January 4, 2019 § Leave a comment
Look out for the Toronto Biennial of Art and exhibitions featuring work by Brian Jungen, Chantal Akerman, Carrie Mae Weems and Daniel Arsham
If last year is anything to go by, 2019 promises more social media exodus and a world slightly less obsessed with connected devices. Art galleries offer a good alternative. Instead of the light emitting from the mobile or computer screen, light therapy as art is on offer. And come September, Toronto gets the art biennial it has long been waiting for, featuring local and international artists at venues adjacent to Lake Ontario.
VAJIKO CHACHKHIANI: THEY KEPT SHADOWS QUIET
Scrap Metal Gallery, October 11, 2018-March 30, 2019
The first solo show in North America by the young Georgian artist is the most ambitious exhibition staged to date by this private gallery. It features a number of works, including a specially built “inverted” immigration checkpoints. Using two way mirrors in reverse direction, visitors can surveil the occupants of the booths, which are manned by actors every Saturday from 1-4 pm for the duration of the show.
SANAZ MAZINANI: LIGHT TIMES
Stephen Bulger Gallery, January 12-February 23
Known for her large-scale mosaic works embedded with political content, Mazinani returns to her hometown for this back-to-basics study of photography. Camera-less photos (i.e., light exposed to photosensitive paper) form the basis of this show – but Mazinani’s larger agenda is revealing the manipulations, framing and cropping that create photographic “truth.”
TRUE TO THE EYES: THE HOWARD AND CAROLE TANENBAUM PHOTOGRAPHY COLLECTION
Ryerson Image Centre, January 23-April 7
A presentation of over 200 works from the Toronto philanthropists’ private collection. The sheer range and eclecticism of the photos on view – including Brassaï, vernacular works, Diane Arbus and Edward Burtynsky – offers insight into how genres within the medium have evolved. A useful point of reference for photography’s expanded digital life today.
JAAN POLDAAS: A COLOURFUL LIFE
Birch Contemporary, February 7-March 2
This is a memorial exhibition for the Swedish-born Toronto-based artist who died in October. Poldaas made vibrant, hard-edged abstract paintings, working within set rules he imposed on his practice such as using primary colours and the colour grey in differing shades. This framework allowed him to discover constant variation in composition throughout his career.
LIGHT THERAPY &
MOCA, November 28-April 30/ MOCA, February 14-April 14
Here are two good reasons to visit MOCA’s new location. Slovenian artist Šušteršič presents a light therapy room as part of the museum’s interest in exploring the role galleries play in supporting well-being. Visitors who become MOCA members can also book it for private sessions. Filmmaker Akerman, who died in 2015, was one of Europe’s foremost auteurs of the last 50 years. While many of her films have screened in Toronto, MOCA is hosting the first museum presentation of her installation work.
CARRIE MAE WEEMS: HEAVE
Art Museum at University of Toronto, CONTACT Photography Festival and three public sites, May 3-July 13
Part of this year’s Contact Photography Festival, this show marks the first solo exhibition in Canada by this important African-American artist. Weems is known for her photo-based installations that incorporate film, daguerreotypes, textiles and period-specific dress. Her tableaux reflect on how power functions in society, in part by making viewers aware of the constructed nature of photography.
Art Gallery of Ontario, June 20-August 25
A solo exhibition by the celebrated West Coast artist touches down at the AGO this summer. Jungen is known for remaking everyday items, like Nike shoes or plastic lawn chairs, into powerful sculptural works. The artist’s always inventive refashionings often reference his Indigenous heritage. His use of mass-produced materials also critiques the conventions of museum display and the value of the objects collected therein.
Cooper Cole Gallery, September TBA
The New Zealand-born artist’s debut solo show will feature beguiling works that are part sculpture, part installation. Working with ceramics, bricks, glass and found materials like pebbles and other detritus, she often uses the floor and other overlooked parts of the gallery to subtly shift visitor experience – as well as the concept of what can be art.
