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WWW.DEZMA INART.COM

DTEND:20141120 DTSTAMP:20141124T094356 DTSTART:20141120 GEO:43.6501142;-79.3734766 LOCATION:Toronto Sculpture Garden\,115 King Street East \nToronto\, Ontario M5C 1G6 SEQUENCE:0 SUMMARY:DEZMAIN MODERN SCULPTURE UID:365249 END:VEVENT BEGIN:VEVENT DTEND:20141120T200000 DTSTAMP:20141124T094356 DTSTART:20141120T180000 GEO:43.6501142;-79.3734766 LOCATION:Toronto Sculpture Garden\,115 King Street East \nToronto\, Ontario M5C 1G6 SEQUENCE:0 SUMMARY:DEZMAIN MODERN SCULPTURE UID:365250 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141220 DTSTAMP:20141124T094356 DTSTART:20141128 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Christmas Spice: Our 18th Annual Holiday Exhibition\, Stephen Andr ews\, Julie Beugin\, Leigh Bridges\, Keith Cole\, Dennis Day\, Tom Dean\, M aura Doyle\, André Ethier\, Gary Evans\, FASTWÜRMS\, Marie Finkelstein\, Ro bin Fry\, Ron Giii\, Sadko Hadzihasanovic\, Andrew Harwood\, Jill Henderson \, Natalka Husar\, Olia Mishchenko\, Janet Morton\, Shannon Partridge\, San dy Plotnikoff\, Mélanie Rocan\, Morley Shayuk\, Ho Tam\, Carol Wainio UID:365025 END:VEVENT BEGIN:VEVENT DTEND:20141128T230000 DTSTAMP:20141124T094356 DTSTART:20141128T190000 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Christmas Spice: Our 18th Annual Holiday Exhibition\, Stephen Andr ews\, Julie Beugin\, Leigh Bridges\, Keith Cole\, Dennis Day\, Tom Dean\, M aura Doyle\, André Ethier\, Gary Evans\, FASTWÜRMS\, Marie Finkelstein\, Ro bin Fry\, Ron Giii\, Sadko Hadzihasanovic\, Andrew Harwood\, Jill Henderson \, Natalka Husar\, Olia Mishchenko\, Janet Morton\, Shannon Partridge\, San dy Plotnikoff\, Mélanie Rocan\, Morley Shayuk\, Ho Tam\, Carol Wainio UID:365026 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Songbirds are nocturnal travel lers. Each night during spring and fall migration\, tens of thousands of bi rds may be passing overhead. Unlike migrating geese or ducks that we can se e and hear\, these birds fly high in the dark sky\, hidden to our eyes and ears.

Today we are losing our birds at a rate greater than an y other time in human history. Birds are bio-indicators for the health of t he planet and their diminishing numbers are a warning to us all.

Viewed from the street at night\, this work turns the upstairs gallery a t Paul Petro Contemporary Art into a &lsquo\;projection booth&rsquo\; and t he windows into a &lsquo\;projection screen&rsquo\;. On the windows/screens are images of songbirds in simulated night flight.

The songbi rds were shot in slow motion flying in a wind tunnel. The resulting image i s somewhat amorphous and ethereal -- an omen that speaks not only to the di sappearance of songbirds &ndash\; but also to what this means in terms of l osing a piece of our biodiversity and our history.

Anthrop ocene is a term coined when scientists recognized that the influence o f human behavior on the Earth's atmosphere in recent centuries as so signif icant that is was necessary to constitute a new \;geological epoch.&nbs p\;Technically\, it is up to a group of scholars to decide by 2016 whether to officially declare that the Holocene era is over. But official or not\, we are now living in the Anthropocene.


Su Rynard is a m edia artist with a body of work that spans nearly three decades. From her e arly video art to her feature films\, Rynard has worked across a range of a pproaches: dramatic\, experimental\, documentary\, and installation. Her in terest in science\, ecology and natural history and has informed and inspir ed her recent projects. The National Gallery of Canada\, The Canada Council Art Bank\, and The Museum of Modern Art in New York have purchased and /or programmed Rynard's work.

Su Rynard was born in Toronto in 19 61. She received an entrance scholarship to York University\, and was award ed the George A. Reid Scholarship and the Melvile P. White Scholarship befo re graduating with honours from the Ontario College of Art in 1985. Rynard was a director resident at the Canadian Film Centre in 1996.


VIDEO\, MEDIA\, SHORT FILMS\, INSTALLATION

As Soon As Weather Will Permit\, dual screen HD\, 2013. 15 MIN.

< em>Seed Bank &ndash\; photo based exhibition and installation\, 2011.< br />
Drowning London &ndash\; video installation\, HD vide o 2010. 1 min. loop

Coronation Park -16mm film / HD v ideo\, 2009. I minute

Apples (Malus Domestica) - vide o installation\, S16mm film &\; HD video\, 2009. 6:45 min. loop
Bear &ndash\;short film / video installation\, 2004. 10 min.< br />
Bug Girl &ndash\; short film / video installation\, 2 003. 6 min.

Strands &ndash\; short drama\, 16mm film \, 1997. 23 min.

The Day Jesus Melted &ndash\; video \, 1999. 3 min.

Eight Men Called Eugene &ndash\; vide o 1996. 12 min.

Big deal So what &ndash\; short dram a\, 16mm film\, 1995. 25 min.

Signal &ndash\; short film\, 35mm film / video 1993. 3 min.

What Wants To Be Sp oken\, What Remains To Be Said &ndash\; short drama\, 16mm\, 1993. 25 min.
1932 - video art\, 1988. 9 min.

Within Dialog ue (Silence) - video art\, 1987. 5 min.

Absence - video art\, 1986. 5 min.


FEATURE FILMS

SongbirdSOS &ndash\; feature film\, 2015. 100 min.

< em>Kardia &ndash\; feature film\, 35mm film 2005. 85 min.

