianos and typewriters\, will re-appear in this exhibition \, along with striking compositions with zebras and elephants\, inspired fr om recent travels to South Africa. These images are representations of past and present\; stillness and movement\; push and pull &ndash\; themes that continue to emerge throughout Andre Petterson&rsquo\;s impressive career. DTEND:20140927 DTSTAMP:20140830T001852 DTSTART:20140913 GEO:43.6542099;-79.3927314 LOCATION:Bau-Xi Gallery - Toronto\,340 Dundas St. \nToronto\, Ontario SEQUENCE:0 SUMMARY:HERE THERE AND OTHER PLACES\, Andre Petterson UID:352932 END:VEVENT BEGIN:VEVENT DTEND:20140913T160000 DTSTAMP:20140830T001852 DTSTART:20140913T140000 GEO:43.6542099;-79.3927314 LOCATION:Bau-Xi Gallery - Toronto\,340 Dundas St. \nToronto\, Ontario SEQUENCE:0 SUMMARY:HERE THERE AND OTHER PLACES\, Andre Petterson UID:352933 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Paul Petro Contemporary Art is pleased to present new work by Toronto-based artists Morley Shayuk and She lagh Keeley.

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In her first exhibition at PPCA Shelagh Keeley presents works in acrylic on mylar that come out of "german notes / after lucretius / de rerum nature\," an on-site commissione d wall drawing installation at the Museum Abteiberg\, Monchengladbach\, Ger many (2013).

"the new drawings deal with lucretius: de rerum n atura / on the nature of things.
( first century B.C.) a classical po em / epicurean philosophy.
the sweep of his observations of life...a poem about the universe.
i make sense of the world around me...a phil osophy of the ordinary / everyday.
objects of daily use...stillness.. .
the banal\, the simple...living in the moment.
the politics o f this&hellip\;" - Shelagh Keeley

DTEND:20141004 DTSTAMP:20140830T001852 DTSTART:20140905 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:"after lucrecius / de rerum natura"\, Shelagh Keeley UID:352879 END:VEVENT BEGIN:VEVENT DTEND:20140905T220000 DTSTAMP:20140830T001852 DTSTART:20140905T190000 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:"after lucrecius / de rerum natura"\, Shelagh Keeley UID:352880 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140913 DTSTAMP:20140830T001852 DTSTART:20140826 GEO:43.6678007;-79.3856082 LOCATION:Roberts Gallery\,641 Yonge Street \nToronto\, Ontario M4Y 1Z9 SEQUENCE:0 SUMMARY:Tuscan to Muskoka Impressions\, Rob Zeer UID:352872 END:VEVENT BEGIN:VEVENT DTEND:20140826T140000 DTSTAMP:20140830T001852 DTSTART:20140826T120000 GEO:43.6678007;-79.3856082 LOCATION:Roberts Gallery\,641 Yonge Street \nToronto\, Ontario M4Y 1Z9 SEQUENCE:0 SUMMARY:Tuscan to Muskoka Impressions\, Rob Zeer UID:352873 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Paul Petro Contemporary Art is pleased to present new work by Toronto-based artists Morley Shayuk and She lagh Keeley.

In his third solo exhibition at PPCA Shayuk's rec ent works present a formula for renewal. The subject of energy informs alle gorical wall relief panels that depict meaning within apparent functionalit y. Shayuk borrows motifs and materials from contemporary constructed landsc ape such as plastic window frames and stucco used to create facades for hou ses and big box stores. His subversion of these ubiquitous materials sugges t the fundamental contradictions enacted within contemporary landscape. By attempting to "rebuild" in the image of a prospective new energy\, Shayuk's initiative is challenged by the process and paradox of art making\; produc ing sculpture and painting that are both reflective and assertive.
Morley Shayuk's work was most recently exhibited in "Imaging Disaster" \, Museum London\, 2013 and published in Canadian Art Magazine\, "The Case for a New Canadian Abstraction" by Adam Lauder\, Summer 2013. Shayuk lives and works in Toronto.