TORONTO BIENNIAL OF ART
Various venues on Lake Ontario, opens September 21
Biennials are the lingua franca of the international art world and Toronto is long overdue to host its own. This 90-day event is helmed by Candice Hopkins and Tairone Bastien, two smart, experienced curators who have announced a theme focused on the history embedded in the city’s waterfront – the site of settlement, trade and Indigenous histories. Featured artists include Althea Thauberger, Shezad Dawood and Syrus Marcus Ware.
Various venues, October 5
The city’s all-night public art event again includes venues in Scarborough and adds first-time locations Fort York and the Garrison Common. Nathan Phillips Square will host an installation by Daniel Arsham. Few details are available, but given he works with meta-architecture firm Snarkitecture, it’s a good bet the New York artist’s piece will be big and involve the colour white. The deadline for artists to submit proposals for the Open Call section is February 4. 11 art exhibitions to be excited about in 2019
September 26, 2018 § Leave a comment
Including MOCA’s grand reopening, Nuit Blanche in Scarborough and a monumental light installation at the Bentway
SEPTEMBER 17, 2018
One reason art is good for you: generally, you need to walk around to see it. Do it with a friend, adding conversation to the mix, and you have a program for healthy cogitation.
This fall, the ambitious art lover can get a lot of walking done. Toronto’s arts organizations have a slew of events and exhibitions planned. Some of these take place outdoors as temporary installations. Others are launching new art venues, kicking off fresh prospects for the city’s scene. Below is a list of upcoming events to get excited about – and plan a day’s outing or two.
WILL KWAN, A PARK FOR ALL
At Don River Valley Park Art Program, Lower Don Trail
Summer 2018-Summer 2023
Part of an ongoing series of art commissions for the Don Valley Park, Kwan wrote a text piece that has been writ large on a retaining wall of the Don River. A five-year-long installation, the work reflects on the way public space is defined by the imperfect coexistence of its members.
SARAH MUNRO AND JOSI SMIT, A VIEW TO A ROOM
At Zalucky Contemporary (3044 Dundas West)
September 8-October 6
Munro presents collage works that use photos of the dwellings occupied by Belgian surrealist René Magritte (a Canadian, Munro lives in Belgium). Complementing this is an installation by Toronto’s Smit, evoking the armature of home decor.
GORDON PARKS, THE FLÁVIO STORY
At Ryerson Image Centre (33 Gould)
September 12-December 9
This show is about a 1961 Life Magazine exposé that changed the life of a 12-year-old boy from a Rio de Janeiro favela. African-American Parks was a pioneer of photojournalism. He went on to direct Hollywood films, including Shaft.
BETSABEÉ ROMERO, BRAIDED ROOTS/TRENZANDO RAÍCES
At Art Gallery of York University (4700 Keele)
September 13-December 3
Mexican artist Romero developed this sculptural installation at the AGYU after a number of visits to Toronto. It’s result of a series of workshops she did with the Mississaugas of the New Credit First Nation, along with research into Canadian mining practices abroad.
JENEEN FREI NJOOTLI, GABRIELLE L’HIRONDELLE HILL, CHANDRA MELTING TALLOW AND TANIA WILLARD, CONEY ISLAND BABY
At Gallery TPW (170 St Helens)
September 13-November 3
Shot on the territory of the Secwépemc Nation in B.C.’s interior, Coney Island Baby is a collectively authored film, made by four women. Focusing on skills that are often the responsibility of women in Indigenous communities, like the snaring of rabbits, the show also features sculptural installations by two of the artists.
At Koffler Gallery (180 Shaw)
September 13-November 25
A show about “redaction” suggests the long history of political censorship; as an artistic method, however, redaction is essentially collage. As the works in this group show demonstrate, the technique provides endless scope for artists to cut and recombine materials – to bracing effect. Includes Lise Beaudry, Nadia Myre, and Michèle Pearson Clarke.