Dream Machine &ndash\; feature documentary\, video\, 2000. 76 min .


AWARDS

Best Feature Doc Pitch. Sunnysid e of the Doc. SongbirdSOS\, 2012
Alfred P. Sloan Award Featu re Film Prize. Kardia\, 2006.
SCinema\, Sydney Australia\, Best Narrative Film Award. Kardia\, 2006
Creative Vision Awa rd. Earth Dance Film Festival\, Bug Girl\, 2005
Silver Award winner Worldfest Houston\, Strands\, 1998
Mediawave Festiva l Hungary\, Best Editing\, Signal\, 1994
Best Short Film Cab bagetown Film and Video Festival. SIGNAL
Nomination for M. Joan Chalm ers Documentarian Award for Film &\; Video. Sexual Healing\, 19 96

DTEND:20141122 DTSTAMP:20141124T094356 DTSTART:20141114 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Anthropocene\, Su Rynard UID:365023 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Carol Wainio: Long Ago\, F ar Away\, Wish&hellip\;

I make pictures\, and very occas ionally\, write words. Sometimes failed words produce pictures. Sometimes p ictures need words. Some words\, like those written by Walter Benjamin almo st a century ago\, return again and again\, like old stories\, and remain p owerful\, poetic frameworks for wondering about present and future. Here\, with a few of them\, I wonder aloud and try to &lsquo\;picture things&rsquo \;&hellip\;

In &ldquo\;On Some Motifs in Baudelaire&rdquo\; a nd &ldquo\;The Storyteller&rdquo\;\, Walter Benjamin evokes the mentali té\;s of an earlier time. Central to his insight into the modern moment is his notion of &ldquo\;experience&rdquo\; &ndash\; a word that fo r most of us means &lsquo\;what happens to us&rsquo\;. But Benjamin had som ething specific in mind when he spoke of experience. And it&rsquo\;s approp riate that his definition reflects its &lsquo\;means of production&rsquo\;\ , rather than its content. Experience was what occurred in slower times whe n sensory matter slipped\, un-registered\, into memory.

&ldqu o\;Where there is experience&hellip\;certain contents of the individual past combine in the memory with material from the collective past&rdquo\;. &ldquo\;Rituals\, with their ceremonies and their festivals&hellip\;kept p roducing the amalgamation of these two elements of memory over and over aga in. They triggered recollection at certain times and remained available to memory throughout people&rsquo\;s lives.&rdquo\;

Benjami n saw this kind of experience overtaken by a kind of self-consciousness res ulting from the &lsquo\;shocks&rsquo\; of industrialism\, urbanism\, techno logy\, and the sudden speeding up of life &ndash\; things which necessitate d anticipatory awareness. One had to be ready to be jerked to attention\, r esponding to machines that brought &lsquo\;work&rsquo\; within reach and qu ickly removed it\, sometimes along with a finger or hand. Citing Freud\, Be njamin imagines shock&rsquo\;s psychic side effects. &ldquo\;The more r eadily consciousness registers shocks&rdquo\;\, &ldquo\;the less likely the y are to have a traumatic effect&rdquo\;\, but so too\, &ldquo\;th e less likely they are to enter long experience&rdquo\;. A shift in th e fabric of life was occurring. He described this &ldquo\;shrinking of expe rience&rdquo\; as &ldquo\;disenchantment&rdquo\;.

Interested in vernacular as much as high art\, Benjamin collected fairy tales. This pa ssage in &ldquo\;The Storyteller&rdquo\; suggests why:

Th e reception of a story&hellip\;requires a state of relaxation which is beco ming rarer and rarer&hellip\; boredom is the apogee of mental relaxation&he llip\; the dream bird that hatches the egg of experience. A rustling in the leaves drives him away. His nesting places &ndash\; the activities that ar e intimately associated with boredom &ndash\; are already extinct in the ci ties\, and are declining in the country as well&hellip\; lost because there is no more weaving and spinning to go on while they are being listened to. The more self-forgetful the listener is\, the more deeply is what he liste ns to impressed upon his memory&hellip\;This is how today it is becoming un raveled at all its ends after being woven thousands of years ago in the amb ience of the oldest forms of craftsmanship.

I thought of these words while reading picture books to young children - the slurred sen se of time\, rituals of repeated images and stories at regular intervals\, children who see their first images as both forever and true - an early dev elopmental moment that evokes an historical one. Benjamin again in The Stor yteller:

There is nothing that commends a story to memory more effectively than that chaste compactness which precludes psychological analysis&hellip\;And the more natural the process by which the storyteller foregoes psychological shading\, the greater becomes the story&rsquo\;s cl aim to a place in the memory of the listener\, the more completely it is in tegrated into his own experience\, the greater will be his inclination to r epeat it to somebody else\, sooner or later&hellip\;


He describes a kind of copying arising in conditions of scarcity &ndash \; one which honoured\, rather than evacuated\, earlier models or patterns (as distinct from notions of &ldquo\;original&rdquo\;). So too\, in early f airy tale\, the magical power of transformational objects (and representati ons) arose from their scarcity and inaccessibility. The fine boots that hel ped a clever cat transform his peasant master into a prince are a hinge piv oting backwards and forwards &ndash\; from a past where goods were rare\, a nd change in status impossible\, to a present where status is routinely ach ieved through commodities\, and its magical &ldquo\;aura&rdquo\; diminished .

Testament to narrative&rsquo\;s adaptability\, &lsquo\;anim al helper figures&rsquo\; like Puss in Boots took on new roles in later cen turies\, becoming salesmen for consumer products &ndash\; marketing smaller \, cheaper changes in status as social mobility increased. Countless incarn ations of Le Maî\;tre Chat sold matches\, soap\, shoe polish\, or wool . Le Petit Poucet hawked flashlight batteries &ndash\; useful for finding o ne&rsquo\;s way out of the forest where hungry peasants had abandoned child ren they couldn&rsquo\;t feed.