DTEND:20141004 DTSTAMP:20140830T001852 DTSTART:20140905 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Lotus\, Morley Shayuk UID:352871 END:VEVENT BEGIN:VEVENT DTEND:20140905T220000 DTSTAMP:20140830T001852 DTSTART:20140905T190000 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Lotus\, Morley Shayuk UID:352878 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Narwhal is pleased to present Lauchie Reid&rsquo\;s third solo exhibition\, \;Hyacinths and T histles. \;Lauchie Reid is a Toronto-based painter and illustr ator. As a founding member of Canadian art collective Team Macho\, Reid dev eloped a multi-faceted and diverse approach to image making that expresses a love for outmoded techniques and aesthetics\, a bizarre sense of humour\, and a sadly sweet view of childhood\, family and personality. He has exhib ited his work as a part of Team Macho in New York\, Los Angeles\, Berlin\, Bordeaux\, San Francisco\, Amsterdam and most recently at the OPTICA Centre for Contemporary Art in Montreal\, Canada (April 2013).

DTEND:20141002 DTSTAMP:20140830T001852 DTSTART:20140906 GEO:43.6525898;-79.4488032 LOCATION:NARWHAL\,2104 Dundas St W \nToronto\, Ontario M6R 1W9 SEQUENCE:0 SUMMARY:Hyacinths and Thistles\, Lauchie Reid UID:352869 END:VEVENT BEGIN:VEVENT DTEND:20140906T200000 DTSTAMP:20140830T001852 DTSTART:20140906T150000 GEO:43.6525898;-79.4488032 LOCATION:NARWHAL\,2104 Dundas St W \nToronto\, Ontario M6R 1W9 SEQUENCE:0 SUMMARY:Hyacinths and Thistles\, Lauchie Reid UID:352870 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Loch Gallery is pleased to present a \;Summer selection \;of paintings &\ ; sculpture in Toronto. This group show will feature paintings by Ron Bolt\ , Ivan Eyre\, Michael Forster\, John Hansen\, Jacques Payette\, Tyson Grumm \, Ciba Karisik\, Barry McCarthy\, David Thauberger\, and two new still lif es by Roberto Rosenman. We are also delighted to showcase a sculptural time piece by Phil Abernethy\, the most recent addition to the Loch Gallery rost er of contemporary artists.

DTEND:20140903 DTSTAMP:20140830T001852 DTSTART:20140820 GEO:43.6713217;-79.3933849 LOCATION:Loch Gallery - Toronto\,16 Hazelton Avenue \nToronto\, Ontario M5R 2E2 SEQUENCE:0 SUMMARY:SUMMER SELECTION II\, Phil Abernethy\, Ron Bolt\, Ivan Eyre\, Micha el Forster\, John Hansen\, Jacques Payette\, Tyson Grumm\, Ciba Karisik\, B arry McCarthy\, David Thauberger\, Roberto Rosenman UID:352868 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Why Can&rsquo\;t Minimal addre sses the humorous side of minimal art by embracing its humanity and latent absurdity. The exhibition rejects the assumption that minimal art requires solemn\, unmoving contemplation\, and instead embraces the more intuitive\, jovial\, and personal pleasures that occur when one has fun with the comic ally utopian ambitions of unitary forms. Playing with the forms\, tradition s and incongruities of multiple minimalisms\, the presented works elude rat ional thought\, repositioning conceptual value away from cognitive labour\, towards the instinctual recognition offered through levity\, play\, humour and sentiment.

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Produced as part of t he requirements of the Master of Visual Studies&mdash\;Curatorial Studies p rogram at the University of Toronto.

DTEND:20141019 DTSTAMP:20140830T001852 DTSTART:20140903 GEO:43.6637837;-79.3942439 LOCATION:Justina M. Barnicke Gallery\,Hart House\, University of Toronto 7 Hart House Circle \nToronto\, ON M5S 3H3 SEQUENCE:0 SUMMARY:Why Can't Minimal\, Jennifer Marman & Daniel Borins\, John Baldessa ri\, John Boyle-Singfield\, John Marriott\, John Wood & Paul Harrison\, Jon Sasaki\, Ken Nicol\, Tammi Campbell\, Liza Eurich UID:352866 END:VEVENT BEGIN:VEVENT DTEND:20140911T200000 DTSTAMP:20140830T001852 DTSTART:20140911T180000 GEO:43.6637837;-79.3942439 LOCATION:Justina M. Barnicke Gallery\,Hart House\, University of Toronto 7 Hart House Circle \nToronto\, ON M5S 3H3 SEQUENCE:0 SUMMARY:Why Can't Minimal\, John Baldessari\, Jennifer Marman & Daniel Bori ns\, John Boyle-Singfield\, Tammi Campbell\, Liza Eurich\, John Wood & Paul Harrison\, John Marriott\, Ken Nicol\, Jon Sasaki UID:352867 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Presented by the Goeth e-Institut

