January 3, 2020 § Leave a comment
Look out for shows by Laurie Anderson, Michael Snow, Wendy Coburn, Tau Lewis and Nuit Blanche’s move into Etobicoke and North York
BY ROSEMARY HEATHER JANUARY 2, 2020
It’s fitting that a Michael Snow survey exhibition kicks off Toronto’s 2020 art season. The influential Toronto-born multimedia artist’s practice has been a baseline for contemporary art in the city for an incredible 70 years. A marvel of productivity – and longevity – Snow deserves much of the credit for the sheer eclecticism of formats and styles that comprise contemporary art today.
As artists like Snow made increasingly experimental and challenging work, the venues where art is shown also expanded. All-night art event Nuit Blanche, which will take place in North York and Etobicoke for the first time this year, is possible because artists have an ability to consider any venue as suitable for showing work. The annual event is part of a wider push to grow art audiences in the city, which includes a major emphasis on public art in 2021. In the meantime, Torontonians have plenty of mind-expanding options in the coming year. Here are our most-anticipated shows.
Laurie Anderson: To The Moon
Royal Ontario Museum, January 11-25
Like Snow, American avant-garde artist and composer Anderson is another influential name with a long track record of experimentation, to great success, across a range of art forms. This winter, she’s exhibiting a VR artwork made in collaboration with Taiwan’s Hsin-Chien Huang. The 15-minute experience is an immersive trip into outer space, and through the DNA of dinosaurs. Anderson is also performing a sold-out show at Koerner Hall, giving a lecture and screening her film Heart Of A Dog at Hot Docs Cinema during her visit to Toronto.
Listening To Snow: Works By Michael Snow
Art Museum, University of Toronto, January 18-March 21
The sheer scope of 91-year-old Snow’s practice allows galleries to experiment with the presentation of his work like this exhibition, which focuses on the artist’s use of sound. Sound installations, two recordings and a film will create a sonic experience within the space of the gallery. U of T’s Innis Hall will also screen three of Snow’s most celebrated films, including his landmark 1967 short, Wavelength. Snow will also give a solo piano performance in the Justina M. Barnicke Gallery on March 21.
Naufus Ramírez-Figueroa: Asymmetries
The Power Plant, January 25-May 10
Absurdist and mordant humour, often about the civil war his family fled when he was a child, infuses the work of this Guatemalan-Canadian artist. Something of a superstar internationally, this is his first major exhibition in Toronto. It will mostly include works from the past decade, as well as a newly commissioned work based on the cacaxte, a ladder-like tool used in Latin America for carrying objects on one’s back.
Oakville Galleries, January 26-March 22
Currently on a tear through the international art world, Toronto-based Lewis is a self-taught prodigy. With a focus on “telling stories about Black identity,” Lewis creates gallery installations in which multiple figures and their accompanying landscapes and backdrops are sculpted from found textiles and other materials.
Fatma Bucak and Krista Belle Stewart
Museum of Contemporary Art, May 1-June 2
Part of Contact Photo Fest, this show presents the two artists’ work in dialogue. Kurdish-Turkish artist Bucak shows photos from an ongoing series, still lifes of found objects taken from border landscapes (including Syria-Turkey and U.S.-Mexico). Stewart, a member of the Syilx First Nation and now based in Berlin, presents work about the artist’s investigation into “Indianers” – the notorious German hobbyists who enact a fantasy of Indigeneity each summer.
Fable For Tomorrow: A Survey Of Works By Wendy Coburn
OCAD Onsite Gallery, May 13-October 3
This is a posthumous exhibition of work by the much-loved influential artist and OCAD University professor, who died in 2015. For those introduced to her work through the mind-blowing investigative video Slut Nation: Anatomy Of A Protest – documenting the world’s first SlutWalk protest in 2011 – this survey will provide an excellent chance for Toronto audiences to better understand Coburn’s wide-ranging art practice and activism.
InterAccess and other venues, July 16-19
This festival, which showcases art about digital technology, takes place online and at venues across the city. For the eighth edition, the festival asks what happens after the gamification of everyday life – how do artists respond to tech’s ability to engineer our behaviour? The deadline for art and curatorial proposals responding to this theme is February 1.
Various venues, October 3
The annual all-night art event keeps getting bigger. Judging by the crowd sizes, its expansion to Scarborough (starting in 2018) has been a huge success. Next up: moves into North York and Etobicoke. The event has also appointed Dr. Julie Nagam as artistic director for the next two years. Nagam is planning a city-wide exhibition focused on Toronto’s ravines and waterways. By connecting exhibits via the city’s historical trade routes, visitors will enjoy an entirely different experience of the city.
