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

The works\, by exceptional art ists\, are ANSWERS which respond to the questions:

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>\; Did you immigrate to Canada\, or are you the descendant of immigrants? \;
>\; Are you in awe of the massive annual migr ations of whales\, geese\, toads\, dragonflies\, owls\, ospreys\,
duck s\, hawks\, butterflies\, hummingbirds\, bats and - in the Canadian north - colossal animals? (October\,

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RIGHT N OW\, is the big migration month! I saw migrating red tailed-hawks yesterday .)

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>\; Does the idea of &ldquo\;mig ration&rdquo\; feel like a metaphor or symbol for something very meaningful to you?

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Visitors are invited to ENGA GE with this provocative notion of Migration and the artists&rsquo\; though tful\, remarkable work. Visitors may also PARTICIPATE in expressing their p ersonal experience of their own family migration. They will participate by mapping - on a wall size map of the world - the journey they or their famil y have taken from country\, to country\, to - finally - Canada and Toronto. This will provide an exciting mutual discovery of our origins...how we now hook up with each other...right here in Propeller Gallery! A unique opport unity for friends and families to share.

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The philosopher\, Alain de Botton\, in his current exhibition at the AG O\, speaks about how art can address issues that engage us all\; how art ca n help us to understand ourselves and to lead richer lives.

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MIGRATION\, speaking to our common experience\, will help us find solidarity with the immigration experience of others.

DTEND:20141005 DTSTAMP:20140917T154831 DTSTART:20140924 GEO:43.6446171;-79.4168107 LOCATION:Propeller Centre for the Visual Arts\,948 Queen Street West \nToro nto\, ON M6J 1H1 SEQUENCE:0 SUMMARY:Migration: A Nuit Blanche Exhibition UID:356985 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Loch Gallery is proud to p resent a selection of paintings from John all's \;Candela \;and \;Flash \;series. These most recent works reflect th e complexity of contemporary global life. Join us on Saturday\, September 2 7th from 2-4pm for the opening reception.

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John Hall was born in 1943 in Edmonton\, Alberta. He did his training in art at the Alberta College of Art\, Calgary and the Instituto Allende\, Mexico in the 1960s. Since completing his studies in 1966\, he has lived an d worked in Calgary\, Alberta\; Delaware\, Ohio\; New York\, New York\; San Miguel de Allende\, Mexico and\, most recently\, Kelowna\, British Columbi a. Hall has held teaching positions in art at Ohio Wesleyan University\, th e Alberta College of Art and Design\, the University of Calgary\, where he retired from a full professorship in painting and drawing\, and the Okanaga n University College. Currently he holds a professorship emeritus at the Un iversity of Calgary. He now lives and works in Kelowna\, British Columbia.< /p> DTEND:20141008 DTSTAMP:20140917T154831 DTSTART:20140927 GEO:43.6713217;-79.3933849 LOCATION:Loch Gallery - Toronto\,16 Hazelton Avenue \nToronto\, Ontario M5R 2E2 SEQUENCE:0 SUMMARY:Paintings from the "Flash" and "Candela" Series\, John Hall UID:356983 END:VEVENT BEGIN:VEVENT DTEND:20140927T160000 DTSTAMP:20140917T154831 DTSTART:20140927T140000 GEO:43.6713217;-79.3933849 LOCATION:Loch Gallery - Toronto\,16 Hazelton Avenue \nToronto\, Ontario M5R 2E2 SEQUENCE:0 SUMMARY:Paintings from the "Flash" and "Candela" Series\, John Hall UID:356984 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The callow seeming title of th is\, Kim Dorland&rsquo\;s eighth solo exhibition with Angell Gallery\, is a bluff. In his Toronto studio in August\, Kim told me that he likes both po etry and TV. Its false braggadocio rings with second-wave nostalgia for the receding prior nostalgia of an early incarnation of the artist who habitua lly slipped into the indications of a former adolescent cockiness. Today he nestles the intimate\, ephemeral now-ness of time as he watches his childr en and family (and self) live through instances that occur and vanish in a flicker.