For centuries\, fabled characte rs from these narratives walked down through the farm fields of the past in to the cities of early advertising\, &lsquo\;illustrating&rsquo\; a larger\ , and very real story of social transformation\, with pictures first reprod uced by hand\, then mechanically. Early methods of hand copying echoed Benj amin&rsquo\;s sympathy for pre-modern aural stories\, expressed here: &ldqu o\;Experience which is passed on from mouth to mouth is the source from whi ch all storytellers have drawn. And among those who have written down the t ales\, it is the great ones whose written version differs least from the sp eech of the many nameless storytellers&rdquo\;. Words like these problemati ze his well-known writings on mechanical reproduction. And early hand copie d illustrations themselves &lsquo\;illustrate&rsquo\; Benjamin&rsquo\;s sug gestion for stories\; tiny\, stiff figures lacking in artistic shading\, si multaneously &ldquo\;original&rdquo\; and &ldquo\;copy&rdquo\;\, occupy an uneasy intersection between Benjamin&rsquo\;s views on visual &ldquo\;mecha nical reproduction&rdquo\; and the kind of copying in storytelling. Later\, as bits of commodified labour\, engraved copies of mass produced vagabonds migrated between different narratives\, identical figures appearing in Han sel and Gretel and Le Petit Poucet &ndash\; interchangeable &lsquo\;product s&rsquo\; of a burgeoning story &lsquo\;industry&rsquo\; coinciding with th e invention of romanticized childhood.

While scarcity\, tradit ional farm labour\, and hierarchical social structures of fairy tale remain in our distant past\, the scythe\, ox and plough seen in 18th century illu strations of Perrault &ndash\; are still visible in parts of the globe wher e these conditions persist - where European modernism is &lsquo\;reproduced &rsquo\;. Western &ldquo\;long ago&rdquo\; meets &ldquo\;far away&rdquo\; i n new(s) stories.

Old narratives are full of tropes in which a long absent lover returns unrecognized\, where clothing is scarce\, prosc ribed\, and narratively significant (&ldquo\;She put on her robes of green& hellip\;&rdquo\;). Disconnected from our past and at war with history\, we too may encounter (and fail to recognize) our former selves when disguised in an &ldquo\;other&rsquo\;s&rdquo\; clothing &ndash\; robes of Afghan blue \, for example. In these &ldquo\;meetings on the road&rdquo\; or &ldquo\;kn ocks at the door&rdquo\;\, our forgotten tales encounter a contemporary var iant &ndash\; which we\, like maidens in forgotten ballads\, fail to recogn ize.

In the contemporary far away\, the &ldquo\;shock of the n ew&rdquo\; may produce societal earthquakes\, while in the digital post-ind ustrial west\, Benjamin&rsquo\;s &lsquo\;shock&rsquo\; has become backgroun d. Smaller\, cheaper forms of &lsquo\;shock&rsquo\; are even self-administe red to ward off a boredom so old and foreign it feels like death. &ldquo\;< em>Thinking about the past or imagining the future is&hellip\; a uniquely h uman trait. But&hellip\; people who were asked to spend a few minutes alone with their thoughts disliked it so much that they would zap themselves wit h electricity\,&rdquo\; researchers reported recently. We know this al ready &ndash\; the clicks that ward off dreaded blank spaces\, the lost abi lity to gaze out the window of a train&hellip\;

Benjamin&rsqu o\;s factory ¬\;&ndash\; where work is &ldquo\;sealed off from exper ience&rdquo\; has inched closer to his description of gambling\, &ldqu o\;where no game is dependent on the preceding one&rdquo\;\; &lsquo\;winnin g&rsquo\; now ascendant\, from commerce to culture. But the financier\, sma rtphone addict\, or reality contestant&rsquo\;s desires are not &ldquo\;wis hes&rdquo\;. A wish lives in experience:

The earlier in li fe one makes a wish&hellip\;the further [it] reaches out in time\, the grea ter the hopes for its fulfillment&hellip\;it is experience that accompanies us to the far reaches of time\, that fills and articulates time. Thus\, a wish fulfilled is the crowning of experience. In folk symbolism\, distance in space can take the place of distance in time\; that is why the shooting star&hellip\; has become the symbol of a fulfilled wish.

Psychology offers other metrics of shrinking experience. Now in eclipse lik e weaving and spinning\, handwriting is subject to forensic study: In anoth er psychology experiment\, pre-literate children were asked to reproduce a letter by drawing it freehand on blank paper\, tracing it\, or typing the a ppropriate key. Only the freehand drawers &ldquo\;exhibited increased activ ity in three areas of the brain&rdquo\;. &ldquo\;When we write\, a unique n eural circuit is automatically activated&hellip\;There is a core recognitio n of the gesture&rdquo\; which echoes other such gestures &ndash\; from the common architecture of stories retold across early empty landscapes\, to t he rewriting of architectural types &ndash\; silver spired churches or prai rie grain elevators &ndash\; variable\, yet similar figures that once punct uated blank\, white geographies\, and which we come to recognize as we do d ifferent handwriting.