Kristiina Lahde: Follow A Curved Line To Completion And You Make A Circle
MKG127, November 21-December 19
A coolly inventive artist, Toronto’s Lahde makes delicate, geometric artworks using everyday items like wooden rulers, envelopes or paper clips. Her upcoming exhibition promises more of her precise minimalistic abstractions, with a focus on circular sculptural works, including circles discovered in found items and the “zeros clipped from advertising flyers.”
February 19, 2019 § Leave a comment
During a visit to Toronto, Guatemalan artist Naufus Ramírez-Figueroa summons the greater prairie-chicken and passenger pigeon to provoke a change in mindset
BY ROSEMARY HEATHER FEBRUARY 19, 2019
Seances are boring in the way meditating is boring. You have to relax and let yourself sink into the moment. This requires letting go of things, including everyday worries and the non-stop, tyrannical pull of our electronic devices.
Guatemalan artist Naufus Ramírez-Figueroa, visiting the city for the exhibition How To Breath Forever at OCAD’s Onsite Gallery, himself used the b-word when talking about his experience with seances.
The internationally shown and very busy artist (he will also be participating in the inaugural Toronto Biennial of Art this fall) introduced the event by talking about his own history with this type of spiritualism, which was in vogue over a century ago. In Canada, such enthusiasts famously included William Lyon Mackenzie King, prime minister for the first half of the 20th century, who used mediums to get advice from his dead mother.
The soft-spoken Ramírez-Figueroa talked about being an art student at Vancouver’s Emily Carr University and attending seances with local spiritualist practitioners. “This was a way for me to have some communion with other Latin Americans because my school was pretty white,” he says.
He did this again when going to art school in Chicago. He experiments with the form in his art practice, but gives it a different focus. At the seance he conducted on a chilly Wednesday evening in Toronto, the goal was to contact not people, but extinct species of birds from the local area.
Wearing white toques to keep out bad spirits, 18 people held hands around a large table and tried their luck at contacting the beyond. Since spirits presumably stay close to the area where they once lived, the artist researched a number of extinct birds the seance might summon. Were the greater prairie-chicken, the Eskimo curlew and passenger pigeon haunting our gathering? It’s hard to say.
The former two birds were declared extirpated (gone from the area but still living elsewhere on earth) from Ontario within the last decade or so, while the passenger pigeon was notoriously hunted to extinction over 100 years ago.
Whether their spirits visited the Onsite Gallery on this particular occasion was somewhat beside the point, as Ramírez-Figueroa made clear in conversation after the event. The product of a non-religious upbringing, the artist saw his own spiritual investigations as mostly a kind of rebellion.
Calling the seance an exercise, he said, “I don’t think I’m guiding it too much but it does become a kind of guided visualization.” He cited the tradition of hippie idealism in British Columbia, where he lived from ages 12 to 26, as influencing this part of his practice. The grandeur of the landscape in B.C. has a spiritual power, though his interest is more in how we typically fail to connect with the natural world.
“You can live close to nature and ignore it at the same time,” he noted.
While at Emily Carr, for example, he said he “lived near the ocean but never looked at it.” Seances are a form of group projection, and Ramírez-Figueroa feels that humans tend to project things onto nature instead of seeing it for what it is.
For those at the seance who had never given much thought to extinct species in Toronto, it was a chance to contemplate what gets lost in the incessant busyness of contemporary life. There is a cost to never getting bored. “This is the reality we are all facing: mass extinction,” Ramírez-Figueroa says. “And we don’t even notice.”
So maybe we do need a medium, as opposed to constant electronic communication, to get back in touch with ourselves and our urgent predicament.
Ramírez-Figueroa is also preparing to make a work about extinct species in Lithuania for an upcoming biennial in that country. He feels there is a higher level of concern around looming environmental catastrophe there than in Canada. Perhaps part of the problem is that Canadians are fooled by their own PR. He talked about the dominance of Canadian gold mining in Guatemala.
“It’s a really small country and the damage it does is substantial,” he explained.
Upwards of 75 per cent of mining companies globally are based in Canada. The industry is massively destructive, but Canadians are only minimally aware of this. We’re happy to go on seeing ourselves as the good guy. Closer to home, oil sands workers are required to sign waivers preventing them from speaking about any form of environmental destruction they witness as a result of this now largely unprofitable form of resource extraction.
There is a lesson in the fragile stirrings that occurred during the seance. In the gentlest terms, Ramírez-Figueroa’s seances with extinct species are a form of collective action. The exercise suggests we need a new form of collective belief to avert humanity’s extinction.
Instead we are participating in a mass delusion of denial.
Naufus Ramírez-Figueroa, “Seance for Extinct Species of Birds,” part of HOW TO BREATHE FOREVER at Onsite Gallery (199 Richmond West). ocadu.ca. January 16 – April 14, 2019.