Yet\, while the title is not literally true\, it is oth erwise apropos. Dorland chooses not to paint with poetic embroidery or teme rity. His imagery is prosaically undisguised\; his vocabulary reflexively a utomatic\, journalistic\, matter-of-fact\; his palette ALLCAPS attention-gr abbing\, vivid\, even lurid\; and his mark making emphatic with punctuation as much as description. That punctuation inflects&hellip\;no\, directs the amassments of colour on his canvases and it crucially articulates the stor ies that emerge from his pictures. Dorland&rsquo\;s claimed affinity to tel evision speaks to the day-by-day mesmerisation of far and near exotica (and the commonplace) denatured and re-naturalized by the keyed-up glow of the household screen.

Home plays a bit role in these latest painting s\, all from 2014\, insofar as it is only one of many settings for family l ife\, its events\, activities and passages. Because\, it seems\, the artist &rsquo\;s observations of his family might occur anywhere or anytime. His p rofoundly immersive\, psychic recognition of the simultaneous presence\, di fference and absence of those closest to heart powerfully relocates and env elopes the benchmark portraits of his self-possession (versus their self-po ssession) in an array of locations. So\, even when he is away from home\, i t feels local and proximate to a specific moment. An image snatched during an evening run\, High Park\, connotes what Dorland acknowledges as &ldquo\; a melancholic year [as an artist] that doesn&rsquo\;t reflect [his] point o f view with respect to his family or his responsibilities&rdquo\;&mdash\;a not uncommon refrain from a forty-year-old man.

Digital photogra phy is an essential tool and reference for Dorland&rsquo\;s ongoing image a rchive of daily life passing into the subjects for his paintings. It natura lly fits such a prolific and prodigiously gifted artist. Pictorial prowess and facility such as Dorland&rsquo\;s allows for the gradual\, uncontrived seeping of meaning into one&rsquo\;s work. For all its outrageous stylizati ons and exaggerations of colour and form\, Dorland&rsquo\;s paintings remai n essentially objective. Therefore he does not prefigure or predestine his attitude to their content. By constant return to themes and real views\, no t only does he gauge the changes of his subjects\, but also notices his var iances in perceptive and emotional state. Sometimes key incidents shimmer i n through placid and routine surroundings\, such as a hazy and distant poli ce car parked in the centre of the aforementioned High Park. Similarly\, th e efflorescent sparkle and fuming of Fireworks almost completely occlude a pair of humble witnesses meekly standing against the back fence of the conc rete yard\, Dorland&rsquo\;s sons\, Seymour\, eight\, and Thomson\, five.
The compositional reference to cell phone images gains consonant ordinariness in that such devices are ubiquitous\, possessed by his subject s too. His wife\, Lori\, is plausibly aglow as she looks to her screen in t he winter evening of After the Party. Crystalline flares and a voltaic unde rpainting refer to how Dorland recorded the scene. In Bleeding Heart\, the small screen isolates and rebalances the image\, deepening and thickening a garden around Seymour into jungle\, where he sits oblivious to its ominous foliage\, inspecting a blossom gently with his fingertips\, not absorbed i n a video game as it might initially appear.

March Break and Don &rsquo\;t Give Up are two of Dorland&rsquo\;s most effectively pared-down p aintings\, each with an abstracted\, horizontal banding that yields classic \, stacked\, rectangular order. The elegant simplicity of each is a feat of artistic restraint\, nerve and hard-won experience. In March Break\, Seymo ur stretches upward in preparation for a dive into a pool\, with concentrat ion\, determination\, perhaps some trepidation. His taut body and arms are mimicked above by the upright trunks and limbs of bare trees\, and contrast ed by an unbelievably limber and confident graffiti tag on the grey wall be hind. His face\, as is standard for Dorland&rsquo\;s figurative treatments\ , is a slathered impasto of relief-map planes in oil paint which still conv eys a specific portraiture. This technique conveys the vertical musculature of his son&rsquo\;s body and also the horizontal surface plane and conceal ed depth of the water\, of which the human body is largely composed. Don&rs quo\;t Give Up\, by contrast\, is utterly unpopulated. It depicts the fence d-in tennis courts found in Toronto&rsquo\;s Trinity Bellwoods Park. The ch ain-link has been meticulously stenciled and sprayed\, an extruded screen t hrough which appear side-by-side court lines\, posts and nets\, at once sub stance and mirage. The foreground is a clover-pocked lawn. Above the fence line\, an orange sky churns with latent energy. A bedraggled message\, wove n into the fence links with ribbon\, is the tattered remnant of youthful sp ontaneity\, long since departed. Each painting renders depth ambiguously\, treated in distinct zones of colour and technique that are monolithic and g radated at the same time\, conjuring the mists or mystery of the imminent f uture.