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As a young photog rapher\, Maria Sewcz created a series of radical photographs of Berlin&rsqu o\;s east side in the 1980s. The Reichstag\, Rathaus\, Alexanderplatz\, Th& auml\;lmann Monument and the border with the west marked the limits of her urban topography. \;

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We will show one seminal photo from her acclaimed series inter esse II (1987-89)\, fram ed by responses by artists\, curators and scholars\, among others:

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Maria Sewcz \;was born in 1960 in Schwerin\, East G ermany. She studied photography at the Leipzig Academy of Visual Arts in a climate of increasing cultural exchange between East and West. The first se ries of "inter esse" was her thesis project that documented East Berlin bet ween 1985 and 1987. From 2005 to 2007\, Sewcz was a lecturer at the Academy of Fine Arts in Braunschweig. She has most recently held the Villa Massimo as well as Berlin Academy of the Arts stipends / residencies. Sewcz lives in Berlin.

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Part of the Goethe-Institut's focus \;Gren zfall - Tearing Down Walls 25 Years

DTEND:20141010 DTSTAMP:20140830T001852 DTSTART:20140903 GEO:43.6471273;-79.3850073 LOCATION:Goethe-Institut Toronto\,100 University Ave.\, North Tower Suite 2 01\, mailbox #136\nToronto\, Ontario M5J 1V6 SEQUENCE:0 SUMMARY:"Berlin\, June 1989"\, Maria Sewcz UID:352864 END:VEVENT BEGIN:VEVENT DTEND:20140903T200000 DTSTAMP:20140830T001852 DTSTART:20140903T150000 GEO:43.6471273;-79.3850073 LOCATION:Goethe-Institut Toronto\,100 University Ave.\, North Tower Suite 2 01\, mailbox #136\nToronto\, Ontario M5J 1V6 SEQUENCE:0 SUMMARY:"Berlin\, June 1989"\, Maria Sewcz UID:352865 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"It&rsquo\;s possible for indi vidual subjects (any one of us) to have fantasies of Living-Together. We se t about elaborating a fantasmatic form of Living-Together\, selecting our w ould-be companions from ournetwork of acquaintances. Now\, what&rsquo\;s in teresting about that fan-tasmatic elaboration is not who we choose\, but wh o we exclude: the criteria for exclusion don&rsquo\;t necessarily overlap w ith the imperatives of affect...[...]" - Roland Barthes\, How to live toget her.

HOW TO LIVE TOGETHER is a self regulating residency and lec ture series inspired by and derived from Roland Barthes text by the same na me. It commenced at Videofag in July 2014\, and is now nomadic. It is organ ized by Danielle St. Amour and Xenia Benivolski.

This entry of H OW TO LIVE TOGETHER features work by Rosa Aiello\, Harold Batista and Nikki Woolsey.

Video works will be displayed between 7 and 8 pm for a total duration of 1 hour. Visitors will be invited to respond to the serie s in an informal discussion\, mediated by process TBA.

DTEND:20140906 DTSTAMP:20140830T001852 DTSTART:20140828 GEO:43.6496049;-79.430576 LOCATION:Erin Stump Projects (ESP)\,1450 Dundas St. W. \nToronto\, Ontario M6J 1Y6 SEQUENCE:0 SUMMARY:HOW TO LIVE TOGETHER\, Rosa Aiello\, Harold Batista\, Nikki Woolsey UID:352862 END:VEVENT BEGIN:VEVENT DTEND:20140828T200000 DTSTAMP:20140830T001852 DTSTART:20140828T190000 GEO:43.6496049;-79.430576 LOCATION:Erin Stump Projects (ESP)\,1450 Dundas St. W. \nToronto\, Ontario M6J 1Y6 SEQUENCE:0 SUMMARY:HOW TO LIVE TOGETHER\, Rosa Aiello\, Harold Batista\, Nikki Woolsey UID:352863 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Red Head Gallery is please d to present guest artist \;Bill Philipovich&rsquo\;s first gallery exh ibition of his new series of paintings entitled \;Frameworks.< /p>\n

Working intuitively through a subtrac tive process\, elements resembling both natural and fabricated support stru ctures emerge. \;Frameworksexemplifies how the artist appears to be caught between two worlds\; his immediate urban construction zone sur roundings and the relief offered by the connection to nature.