In the old world of experience\, Benjami n observed\, &ldquo\;spaces for recollection&rdquo\; (like pages for creati ng letters) had been &ldquo\;left blank&rdquo\;. But &ldquo\;the bells\ , which once played a part in the holidays\, have [now] been dropped from t he calendar&hellip\;&rdquo\;

Almost a century later\, we might wonder whether the calendar itself is in eclipse. Synonymous with &l dquo\;labours of the months&rdquo\;\, the seasons have worn grooves into li fe&rsquo\;s structures over centuries. Old ballads began with time and seas on (&ldquo\;it was on a May morning&rdquo\;\; &ldquo\;as I walked out one s ummer&rsquo\;s evening&rdquo\;)\, and were anchored in the reliable\, reass uring narrative of recurrence around which past and future\, self and socie ty\, human and nature\, clustered and coalesced. Even now\, the seasons may be one of the few drawings young children still make\, before that space i s overwritten by digital devices. But this ground\, this fundamental narrat ive\, is eroding too. Along with the small shocks of self-conscious\, self- administered interruptions\, the larger &ldquo\;shocks&rdquo\; of severe\, unpredictable &ldquo\;weather events&rdquo\; and increasingly &ldquo\;unsea sonable weather&rdquo\; associated with climate change add to a diminishing ability to absorb the physical world as &ldquo\;experience&rdquo\; in Benj amin&rsquo\;s sense. While potentially calamitous\, how much more meaningfu l may be the interior loss of those quiet\, unconsciously absorbed rhythms - the reliable return of spring\, monsoon\, or long winter? What will happe n when &lsquo\;the seasons&rsquo\; as metaphor or a kind of &lsquo\;grand r é\;cit&rsquo\; is &ldquo\;unraveled at all its ends&rdquo\;?
Sometimes it seems that the &lsquo\;shock&rsquo\; Benjamin first artic ulated so long ago leaves us constantly wakeful\, yet under a deep sleeping spell. And while the great literary critic worried about the impact of shr inking experience on poets\, the Marxist hinted at larger impacts\, now mor e pronounced than when he sketched them out. It remains to be seen whether we can create a space in which to wish for a happy ending &hellip\;
< br /> -- Carol Wainio\, November 2014



In his ess ay\, On Some Motifs in Baudelaire\, Walter Benjamin observes that modern Westerners\, who have lost their capacity for experience\, feel as t hough they have been &ldquo\;dropped from the calendar&rdquo\;. Quoting Bau delaire\, he notes the violent self-consciousness with which the sound of b ells accosted revolutionary listeners after they had lost their ages old cu es for the &ldquo\;blank spaces&rdquo\; of recollection.

Whil e &lsquo\;blank spaces&rsquo\; are now under assault from many directions\, and while the physical\, environmental effects of the loss of reliable sea sons are significant enough\, one wonders how much more meaningful will be the psychic and social loss of these fundamental rhythms and narratives.

These paintings consider\, with a kind of elegiac wonder\, both the past\, and the now constant\, momentary\, wakeful sleeping spell with w hich we approach the future.


Carol Wainio was born in S arnia\, Ontario in 1955. After studies at the Nova Scotia College of Art an d Design and the University of Toronto\, she earned an M.F.A. from Concordi a University in 1985. She taught in the Visual Arts Department at the Unive rsity of Ottawa from 1987 to 1989 and was an assistant professor in the Dep artment of Visual Arts at Concordia from 1989 to 1998. She lives and works in Ottawa\, where she is an adjunct professor at the University of Ottawa.< br />
Wainio's recent exhibition The Book\, curated by Dian a Nemiroff for Carleton University Art Gallery\, contains works from 2002-2 010 and toured extensively in Canada. A comprehensive hardcover catalogue i s available. An exhibition of new work\, Old Masters\, took place at the Kitchener Waterloo Art Gallery\, March 8 - April 28\, 2013. Wainio i s a 2014 recipient of the Governor General's Award in Visual and Media Arts .

A catalogue of new work\, with essays by Jeet Heer and Caro l Wainio\, is forthcoming.

DTEND:20150110 DTSTAMP:20141124T094356 DTSTART:20141114 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Dropped From The Calendar\, Carol Wainio UID:365022 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150110 DTSTAMP:20141124T094356 DTSTART:20141127 GEO:43.6417293;-79.4027528 LOCATION:Diaz Contemporary\,100 Niagara St. (at Tecumseth) \nToronto\, ON M 5V 1C5 SEQUENCE:0 SUMMARY:Solo Exhibition\, Chris Kline UID:365020 END:VEVENT BEGIN:VEVENT DTEND:20141127T210000 DTSTAMP:20141124T094356 DTSTART:20141127T190000 GEO:43.6417293;-79.4027528 LOCATION:Diaz Contemporary\,100 Niagara St. (at Tecumseth) \nToronto\, ON M 5V 1C5 SEQUENCE:0 SUMMARY:Solo Exhibition\, Chris Kline UID:365021 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Diaz Contemporary is pleased to present the first solo exhibiti on of works by Joseph Tisiga. With a series of watercolours\, collages on c anvas and sculpture\, Tisiga reflects on his impressions of indigenousness within the modern world. He cites a range of influences to his approach\, f rom the philosophy of Paulo Freire\, whose work served to acknowledge and e mpower the disenfranchised and oppressed\; to Carl Jung for his articulatio n of archetypal images as emerging from the collective unconscious\; and Sa muel Beckett for the minimal and bleak environments that characterized his writing.

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Tisiga&rsquo\;s investigations into the complication of ident ity culminate in works with disjunctive\, cultural iconographies woven into one narrative field. Incorporating depictions of ritual and seemingly rand omized symbols\, Tisiga builds scenes with complex but ambiguous objectives . For Tisiga\, the drawings and paintings began with the consideration of a state of &ldquo\;aimless ambition\,&rdquo\; in which the figures or inhabi tants of this fictional space could be understood to be compelled into acti on\, though without a discernible motive to that action. Whether absurd spi ritualism\, trivial creation or simple makework\, the inhabitants appear un able to know how to casually exist\, persisting instead to awkwardly feel o ut solutions. Here\, Tisiga equates Beckett&rsquo\;s barren landscapes to t he worn and makeshift states of many First Nation communities\, or settled\ , indigenous communities worldwide\, and sees the tragic monotony of Becket t&rsquo\;s world aligning with the insistent survival of the &ldquo\;indige nous soul&rdquo\;.