The crowning painting of a glorious show is a portrait of his muse and most frequent subject\, Lori. She poses in Bay Blanket #3\, a s so often\, in the nude\, however wrapped in a recognizable wool blanket o f the Hudson&rsquo\;s Bay Company that she clasps to her breasts and resple ndently spreads down her kneeling figure and across the top of the couple&r squo\;s bed. The painterly treatment of the blanket makes a transition from the thickly-painted flesh and defacement into impasto folds of heavy cloth \, especially so around Lori&rsquo\;s torso and gently easing out to reveal some of the textile weave of the canvas on which the paint is brushed\, wi th the signature green/red/yellow/black stripes running up and down or forw ard and back according to the blanket&rsquo\;s crumpled tumble. The bed is strewn with other rustic red/black patterns of quilting and tossed red pill ows beneath her. On the wall behind Lori is a galaxy of framed family photo graphs\, hung with a celebratory disregard for regulated order. Dorland ren ders each of these photos\, so similar to\, perhaps identical with\, the so urces for so many of his paintings\, with tender attention to its individua l distinction\, its specific reference and instance in the artist&rsquo\;s life. He can&rsquo\;t help himself. He strives to keep up with evanescent l ife by constantly resetting and starting over.

Ben Portis
S eptember 2014


Artist&rsquo\;s biography

I Hate Poetry\, but I Love TV is Kim Dorland&rsquo\;s first solo exhibition of new work in Toronto since the milestone success of You Are Here: Kim Dorland a nd the Return of Painting\, at the McMichael Canadian Art Collection in Kle inburg\, Ontario (October 2013 to January 2014). That exhibition\, in which his paintings\, many created during a residency at the McMichael\, were sh own alongside those of iconic Canadian landscape painters such as Tom Thoms on\, David Milne\, Emily Carr and members of the Group of Seven\, was cover ed in a national story in Macleans and subsequently lauded in reviews by th e Toronto Star and the Globe andMail. In addition\, in December\, the Globe and Mail named Kim Dorland 2013 Artist of the Year. In Spring 2013\, Canad ian Art ran a feature profile on Dorland and\, in Winter 2014\, Border Cros sings published an in-depth interview with the artist by Robert Enright. Ki m Dorland: Homecoming\, an early-career survey mounted in his native Albert a\, opens at Contemporary Calgary on October 16 and runs through January 18 \, 2015. On October 3\, Kim Dorland\, an 184-page monograph is available fr om Figure 1 Publishing\, with an introduction by Jeffrey Spalding\, artisti c director and chief curator of Contemporary Calgary\, an essay by Katerina Atanassova\, chief curator of the McMichael Canadian Art Collection\, and an expanded\, updated version of Robert Enright&rsquo\;s interview. Interna tionally\, Dorland&rsquo\;s art is on view this fall in Peahead\, a group e xhibition at Franklin Parrasch Gallery\, New York\, which runs until Octobe r 11. In 2015\, he will be given in a solo exhibition at MCA Denver\, Color ado.

Kim Dorland was born in Wainwright\, Alberta in 1974. Dorla nd received his BFA from the Emily Carr Institute of Art and Design\, Vanco uver\, and received his MFA from York University\, Toronto. He has exhibite d globally\, including shows in Milan\, New York\, Chicago and Los Angeles\ , receiving reviews in the New York Times and the Los Angeles Times. Dorlan d&rsquo\;s art is in numerous prestigious public and private collections in Canada and abroad\, including the Bank of Montreal\; Beth Rudin DeWoody Co llection\; Blanton Museum of Art at the University of Texas\, Austin\; Eile en S. Kaminsky Family Foundation\, New York\; Glenbow Museum\, Calgary\; Mo ntreal Museum of Fine Arts\; Musé\;e d&rsquo\;art contemporain\, Mont ré\;al\; Neumann Family Collection\, New York\; Oppenheimer Collectio n\, Nerman Museum of Contemporary Art\, Kansas City\, Kansas\; Royal Bank o f Canada\; and Sander Collection\, Berlin. Dorland works in Toronto\, where he lives with his wife Lori and their two sons\, Seymour and Thomson.