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Bill Philipovich \;is a Toronto based artist w ho actively exhibits his work in galleries\, group and solo shows as well a s in many of Toronto&rsquo\;s most popular art events.

DTEND:20140830 DTSTAMP:20140830T001852 DTSTART:20140825 GEO:43.6476631;-79.394744 LOCATION:The Red Head Gallery\,401 Richmond Street West \nToronto\, Ontario M5V 3A8 SEQUENCE:0 SUMMARY:Frameworks\, Bill Philipovich UID:352858 END:VEVENT BEGIN:VEVENT DTEND:20140828T200000 DTSTAMP:20140830T001852 DTSTART:20140828T170000 GEO:43.6476631;-79.394744 LOCATION:The Red Head Gallery\,401 Richmond Street West \nToronto\, Ontario M5V 3A8 SEQUENCE:0 SUMMARY:Frameworks\, Bill Philipovich UID:352859 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Power Plant is pleased to present a commissioned project by Toronto-based artist Shelagh Keeley.

In the late 1970s\, Keeley began employing drawing as both a respons e to and exploration of Conceptual Art where the gesture of her hand and ph ysicality of her body were integral to her mark making. As such\, Keeley&rs quo\;s work involves a high degree of physical effort where the concrete re sistance of the wall is juxtaposed with the fluidity of her hand and the ex tensions of her body. By working with the limits of the wall and the constr aints of its architecture\, Keeley defines a confined space within which sh e works within. These boundaries provide the artist with a counterpoint to the openness and improvisation of her physical action. More\, the architect ure coupled with her movement allows Keeley to re-think the space of her in stallation in relation to her body. Each of her wall drawings are created i n situ\, marking a moment in space and time when the work&mdash\;a visual d ocument of her movement&mdash\;is created. \;

For her instal lation at The Power Plant\, Keeley will create a new wall drawing that will envelop the clerestory walls. Her drawings on these grand canvases are the remnants of her corporeal action and articulate the moment and gestures of her body. Keeley&rsquo\;s drawings act as performative objects. They emerg e from choreographed gestures as they relate to the limits and conditions o f a bound space. \;

Shelagh Keeley (born Oakville\, Ontario) lives now in Toronto after spending 23 years in New York City and Paris. S he received her Honours BFA in art history / anthropology from York Univers ity\, Toronto. Keeley has an extensive international exhibition history ove r the last 30 years and has travelled across the globe. She recently create d an on-site commissioned wall drawing installation at Stadtisches Museum A bteiberg\, Monchengladbach\, Germany for the exhibition \;In Order to Join(2013)\, which will travel to Dr. Bhau Daji Lad Mumbai City Mus eum\, India (2014). Keeley has had exhibitions at Devi Art Foundation\, Gur gaon\, India (2013)\, Ryerson Image Centre\,Toronto (2013)\, Nuit Blanche\, Paris\, France (2012)\, Vancouver Art Gallery\, Vancouver (2010)\, Caoyang Village Public Art Project\, Shanghai\,China (2009)\, National Gallery of Canada travelling exhibition (2008)\, RAM Foundation\, Rotterdam (2008)\, N ature Morte Gallery\, New Delhi (2004)\, Printed Matter\, NYC (1998)\, Indi anapolis Museum of Art (1995)\, John Gibson Gallery\, NYC (1994)\, Exit Art \, NYC (1993)\, MOMA P.S.1 Museum\, NY (1992)\, DIA Art Foundation\, NYC (1 989). Her work is in the collection of major international public instituti ons including: The Museum of Modern Art\, NYC\, Walker Art Center\, Minneap olis\,Van Abbe Museum\, Eindhoven\, Stedelijk Museum\, Amsterdam\, National Gallery of Canada\, Ottawa\, Fonds National d'Art Contemporain\, Paris\, V ancouver Art Gallery\, Vancouver\, Les Muses de la Ville de Paris\, Paris\, The Getty Museum\, Santa Monica\, Harvard Art Museum\, Boston\, The Mattre ss Factory\, Pittsburgh\, Yale University Art Gallery\, CT\, San Francisco Museum of Modern Art\, CA.