\n

Tisiga grapples with the idea of \;&ldquo\;a su pernatural banality which conceals the criticality of our contemporary cond ition\, effectively muting any singular history's (perspective&rsquo\;s\, m emory&rsquo\;s\, culture&rsquo\;s) ability to translate reality. Perhaps it is that the 'supernatural banality' is a kind of magic that dilutes partic ularities and reduces culture and time to one continuum that in turn must b e reworked on an individual basis\, returning everything to pure narrative in which everything and nothing are happening.&rdquo\; \;This viewpoint can be perceived throughout the work\, particularly in the collaged materi al\, with its interplay of social\, cultural and historical reference.

\ n

Joseph Tisiga was born in 1984 in Edmonton\, Alberta and is a member of th e Kaska Dene Nation. He is currently based in Whitehorse\, Yukon. He studie d at Nova Scotia College of Arts and Design and has been a finalist in the RBC Painting Competition (2009) and was longlisted for a Sobey Art Award (2 011). His work was included in the recentOh\, Canada\, an exhibiti on curated by Denise Markonish for MASS MoCA in North Adams\, Massachusetts .

DTEND:20141122 DTSTAMP:20141124T094356 DTSTART:20141016 GEO:43.6417293;-79.4027528 LOCATION:Diaz Contemporary\,100 Niagara St. (at Tecumseth) \nToronto\, ON M 5V 1C5 SEQUENCE:0 SUMMARY:A Sacred Game: Escape is Perpetual\, Joseph Tisiga UID:365019 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150124 DTSTAMP:20141124T094356 DTSTART:20141213 GEO:43.6525824;-79.4468751 LOCATION:Olga Korper Gallery\,17 Morrow Avenue \nToronto\, ON M6R 2H9 SEQUENCE:0 SUMMARY:Solo Exhibition\, Marianne Lovink UID:365010 END:VEVENT BEGIN:VEVENT DTEND:20141213T170000 DTSTAMP:20141124T094356 DTSTART:20141213T140000 GEO:43.6525824;-79.4468751 LOCATION:Olga Korper Gallery\,17 Morrow Avenue \nToronto\, ON M6R 2H9 SEQUENCE:0 SUMMARY:Solo Exhibition\, Marianne Lovink UID:365011 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141206 DTSTAMP:20141124T094356 DTSTART:20141101 GEO:43.6525824;-79.4468751 LOCATION:Olga Korper Gallery\,17 Morrow Avenue \nToronto\, ON M6R 2H9 SEQUENCE:0 SUMMARY:Solo Exhibition\, Matt Donovan UID:365009 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Please join us for a 2015 season preview.

DTEND:20150117 DTSTAMP:20141124T094356 DTSTART:20141217 GEO:43.645153;-79.3960134 LOCATION:Nicholas Metivier Gallery\,451 King Street West \nToronto\, Ontari o M5V 1K4 SEQUENCE:0 SUMMARY:Season Preview UID:365005 END:VEVENT BEGIN:VEVENT DTEND:20141217T200000 DTSTAMP:20141124T094356 DTSTART:20141217T180000 GEO:43.645153;-79.3960134 LOCATION:Nicholas Metivier Gallery\,451 King Street West \nToronto\, Ontari o M5V 1K4 SEQUENCE:0 SUMMARY:Season Preview UID:365006 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Nicholas Metivier Gallery is p leased to present its first solo exhibition with Charles Bierk. The exhibit ion features eleven paintings from Bierk&rsquo\;s Portrait series made over the last year. The exhibition will open on November 13 and will b e on view through December 13 with a reception for the artist on Thursday\, November 13 from 6&ndash\; 8 PM.

After studying at OCAD Unive rsity in Toronto between 2007 and 2011\, Charles Bierk has quickly emerged as one of Canada&rsquo\;s most exciting young talents. For the last five ye ars Bierk has painted large-scale portraits of family\, friends and acquain tances with astonishing photographic likeness and hyper-realistic detail. R estricting his palette to black and white\, Bierk exaggerates contrast and accentuates every line\, freckle\, hair follicle and other unique character istics.

In this exhibition\, Bierk expands on the frontal pers pective used in earlier works. His subjects are painted looking down\, to s ide or from behind\, implying a narrative or a particular emotion. The mode ls are all similar in age to Bierk\, now 27 years old. Isolating this demog raphic is an important part of Bierk&rsquo\;s practice - he regards each wo rk as a self-portrait\, documenting a specific moment in his subject&rsquo\ ;s life and consequently his own. Bierk plans to revisit the same subjects in several years to record the passage of time.

Bierk&rsquo\;s process begins with photographing the models &ldquo\;as they are&rdquo\; i n his studio. In addition to a compelling photograph\, Bierk looks for a ps ychological connection with the subject. Once an image is selected\, Bierk works square by square\, often taking up to six weeks to complete a large p ortrait. Scale is essential to the success of Bierk&rsquo\;s paintings. The abstraction created by the enlarged features takes away from the edge of p hotorealism and draws the viewer into the nuances of the painting and the p syche of his subject.

In 2013\, Bierk completed a commission f or the Ivey School of Business in London\, Ontario. His work has been inclu ded in several exhibitions and was most recently on view in After at the Art Gallery of Peterborough for which a catalogue was published.