DTEND:20141108 DTSTAMP:20140917T154831 DTSTART:20141003 GEO:43.6445305;-79.4190129 LOCATION:Angell Gallery\,12 Ossington Avenue \nToronto\, Ontario M6J 2Y7 SEQUENCE:0 SUMMARY:I Hate Poetry but I Love TV\, Kim Dorland UID:356981 END:VEVENT BEGIN:VEVENT DTEND:20141003T210000 DTSTAMP:20140917T154831 DTSTART:20141003T180000 GEO:43.6445305;-79.4190129 LOCATION:Angell Gallery\,12 Ossington Avenue \nToronto\, Ontario M6J 2Y7 SEQUENCE:0 SUMMARY:I Hate Poetry but I Love TV\, Kim Dorland UID:356982 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Any Tomasini painting is inten ded to embody a pure expression of colour aiming to spark the spectators&rs quo\; emotions. His half-abstract style\, inspired by Canadian forests in a utumn\, involves using a spatula to intuitively apply thick layers of colou r. The sensation inspired by colour guides him in centering the spectator&r squo\;s attention on the world of nature. For Tomasini\, art is the product of emotion and sensitivity\, and comes from the heart. He creates a dialog ue to be shared with people from all around the world.

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Presented by the Cultural Celebration of the Spanish Lang uage (CCIE) in collaboration with Ibero-American Consular Corps.

DTEND:20141011 DTSTAMP:20140917T154832 DTSTART:20140929 GEO:43.7271296;-79.3789614 LOCATION:Glendon Gallery\,Glendon Hall\, Glendon College\, York University 2275 Bayview Ave. \nToronto\, Ontario M4N 3M6 SEQUENCE:0 SUMMARY:Into the colourful air – En los vivos colores del aire\, Daniel Tom asini UID:356364 END:VEVENT BEGIN:VEVENT DTEND:20140929T210000 DTSTAMP:20140917T154832 DTSTART:20140929T183000 GEO:43.7271296;-79.3789614 LOCATION:Glendon Gallery\,Glendon Hall\, Glendon College\, York University 2275 Bayview Ave. \nToronto\, Ontario M4N 3M6 SEQUENCE:0 SUMMARY:Into the colourful air – En los vivos colores del aire\, Daniel Tom asini UID:356365 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141011 DTSTAMP:20140917T154832 DTSTART:20140911 GEO:43.6454814;-79.406019 LOCATION:Georgia Scherman Projects\,133 Tecumseth Street \nToronto\, Ontari o M6J 2H2 SEQUENCE:0 SUMMARY:Figments and Foils\, Melanie Authier UID:356363 END:VEVENT BEGIN:VEVENT DESCRIPTION:

General Hardware Contemporary is pleased to present Derrick Piens \;first solo exhibition at GHC.

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Derrick Piens work considers the continu ous process of transformation that all objects and materials undergo throug hout time. Working primarily in plaster and wood\, these brightly colored g eomorphic objects visually transform as the viewer circumnavigates the spac e that surrounds them. The viewer must\, therefore\, rely on their personal memory of the form in order to fully comprehend it in its entirety. Piens works intuitively\, actively discovering the works throughout the building process\, comparable to the way that the viewer perceives the work by way o f examination and contemplation. These sculptures reference the human body through a careful consideration of scale and form developing a visual and c onceptual relationship between the viewer and the works that they encounter .

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Derrick Piens received his MFA from Southern Methodist University (Dallas\, TX) in 2007\, and BFA from Nova Sc otia College of Art &\; Design University in 2005. He has participated i n numerous solo and group exhibitions across Canada and the United States\, including\; \;When Things Collide(University of Waterloo Art Gallery)\, Sentinels (Dallas Contemporary)\, \;trans/FORM: Matter a s Subject \;>\; New Perspectives \;(Museum of Conte mporary Canadian Art\, Toronto)\, \;Summertime In Paris \; (Parisian Laundry\, Montré\;al. His sculptures are included in privat e collections in the UK\, New York\, Montré\;al and Toronto as well a s the permanent collections of Meadows School of the Arts\, Southern Method ist University (Dallas\, TX)\, the Claridge Collection (Montré\;al\, QC) and the University of Waterloo Art Gallery (Waterloo\, ON). Derrick has received numerous grants\, scholarships and awards and is currently prepar ing for a six-week artist residency at the Kulttuuri Kauppila Art Center (I i\, Finland).