DTEND:20150517 DTSTAMP:20140830T001852 DTSTART:20140920 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Notes on Obsolescence\, Shelagh Keeley UID:352856 END:VEVENT BEGIN:VEVENT DTEND:20140919T220000 DTSTAMP:20140830T001852 DTSTART:20140919T200000 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Notes on Obsolescence\, Shelagh Keeley UID:352857 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Power Plant is pleased to present the first Canadian solo exhibition of work \;by Portuguese arti st Pedro Cabrita Reis. The exhibition continues the artist&rsquo\;s \;i nvestigation into the perceived boundaries of architecture\, sculpture and& nbsp\;painting. Presenting an all-encompassing intervention at The Power Pl ant\, \;Cabrita Reis creates and produces this new project with the spa ce of the gallery
in mind.

Throughout his practice\, Cabrit a Reis at once examines and challenges the ways \;in which sculpture an d painting might alter\, define or question the limits of space. \;In o rder to do so\, his work is often site-specific and created in situ thus&nb sp\;embodying the process of art making. Various materials are used through out the \;artist&rsquo\;s work. He combines everyday objects such as ch airs\, tables or doors with \;industrial materials such as neon lights\ , steel girders and bricks. In so doing\, \;Cabrita Reis turns the fami liar into new and abstract compositions. For instance\, \;his project \;A remote whisper \;(2013)\, produced on the occasion of t he 55th \;International Art Exhibition &ndash\; la Biennale di Venezia\ , took over the interior of a \;domestic space\, flowing throughout the rooms and overtaking its walls\, doorways \;and floors. The immersive environment was created using aluminum bars\, \;fluorescent lighting an d free-hanging black electrical cords combined with \;fragments of the artist&rsquo\;s earlier works\, material culled from his personal archive&n bsp\;and detritus found throughout the city. By uniting each of these eleme nts\, Cabrita \;Reis created a truly complex visual narrative that over takes and occupies the \;space in which it was installed.

Al though many of the artist&rsquo\;s works are three-dimensional in character \, Cabrita \;Reis sees his pieces as both informed by painting and func tioning aesthetically \;within the pictorial register. Despite the indu strial material used in his projects\, \;the artist creates his work in line with the vernacular ascribed to painting\, thereby \;broadening t he scope of contemporary practices. CabritaReis&rsquo\; construction at&nbs p\;The Power Plant continues this possibility and offers an alternate view on \;contemporary modes of art making.

Pedro Cabrita Reis wa s born Lisbon\, Portugal\, 1956\, where he lives and works. In \;2013\, he created a site-specific work \;A remote whisper \;at t he 55th Venice \;Biennale and in 2003 he represented Portugal at the 50 th Venice Biennale. Reis \;has exhibited extensively across the globe\, including exhibitions at the Tate \;Modern\, London (2013)\, Museu Col ecç\;ã\;o Berardo\, Lisbon (2011)\, M - Museum \;for Contem porary Art\, Leuven (2011)\, Carré\; d&rsquo\;Art\, Nî\;mes\, (2 010)\, Hamburger \;Kunsthalle (2009)\, Museo Tamayo\, Mexico City (2009 )\, Biennale de Lyon\, \;France (2009)\, Fondazione Merz\, Torino (2008 )\, Kunsthaus Graz\, Austria (2008)\, \;Museo d'Arte Contemporanea\, Ro me (2006)\, Modern Art Center\, Gulbenkian \;Foundation\, Lisbon (2006) \, Kunsthalle Bern (2004)\, Camden Arts Centre\, \;London (2004)\, 24th Sã\;o Paulo Biennale (1998)\, 21st Sã\;o Paulo Biennale \; (1994)\, and Documenta IX\, Kassel (1992).

DTEND:20150104 DTSTAMP:20140830T001852 DTSTART:20140920 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Solo Exhibition\, Pedro Cabrita Reis UID:352852 END:VEVENT BEGIN:VEVENT DTEND:20140919T220000 DTSTAMP:20140830T001852 DTSTART:20140919T200000 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Solo Exhibition\, Pedro Cabrita Reis UID:352853 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Power Plant presents a maj or solo exhibition by New York&ndash\;based artist Julia Dault. Contextuali zing new projects through a selection of past works\, the exhibition \; Color Me Badd \;reveals the importance to Dault of balancing s pontaneous gesture with responsiveness to rules\, logic\, and the constrain ts of materials. Physical negotiations are central to Dault&rsquo\;s textur ed paintings and improvised sculptures\; both are exhibited in \;Co lor Me Badd. \;

Dault&rsquo\;s rule-based painting proc ess involves responding to mass-produced elements&mdash\;vinyl\, patterned silks\, pleather\, unmixed paint straight from the tube&mdash\;with unconve ntional tools\, such as squeegees and rubber combs. These tools create quas i-standardized gestures that allow Dault to skirt the line between expressi ve abstraction and cool\, machine-like facture. Erasure\, with its ability to allow viewers to &ldquo\;see into&rdquo\; the painting process\, is as i mportant as application.