For more information on this exhibition click here.  \;

DTEND:20141213 DTSTAMP:20141124T094356 DTSTART:20141113 GEO:43.645153;-79.3960134 LOCATION:Nicholas Metivier Gallery\,451 King Street West \nToronto\, Ontari o M5V 1K4 SEQUENCE:0 SUMMARY:Solo Exhibition\, Charles Bierk UID:365004 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150419 DTSTAMP:20141124T094356 DTSTART:20150131 GEO:43.6446638;-79.4169861 LOCATION:Museum of Contemporary Canadian Art (MOCCA)\,952 Queen Street West \nToronto\, Ontario M6J 1G8 SEQUENCE:0 SUMMARY:everywhere is anywhere is anything is everything \, Douglas Couplan d UID:365002 END:VEVENT BEGIN:VEVENT DTEND:20150131T180000 DTSTAMP:20141124T094356 DTSTART:20150131T110000 GEO:43.6446638;-79.4169861 LOCATION:Museum of Contemporary Canadian Art (MOCCA)\,952 Queen Street West \nToronto\, Ontario M6J 1G8 SEQUENCE:0 SUMMARY:everywhere is anywhere is anything is everything \, Douglas Couplan d UID:365003 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Vera Frenkel: Ways of Tell ing is a comprehensive presentation of the work of the Toronto-based a rtist whose interdisciplinary approach to video\, performance\, sculpture\, printmaking\, and installation has earned widespread international acclaim . The exhibition showcases rarely seen early works such as The Storyteller& rsquo\;s Device\, alongside more recent projects such as ONCE NEAR WATER: N otes from the Scaffolding Archive\, and the monumental\, multichannel video /photo project\, The Blue Train. The exhibition also features a reconstruct ion of the artist&rsquo\;s storied six-channel video installation and fully functioning piano bar "&hellip\;from the Transit Bar"\, being installed as a special presentation of the NGC@MOCCA program.

Pianist/comp oser Tom Szczesniak will play the Transit Bar piano at the opening and duri ng the exhibition.

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Supporting Sponsor s:
BMO Financial Group
PIA

Exhibition Supporters:< br /> Eb and Jane Zeidler
Latner Family Foundation
The Ouellett e Family Foundation
Armstrong Fine Art Services
P&\;L Cateri ng

DTEND:20141228 DTSTAMP:20141124T094356 DTSTART:20141115 GEO:43.6446638;-79.4169861 LOCATION:Museum of Contemporary Canadian Art (MOCCA)\,952 Queen Street West \nToronto\, Ontario M6J 1G8 SEQUENCE:0 SUMMARY:Ways of Telling \, Vera Frenkel UID:365001 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In her fourth solo exhibition with ESP\, Winnie Truong presents a new series following her continued fasc ination with hair and its relationship to line. Truong plays within the bou ndaries of drawing\, challenging the possibilities of a single and static s urface. Invisible/visible conceals and reveals the internal images within t he immediately visible subjects of each drawing. Through hidden imagery\, s he re-imagines her portraits as X-Rays. This new series consists of layered drawings of blue and red on translucent surfaces. Alternate images are obs cured within a single drawing surface\, with viewing devices provided as to ols for further inspection. The viewer can examine\, conceal and reveal the latent imagery\, shifting their focus from the invisible to the visible.
Born in 1988\, Winnie Truong lives and works in Toronto\, where she received a BFA from the Ontario College of Art and Design&rsquo\;s dra wing and painting program. Truong is a recipient of the Toronto Arts Counci l and Ontario Arts Council visual arts grants and is the recipient of numer ous awards\, including W.O. Forsythe award\, the 401 Richmond Career Launch er prize and the BMO 1st! Art Award for Ontario\, through which she exhibit ed at the MOCCA. Winnie has exhibited internationally in galleries across T oronto\, LA\, and Copenhagen and in New York where she was featured at VOLT A\, NY Art Fair. Her work has been published in numerous art publications\, including the cover of Hi-Fructose\, Juxtapoz\, and Walk the Line: The Art of Drawing. Her work is in the collection of The Nerman Museum of Contempo rary Art\, Overland Park\, Kansas\, Doris McCarthy Gallery at the Universit y of Toronto\, and Bank of Denmark.

DTEND:20141220 DTSTAMP:20141124T094356 DTSTART:20141122 GEO:43.6496049;-79.430576 LOCATION:Erin Stump Projects (ESP)\,1450 Dundas St. W. \nToronto\, Ontario M6J 1Y6 SEQUENCE:0 SUMMARY:invisible/visible\, Winnie Truong UID:364999 END:VEVENT BEGIN:VEVENT DTEND:20141122T180000 DTSTAMP:20141124T094356 DTSTART:20141122T140000 GEO:43.6496049;-79.430576 LOCATION:Erin Stump Projects (ESP)\,1450 Dundas St. W. \nToronto\, Ontario M6J 1Y6 SEQUENCE:0 SUMMARY:invisible/visible\, Winnie Truong UID:365000 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mercer Union is delighted to p resent a new solo exhibition by Vancouver-based artist Tiziana La Melia\, o pening Friday 28 November with an artist talk at 7PM\, followed by a public reception until 10PM.

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Tiziana La Mel ia weaves writing\, sculpture\, painting and performance in layered install ations which speak to female archetypes\, personal narratives\, passions an d teenage desires. Exploring the potentiality of slippages between language and form\, her work seeps between figuration and abstraction\, in all sens es of the terms.

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Canadian poet Daphne Marlatt has described &ldquo\;the active intelligence of language\,&rdquo\ ; for La Melia there is no distinction between the different art forms or o bjects\, everything is a signifier. References are multi-faceted\, from Gre ek tragedy\, teenage obsessions\, the writings of Joyce Carroll-Oates\, Mar k Twain\, Gertrude Stein or Yvonne Rainer among others\, the personal and i ncidental\, to female icons throughout history and in the present\, pushing and pulling in different directions.

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Writing is often the starting point\, from poem to script to play. Poetry lines become work titles\, transforming the written word into the physical space of the gallery\, or walls become pages\, unfolding narratives populat ed by objects and materials. The exhibition is a space in which hierarchies collapse\, theatre\, poetry\, writing\, mythological female figures\, pers onal narratives and popular culture are combined and meaning becomes elasti c in form. Transmutability lingers throughout the work\, in a photographic collage\, Surface Instruction (2011)\, a worn apron becomes an ove rsized handbag while a twin table with pink glass emerges and recedes as Ja nis Joplin&rsquo\;s rose-tinted glasses in Aquarium Club Console (Janis ) (2014). And yet underlying sometimes playful juxtapositions are hist orical instances and trajectories. Live snails drawing on plastic speaks to the use of their shells in making the colour purple for women only manuscr ipts\, becoming in of itself purple prose.