DTEND:20141011 DTSTAMP:20140917T154832 DTSTART:20140917 GEO:43.640196;-79.4386859 LOCATION:General Hardware Contemporary\,1520 Queen St. W. \nToronto\, Ontar io M6R 1A4 SEQUENCE:0 SUMMARY:Dig Deep Bliss Darkness\, Derrick Piens UID:356359 END:VEVENT BEGIN:VEVENT DTEND:20140917T210000 DTSTAMP:20140917T154832 DTSTART:20140917T180000 GEO:43.640196;-79.4386859 LOCATION:General Hardware Contemporary\,1520 Queen St. W. \nToronto\, Ontar io M6R 1A4 SEQUENCE:0 SUMMARY:Dig Deep Bliss Darkness\, Derrick Piens UID:356360 END:VEVENT BEGIN:VEVENT DESCRIPTION:

It is a rare and celebrated oc casion when an artist is discovered that has a unique talent\, fresh vision and exceptional ability to transcend artistic predisposition. Painter Mich ael Flohr is just such an artist. Flohr&rsquo\;s work is a visual adventure . Not only in its exquisite beauty\, obvious artistic integrity and the emo tion elicited in every work of art\, but in the artist&rsquo\;s ability to effect the invention of a genre unique and true in and of itself in today&r squo\;s contemporary art world. Depicting ordinary moments in extraordinary ways\, Flohr&rsquo\;s work is an intellectually artistic mastery of color\ , perspective\, technique and vision. Blazing a trail that is sure to influ ence the eyes of fine art collectors around the world\, Flohr&rsquo\;s work is also sure to impact other emerging artists for years to come. Michael F lohr is a young California artist\, currently living and working in San Die go where he was born and raised. Recognizing his artistic aptitude at a ver y early age\, Flohr&rsquo\;s parents enrolled him in his first art class at the age of five. His family&rsquo\;s perpetual encouragement and convictio n in his talents led him to pursue a degree at the San Francisco Academy of Art College.

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At the academy\, Flohr was able to experiment with all types of media and artistic styles. In 1999 \, Flohr&rsquo\;s propensity for illustration was recognized by his accepta nce into New York&rsquo\;s Society of Illustrators\, where he joined the ra nks of legendary predecessors such as Norman Rockwell\, Maxfield Parrish an d N.C. Wyeth. He was awarded the Herman Lambert scholarship by the Society in the following year. Flohr graduated from the Academy of Art in 2000 and was honored with &ldquo\;Best of Show&rdquo\; for his painting titled\, &ld quo\;Irish Coffee&rdquo\; at the Academy&rsquo\;s spring exhibition that sa me year. Shortly thereafter\, three of Flohr&rsquo\;s paintings were select ed for exhibition at the de Young Museum\, San Francisco&rsquo\;s oldest pu blic museum located in Golden Gate Park. There\, his work hung in the compa ny of other master painters including one of Flohr&rsquo\;s most revered in spirations\, Claude Monet.

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Boasting a cceptance into a museum environment so early into his artistic career is a sure indication that this is an emerging artist to be watched. In a contemp orary art world that has craved a fresh\, new approach in the creation of e ffectual works of art\, Flohr fills this void with his series of paintings that cover subject matter ranging from nightlife scenes\, cityscapes\, stil l lifes and figurative portraiture. Flohr&rsquo\;s work is largely urban in content\, frantic in execution yet solemn in interpretation. His paintings have an eerie ability to capture a fleeting moment\, as if from a peripher al vision\, resulting in a permanent &ldquo\;dé\;jà\; vu&rdquo\ ; for the outsider looking in. Bordering the surreal\, yet strangely famili ar\, Flohr&rsquo\;s images capture what seem to be the artist&rsquo\;s furi ous study of a gloriously regular moment in time. A moment it seems in whic h many can relate. The artist&rsquo\;s paintings are a patchwork of avant-g arde\, impressionistic color exhibiting a stylistic fortitude that succeeds in redefining impressionism and abstract expressionism. Static movement is uniquely portrayed in his work through his brushstroke technique\, masterf ul use of light and sumptuous\, yet somber color. Flohr states\, &ldquo\;Th ere is a flow that I try to keep in my paintings that evolves into a story of colors and movement that breathe together.