The idea of the artwork as an index of the artist&rsquo\;s labor recurs in Dault&rsquo\;s sculptures. Always impro vising on site and working alone\, the artist manipulates and coerces Plexi glas\, Formica\, and other industrially produced materials into imposing cu rved forms\, and then affixes them to the gallery wall using straps and cor ds. Dault&rsquo\;s efforts can be understood as &ldquo\;private performance s&rdquo\; in which her physical capabilities are juxtaposed with the proper ties of the materials she employs. Each sculpture is titled with a time sta mp that reflects the duration it took to complete the piece. In this gestur e\, as with her paintings\, she hopes to underline the temporal nature of t he art-making process.

Dault&rsquo\;s work fuses the emphasis on process found in both Abstract Expressionist painting and post-Minimal scu lpture. She is interested in &ldquo\;embodied knowledge&rdquo\;&mdash\;how making is thinking&mdash\;by reinserting the artist&rsquo\;s hand into a mi nimal aesthetic primarily interpreted as distanced and industrial.

Julia Dault (born Toronto\, 1977) lives and works in Brooklyn\, New York . She received her MFA in Fine Arts from Parsons The New School for Design\ , New York\, and studied Art History at McGill University\, Montré\;a l. Dault has exhibited extensively across the globe\, including solo exhibi tions at Marianne Boesky Gallery\, New York (2014)\, China Art Objects\, Lo s Angeles (2014)\, Galerie Bob van Orsouw\, Zurich (2013)\, Jessica Bradley Gallery\, Toronto (2013)\, White Cube Bermondsey\, London (2012)\, and Bla ckston Gallery\, New York (2010). She has also participated in numerous gro up shows\, including exhibitions at Pé\;rez Art Museum\, Miami (2013) \, Contemporary Arts Museum\, Houston (2013)\, Museum of Modern Art\, Warsa w (2013)\, Maison Particuliè\;re\, Brussels (2013)\, lumber room\, Po rtland (2013)\, New Museum\, New York (2012)\, Galerí\;a Casado Santa pau\, Madrid (2012)\, and Harris Lieberman\, New York (2012). Her work is i n the collection of several public institutions\, including the Art Gallery of Ontario\, Toronto\, Museum of Modern Art\, Warsaw\, Pé\;rez Art M useum\, Miami\, Saatchi Gallery\, London and Solomon R. Guggenheim Museum\, New York. \;

DTEND:20150104 DTSTAMP:20140830T001852 DTSTART:20140920 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Color Me Badd\, Julia Dault UID:352850 END:VEVENT BEGIN:VEVENT DTEND:20140919T220000 DTSTAMP:20140830T001852 DTSTART:20140919T200000 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Color Me Badd\, Julia Dault UID:352851 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition will showcase Canadian society&rsquo\;s profound appreciation of different cultural tradi tions and its deep-rooted interest in faraway countries and cultures. Throu gh the display of rugs from 30 private collections from Ontario\, Quebec\, Alberta and British Columbia\, and a selection of rugs from the TMC and oth er museums\, the exhibition will explore the history of rug collecting in C anada as well as the relationship between the country&rsquo\;s private coll ectors and museums.

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Additional Information

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The history of Canadian collecting practices and cultural contex t of the Oriental rug production will be visualized in a beautiful display of over 70 distinctive rugs\, horse and camel decorations\, and tent bands and bags from Central and West Asia &ndash\; regions well known for the ric hness of their rug weaving traditions developed by diverse cultures and peo ples. With its rich cultural content\, \;From Ashgabat to Istanbul: Oriental Rugs from Canadian Collections \;will be a window into t heir complex and ancient traditions\, a meaningful access to the diverse an d multifaceted Canadian heritage as well as a captivating journey and a ric h learning experience for those interested in Canadian history and world cu ltures\, for those familiar with Oriental rugs and those seeing them for th e first time.