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In this new body of work a series of sequences are presented\; hangin g photographic collages\, a metallic and purple bed\, screens\, paintings a re no longer windows but doors\, and a line is drawn along the gallery wall to stretch and physically push one&rsquo\;s limits. The potentiality of in terplay manifests in the exhibition title\, The Eyelash and the Monochrome. The line\, a cursor with connotations of femininity and luck\, is adjoined to the blank canvas\, rather than painterly in reference\, it implicates t he presence of absence\, spaces in which there is potential for new narrati ves to be created.

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Tiziana La Melia (b. Palmero IT) is an interdisciplinary artist working in p ainting\, installation\, film and writing. She received her MFA from the Un iversity of Guelph in 2011 and BFA from Emily Carr University of Art and De sign in 2008. Recent exhibition venues include Macaulay &\; Co. Fine Art s \, Vancouver\; The Apartment\, Vancouver\; Xspace\, Toronto\; Western Fro nt\, Vancouver\, and SBC Galerie\, Montreal. La Melia&rsquo\;s writing has appeared in Night Papers V\, Bartleby Review\, Setup Magazine\, Millions Magazine\, Pelt and West Coa st Line among others. Selected readings and screenings of her work inc lude Wendy&rsquo\;s Subway\, New York\; Model\, Vancouver\, and The Banff C entre\, where she participated in the residency Figure in a Mountain Landsc ape. In 2014\, she was the Writer in Residence at TPW R&\;D\, Toronto. L a Melia is the 2014 winner of the RBC Painting Prize. She lives and works i n Vancouver BC.

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Mercer Union would li ke to thank Artscape Gibraltor Point for their support of Tiziana La Melia& rsquo\;s residency in Toronto.

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DTEND:20150124 DTSTAMP:20141124T094356 DTSTART:20141128 GEO:43.6585552;-79.4417747 LOCATION:Mercer Union - A Centre for Contemporary Art\,1286 Bloor Street We st \nToronto\, Ontario M6H 1N9 SEQUENCE:0 SUMMARY:The Eyelash and the Monochrome\, Tiziana La Melia UID:364997 END:VEVENT BEGIN:VEVENT DTEND:20141128T220000 DTSTAMP:20141124T094356 DTSTART:20141128T190000 GEO:43.6585552;-79.4417747 LOCATION:Mercer Union - A Centre for Contemporary Art\,1286 Bloor Street We st \nToronto\, Ontario M6H 1N9 SEQUENCE:0 SUMMARY:The Eyelash and the Monochrome\, Tiziana La Melia UID:364998 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Taking its starting point from the name of the Women&rsquo\;s film and video distribution organisation co -founded by Lis Rhodes in the 1970s\, this sequence of screenings engages w ith questions of representation\, politics\, language and perception.

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Friday 28 November &ndash\; Saturday 13 De cember 2014
Lis Rhodes Light Reading (1979)
B &\;W\ , 16mm transferred to video\, 20&rsquo\;

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A key experimental feminist filmmaker\, Lis Rhodes fuses political inte nt with material  \;means to question the ideological underpinnings of the language of cinema\, culture\, society and politics. Breaking down form al cinematic structures\, disconnecting sound and image\, narrative and con clusion\, and alluding to photography\, writing\, performance\, collage and political analysis\, she explores the authority of language. As Rhodes has stated &lsquo\;The view through the lens may be blurred or defined-&ndash\ ;focused or unfocused&ndash\;depending on what you think you know\; what yo u imagine you see\; what you learn to look for\; what you are told is visib le.&rsquo\; In this key work Light Reading (1979) Rhodes creates a space between language and looking. A litany of words\, excerpts from Gert rude Stein\, questions of &lsquo\;she&rsquo\; and descriptions of moments a nd acts of looking and reading\, plays out against a black screen and juxta posed with fragmentary letters and numbers\, collages\, measurements and im ages. The film insistently addresses questions of female representation\, p ersonal drama and female subjectivity.

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Lis Rhodes is an artist and filmmaker. After studying Fi lm and Television at the Royal College of Art\, she pursued a career as a c inema programmer at the London Filmmakers&rsquo\; Co-op in the 1970s\, cofo unding &lsquo\;Circles: Women&rsquo\;s Work in Distribution&rsquo\;\, the f irst British organization to distribute women artists&rsquo\; film and vide o works. Her films have been screened internationally since the 1970s. Rece nt exhibitions include\; Light Magic\, The Tanks\, Tate Modern\, L ondon\, Dissonance and Disturbance\, ICA\, London (solo) (both 2012). Selec t screenings include\; In person: Lis Rhodes\, Film Museum\, Vienn a\, 2009\; Essentials: Expression: The Secret Masterpieces of Cinema\,Tate Modern\, 2008\; WACK!: Art and The Feminist Revolution\, Museum of Contemporary Art\, Los Angeles\, 2007. She lives and works in Lon don\, UK.

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Tuesday 16 December &ndash\ ; Saturday 10 January 2015
Lis Rhodes A Cold Draft (1988)
B &\; W/Colour\, 16mm transferred to video\, 30&rsquo\;

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Made ten years later\, A Cold Draft (198 8) engages with the rights of women and broader civil rights in the increas ingly privatized environment of Thatcher&rsquo\;s Britain in the 1980s. The voice is employed\, in contrast to fragmented collages of still and moving images of landscapes\, streets\, interiors\, industrial exteriors\, as wel l as words and drawings\, to speak of the conflicts and uncertainties of a universal female experience.