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A coronation of small\, square strokes of premeditated color creat e the rhythm throughout a piece. Then I combine them with broad brush strok es that serve to &lsquo\;marry&rsquo\; the elements together. I approach ea ch canvas with &lsquo\;aggressive subtleness&rsquo\;. My goal as a modern i mpressionist is to capture a gesture and a mood\, not necessarily every por e on the face of a person depicted in one of my paintings. I want my figure s to be a part of the painting\, not the painting itself. They work togethe r in the environment creating the movement and emotion in a piece. I like t o show light and how it travels\, where it lands and how it can change colo r. Light alone can change the look or the mood of a place.&rdquo\; Ultimate ly\, it is these qualities in Flohr&rsquo\;s work that predominate in its a ppeal. Flohr claims his biggest inspiration in creating his art is everyday life. He protests\, &ldquo\;I have a huge passion to record humanity on ca nvas\, the good and the bad\, it is all beautiful to me.&rdquo\; He strives to express the familiar in his work and communicate a common thread among his subjects and his viewers. &ldquo\;I want to tell a story with substance \,&rdquo\; Flohr admits. And he achieves this with a genius of insight and artistic wherewithal unique to his work and a man of his young years.

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A trip to Europe upon his graduation from the Academy was influential in his interest in European culture and proved to be an enlightening experience for the artist and his work. It was this e xperience that led him to pursue the desire to capture the nuances of socia l interaction\, city nightlife and cityscapes as subject matter for his art . The artist states\, &ldquo\;Seeing strangers intermingle in strange\, new places is an inspiration to me. I am the guy that can be found out with fr iends in a café\; and notice a beautiful\, warm\, orange-violet light chipping on peoples&rsquo\; faces across the room. I am immediately distra cted and thinking of ways to combine color and capture that moment in my ne xt painting.&rdquo\; Flohr admits to being inspired by the all-important an d influential works of impressionist artists throughout history\, specifica lly: Pissaro\, Monet\, Manet and Degas. Like these artists\, Flohr prefers to work in oils and comments\, &ldquo\;I love oil paint because of its dura bility and the richness it brings to the canvas. I also believe that most p eople with an appreciation for art respect an artist&rsquo\;s use of this c lassic medium.&rdquo\;

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Flohr does not work with static models. Instead\, he will sketch &ldquo\;in the moment&rd quo\; as a scene unfolds\, most often with charcoal. Many times\, his sketc hes will become works of art in themselves. On occasion\, the artist will w ork with candid photographs. Capturing the visual clues in a scene is imper ative to Flohr as he considers the &ldquo\;overwhelming choices of color&rd quo\; used to create his interpretation of an image. The artist comments\, &ldquo\;Observation is everything for me. Whether it is seen\, heard or rea d\, it is all connected to that which can be processed into a visual.&rdquo \; Michael Flohr&rsquo\;s passion for his art parallels his passion for lif e. As he strives to be true to himself\, his family and friends\, he admits his fiancé\;e\, Melissa &ldquo\;is my biggest\, new-found inspiratio n in a way I cannot describe.&rdquo\; As he grows as a person and evolves a s an artist\, enthusiasts of the arts are sure to enjoy the fruits of his c ommentaries on the world around him &ndash\; and in the end\, the one that surrounds us all.

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 \;

DTEND:20141004 DTSTAMP:20140917T154832 DTSTART:20140920 GEO:43.6706108;-79.3942116 LOCATION:Liss Gallery\,140 Yorkville Ave. \nToronto\, Ontario M5R1C2 SEQUENCE:0 SUMMARY:Solo Exhibition\, Michael Flohr UID:356354 END:VEVENT BEGIN:VEVENT DTEND:20140920T210000 DTSTAMP:20140917T154832 DTSTART:20140920T180000 GEO:43.6706108;-79.3942116 LOCATION:Liss Gallery\,140 Yorkville Ave. \nToronto\, Ontario M5R1C2 SEQUENCE:0 SUMMARY:Solo Exhibition\, Michael Flohr UID:356355 END:VEVENT BEGIN:VEVENT DESCRIPTION:
The exhibition title \;TBD\, most typically used as an acronym for &lsquo\;to be determined&rsquo\;\, propose s that the definition of a contemporary art gallery is not fixed. \;TBD \;exposes the defining factors of contemporary art galleries for scrutiny and examines the institutions&rsquo\; effects on communities i n order to imagine possible futures and new approaches. \;\n
 \;
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 \;
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Brew Pub Journal (Van couver/Toronto)\, Jonah Brucker-Cohen (New York)\, Bill Burns (Toronto/Daws on City)\, Arabella Campbell (Vancouver)\, \;ch+qs arquitectos (Madrid) \, Tomas Chaffe (Stockholm)\, Michelle JaJa Chang (San Francisco)\, Steven Chodoriwsky (Los Angeles)\, \;Maggie Groat (St. Catherines)\, Jesse Har ris (Toronto)\, Justin Langlois (Vancouver)\, Gordon Matta-Clark (American) \, Dax Morrison (Toronto)\, Archer Pechawis (Toronto)\, Jon Sasaki (Toronto )\, Jeanne van Heeswijk (Rotterdamn) and \;others
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&n bsp\;