DTEND:20150419 DTSTAMP:20140830T001852 DTSTART:20141008 GEO:43.6545362;-79.3867872 LOCATION:Textile Museum of Canada\,55 Centre Avenue \nToronto\, Ontario M5G 2H5 SEQUENCE:0 SUMMARY:From Ashgabat to Istanbul: Oriental Rugs from Canadian Collections UID:352847 END:VEVENT BEGIN:VEVENT DTEND:20141008T200000 DTSTAMP:20140830T001852 DTSTART:20141008T110000 GEO:43.6545362;-79.3867872 LOCATION:Textile Museum of Canada\,55 Centre Avenue \nToronto\, Ontario M5G 2H5 SEQUENCE:0 SUMMARY:From Ashgabat to Istanbul: Oriental Rugs from Canadian Collections UID:352848 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The term &lsquo\;urban fabric& rsquo\; often refers to qualities of the urban environment in terms of dens ity\; networks and exchanges both visible and invisible\; the rhythm and pa tterns of streets\, built form\, and open spaces\; and the movements of cit y dwellers. Urban fabric points to what is formal\, tangible\, hard or soft \, but also to what is temporal and experiential &ndash\; characteristics t hat cannot be seen. In this sense\, fabric is almost always a stand-in for something else. A metaphor. A comparison with something unlike itself. Ofte n\, it points to matter and interactions. It conjures the &lsquo\;stuff&rsq uo\; that makes up the city\, but also aspects of its character. That is\, fabric speaks to what a city is like. As recording devices and a means of c ommunication that move through and inhabit the city\, textiles also partici pate in life (urban or otherwise) as themselves.

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Additional Information

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Through photographs\, paintings\, sculpture\, film\, and pattern-making\, t he artists in \;Urban Fabric \;explore what it means to li ve in\, and know\, a place. Each creates a portrait of a city\, often takin g Toronto as their subject. Both Scott Eunson and Jessica Craig examine the co-existence of the city grid and the natural landscape\, acknowledging ge ographic oddities\, holes within the urban fabric\, and what has been built -up over time. Scott Norsworthy &ndash\; drawn to seams\, irregularities\, and deviations &ndash\; looks at the urban realm as a literal textile\, pho tographing it in detail. Sheila Ayearst dwells on the material\, the tangib le\, and the everyday\, with her laborious paintings of concrete surfaces\, each very specific\, yet ubiquitous. Filmmaker Shlomi Greenspan takes us t o a familiar &lsquo\;non-place&rsquo\;: the airport &ndash\; a point of arr ival and departure that disrupts ordinary patterns\, and somehow escapes th e specificities of place and time. Using the tactic of repetition\, the Dep artment of Unusual Certainties investigates the ways that technology transf orms communication to generate a series of graphic patterns that appear in physical and digital realms through the museum and beyond.

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Based in Toronto\, Deborah Wang is an independent cur ator and designer. She completed her undergraduate degree in architecture a t the University of Waterloo\, and a Master of Fine Arts degree at OCAD Uni versity. Through her diverse practice\, Deborah has curated and co-curated exhibitions for the Gladstone Hotel\, XPACE Cultural Centre\, the Art Galle ry of Ontario\, Women&rsquo\;s College Hospital\, and Katharine Mulherin Co ntemporary Art Projects\; taught design studio at Ryerson University\; and co-founded FEAST Toronto (a series of community dinners and micro-funding e vents supporting local art projects). Currently\, she splits her time as Cr eative Director of the Toronto Design Offsite Festival\, a designer for sup erkul inc |architect\, and as a scholar/maker.

DTEND:20150111 DTSTAMP:20140830T001852 DTSTART:20140917 GEO:43.6545362;-79.3867872 LOCATION:Textile Museum of Canada\,55 Centre Avenue \nToronto\, Ontario M5G 2H5 SEQUENCE:0 SUMMARY:Urban Fabric: Portraits of a City\, Sheila Ayearst\, Jessica Craig\ , Scott Eunson\, Shlomi Greenspan\, Scott Norsworthy UID:352845 END:VEVENT BEGIN:VEVENT DTEND:20140917T200000 DTSTAMP:20140830T001852 DTSTART:20140917T183000 GEO:43.6545362;-79.3867872 LOCATION:Textile Museum of Canada\,55 Centre Avenue \nToronto\, Ontario M5G 2H5 SEQUENCE:0 SUMMARY:Urban Fabric: Portraits of a City\, Sheila Ayearst\, Jessica Craig\ , Scott Eunson\, Shlomi Greenspan\, Scott Norsworthy UID:352846 END:VEVENT END:VCALENDAR