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Tuesday 12 January &ndash\; Saturday 24 January 2015
Elisabeth Subrin Shu lie (1997)
Black and white\, B &\; W/Colour\, video\, 36&rsqu o\; 30&rdquo\;

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Elisabeth Subrin engag es in a wide range of genres\, forms and contexts to create conceptually dr iven projects in film\, video\, photography and installations. Her work see ks intersections between history and subjectivity\, investigating the natur e and poetics of psychological &lsquo\;disorder\,&rsquo\; the legacy of fem inism\, and the impact of recent social and political history on contempora ry life and consciousness. In this work Shulie (1997) Subrin remad e\, almost shot for shot\, a rediscovered 1967 film made by four male gradu ate students about a young female art student\, 22 year-old Shulamith Fires tone\, in an attempt to create a portrait of the &lsquo\;Now&rsquo\; genera tion. Firestone would later go on to write The Dialectic of Sex: The Ca se for Feminist Revolution (1970)\, a key radical in North American fe minism\, but there are few traces of this future act\, and the documentary remained unfound until the mid-1990s. In this layering of the past\, 1967 i n 1997\, and re-presenting this film Subrin addresses the legacy of the pas t within the present moment\, have we changed or has progress been made\, a nd if so to what extent? As Kristin M. Jones writes &ldquo\;Shulie is a por trait of one young woman\, but it ripples with ghosts and reflections.&rdqu o\;

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Elisabeth Subrin received a BFA from Massachusetts College of Art and an MFA from The Schoo l of the Art Institute\, Chicago. Her award-winning work has been exhibited widely including solo screenings at MOMA\, New York\, the Vienna Internati onal Film Festival\, the ICA\, Boston\, Harvard Film Archives\, and in grou p exhibitions\, film festivals and museums internationally including The Wh itney Biennial\, the Guggenheim Museum\, the Walker Art Center\, the New Yo rk Film Festival\, and the Rotterdam International Film Festival. Select re cent exhibitions include\; Lost Tribes and Promised Lands\, Vox Po puli\, Philadelphia (solo) (2013)\; Anti-Establishment\, The Hesse l Museum at Bard College\, Henceforth and Forever Free\, The Haggerty Museu m of Art (both 2012)\; Neighbo(u)rhood\, The Mattress Factory Art Museum\, Pittsburgh\, Shulie: Film and Stills\, The Jewish Museum\, New Yor k (all 2011)\; Elisabeth Subrin: Compulsion to Repeat\, Sue Scott Gallery\, New York (solo)\; Greater New York\, PS1 and MOMA\, New York (all 2010). She lives in Brooklyn\, New York.

DTEND:20150124 DTSTAMP:20141124T094356 DTSTART:20141128 GEO:43.6585552;-79.4417747 LOCATION:Mercer Union - A Centre for Contemporary Art\,1286 Bloor Street We st \nToronto\, Ontario M6H 1N9 SEQUENCE:0 SUMMARY:Circles and Sequences\, Lis Rhodes\, Elisabeth Subrin UID:364995 END:VEVENT BEGIN:VEVENT DTEND:20141128T210000 DTSTAMP:20141124T094356 DTSTART:20141128T190000 GEO:43.6585552;-79.4417747 LOCATION:Mercer Union - A Centre for Contemporary Art\,1286 Bloor Street We st \nToronto\, Ontario M6H 1N9 SEQUENCE:0 SUMMARY:Circles and Sequences\, Lis Rhodes\, Elisabeth Subrin UID:364996 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MULHERIN is pleased to present New Paintings by Michael Harrington.

Michael Harrington's pract ice focuses on the depiction of the human form occupying incomplete and amb iguous narratives. Expanding from his ongoing consideration of the male fig ure in society\, this new body of work pulls Harrington away from more tran sient\, exotic spaces: Florida hotel lobbies and gas stations\, toward more intimate\, private and edge-of town scenarios.


These pain tings appear to connect the narrative in the form of a "mini-series"\, recu rrent male figures populate landscapes and interiors : a man in red rests i n a dark bedroom\, a man in red puts his hand out to dogs in a trailer park \, a man in red stops at the edge of an isolated body of water. These haunt ing scenes inhabited by a strange individual might be read as bleak and har rowing psychological landscapes\, provoking empathetic response from a view er. Signature to his style\, Harrington captures each uncertain scenario an d portrait in the rich and seductive representational style of Impressionis m as well as hints of Northern Renaissance\, Flemish and Dutch still life. Shrouded in contrasts of darkness and glowing light\, what can we take away from Harrington's "red man" in his quiet and mortal moments?

Mi chael Harrington graduated from the Ontario College of Art and Design in To ronto in 1989. He has exhibited extensively in Canada and the United States . His work has been reviewed in Border Crossings magazine\, the Globe and M ail\, the Boston Globe and has been reproduced in Harper's magazine. Harrin gton's work can be found in the collections of the Agnes Etherington Art Ce ntre in Kingston\, the Canada Council Art Bank\, as well as numerous corpor ate and private collections in North America and Europe. In 2007 Michael wa s awarded a gold medal from the Canadian National Magazine Awards for a pai nting commissioned by Toro Magazine. He lives and works in Ottawa.

DTEND:20141221 DTSTAMP:20141124T094356 DTSTART:20141120 GEO:43.6436621;-79.4219044 LOCATION:Katharine Mulherin Contemporary Art Projects\,1082 + 1086 Queen St reet West \nToronto\, Ontario M6J 1H8 SEQUENCE:0 SUMMARY:New Paintings\, Michael Harrington UID:364993 END:VEVENT BEGIN:VEVENT DTEND:20141120T210000 DTSTAMP:20141124T094356 DTSTART:20141120T180000 GEO:43.6436621;-79.4219044 LOCATION:Katharine Mulherin Contemporary Art Projects\,1082 + 1086 Queen St reet West \nToronto\, Ontario M6J 1H8 SEQUENCE:0 SUMMARY:New Paintings\, Michael Harrington UID:364994 END:VEVENT END:VCALENDAR