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Architecture program and consul tation: Jennifer Davis

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DTEND:20141026 DTSTAMP:20140917T154832 DTSTART:20140906 GEO:43.6446638;-79.4169861 LOCATION:Museum of Contemporary Canadian Art (MOCCA)\,952 Queen Street West \nToronto\, Ontario M6J 1G8 SEQUENCE:0 SUMMARY:TBD UID:356353 END:VEVENT BEGIN:VEVENT DESCRIPTION:

House is a Feeling&nb sp\;plays faintly on our fears of missing out. Here\, Mark Soo creates an a mbiguous situation where notions of perception\, expectation and context ar e confounded\; traditional modes of representation are eschewed\; and our s patial understandings of an exhibition are undone. By withholding the visua l element of this installation\, Soo produces a sense of speculation and in trigue\, transporting a domestic experience into a public space normally re served for contemplation and introspection. Named after an iconic 1990s dan ce track\, \;House is a Feeling \;literally rocks the para meters of display and is as much about what is present as what is absent.\n

 \;

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Mark Soo

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Singapore\, 1977

DTEND:20141026 DTSTAMP:20140917T154832 DTSTART:20140906 GEO:43.6446638;-79.4169861 LOCATION:Museum of Contemporary Canadian Art (MOCCA)\,952 Queen Street West \nToronto\, Ontario M6J 1G8 SEQUENCE:0 SUMMARY:House is a Feeling\, Mark Soo UID:356352 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Julie M. Gallery is pleased to present the first solo ex hibition in Toronto by Israeli artist Nadav Assor. \;
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Unmanned drones are still being used\, mainly for an array of military an d industrial \;purposes demanding remote surveillance and intervention\ , from the facilitation \;of "targeted" assassinations in Gaza through the production of aerial wedding videos. In \;the near future drone use will expand to a multitude of areas\, as tens of thousands of \;civili an drones are awaiting official approval for flight in the USA and other co untries. \;The works displayed in this exhibition deal with the spiritu al and bodily aspects\, \;and the related political implications\, of t he cluster of technologies and methods for \;control\, telepresence\, a nd unmanned mobility symbolized by the Drone. The exhibition \;includes self portraits of drone operators shot out of the vehicle they themselves operate \;("drone selfles")\; video portraits of a man who refers to hi mself as the first "Remote Control \;Minister" and of the drone he cons tructs and flies in the forests of the US Northwest.
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 \;

DTEND:20141005 DTSTAMP:20140917T154832 DTSTART:20140918 GEO:43.650375;-79.3613439 LOCATION:Julie M. Gallery Toronto\,15 Mill Street \nToronto \, Ontario M5 A 3R6 SEQUENCE:0 SUMMARY:Lessons On Leaving The Body\, Nadav Assor UID:356351 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140914 DTSTAMP:20140917T154832 DTSTART:20140903 GEO:43.6412968;-79.4331559 LOCATION:Gallery 1313\,1313 Queen Street West \nToronto\, Ontario M6K 1L8 SEQUENCE:0 SUMMARY:Parkdale Youth Art Mentorship Program Exhibition\, Adrienne Dragg\, Mary Dyja\, Zeesy Powers\, Jen Tsuchida\, Lisa Anita Wergner\, Tanusha Kan agendran\, Brandon Kennedy\, Keight Maclean\, Maya Stewart Pathak\, Alisson Escobar Ramires\, Jay Rangam UID:356350 END:VEVENT END:VCALENDAR