MUSEUM OF CONTEMPORARY ART, INTERNATIONAL GRAND OPENING WEEKEND
At 158 Sterling
The title says it all. With its move to a new location in the Lower Junction, Toronto’s MOCA is announcing the scale of its ambitions. Its inaugural exhibition, Believe, features celebrated artists like Barbara Kruger, Rajni Perera, Ange Loft and Jeremy Shaw, among others. Occupying five stories in a former aluminum factory, the show is free all weekend.
STYLL AT NUIT BLANCHE
At Scarborough Town Centre and Scarborough Civic Centre
This year, Toronto’s all-night art event includes Scarborough as a location. All projects on view in STYLL – including performances, soundscapes and projections – were made by Scarborough-based artists, or are the result of collaborations between artists and community members or groups. Artists include Hiba Abdallah (also included in the MOCA show), Reaching Intelligent Souls Everywhere (RISE), Ekow Nimako and Director X.
DAAN ROOSEGAARDE, WATERLICHT
At The Bentway (250 Fort York)
The Bentway presents the Canadian debut of this monumental light work by the acclaimed Dutch artist. Made from LEDs and special projection lenses, it’s part of a series of art-based installations called If, But, What If? running through November under the Gardiner. A range of public programs will accompany it.
JANET MORTON AND MORLEY SHAYUK
At Paul Petro Contemporary Art (980 Queen West)
November 16-December 22
These two solo shows help celebrate the gallery’s 25th anniversary. Morton is known for her knitted works, sometimes at building scale; Shayuk makes fine abstract paintings that often incorporate sculptural elements.
January 10, 2018 § Leave a comment
From Yoko Ono and Yayoi Kusama to Indigenous architecture and Nuit Blanche in Scarborough, here are the artists and exhibitions to watch out for this year
Toronto is gaining in confidence, in part because it is learning to appreciate the ways it isn’t like anywhere else. Visit a city that lacks this town’s remarkable and yet unselfconscious multicultural mix and it is bound to seem hopelessly retrograde.
The starting pointing for some highly influential art careers (Michael Snow, General Idea, Peaches), Toronto looks to be on the cusp of something more broad-based: becoming an influential art scene in its own right that leads by example. Here are the names and exhibitions set to make waves – in the city and beyond – in the year ahead.
CARL MARIN AND VERONIKA PAUSOVA
Franz Kaka, January 11 to February 3
Interesting things happen in this small basement space that’s home to not one but two art galleries that alternate shows. (Towards is the name of the other venture.) Sculptures by Marin and beguiling paintings by Pausova bring together geometric abstraction and surrealist figuration.
HERE WE ARE HERE: BLACK CANADIAN CONTEMPORARY ART
Royal Ontario Museum, January 27 to April 11
The ongoing dialogue between Toronto’s cultural institutions and artists about what Canadian identity looks like today includes earlier efforts at the Art Gallery of Ontario, Art Museum at U of T and the Aga Khan. This presentation at the ROM of works by nine African-Canadian artists features Sandra Brewster, Michèle Pearson Clarke and Chantal Gibson.
YOKO ONO’S THE RIVERBED
Gardiner Museum, February 22 to June 3
At 84, the artist, musician and social activist is a marvel for her ability to keep the language of conceptual art, which she helped to pioneer, relevant. Small gestures like the chance to mend broken crockery create moments for quiet and contemplation. Accompanying the show is a thoughtful slate of Ono-inspired programming featuring music, lectures and performance art.
YAYOI KUSAMA’S INFINITY MIRRORS
Art Gallery of Ontario, March 3 to May 27
Art exhibitions that are genuine events happen too rarely in the city. This show, already an international Instagram sensation, gives Toronto a chance to abandon its cool – and the frenzy has already started. Step inside the kaleidoscopic refractions of a Kusama Infinity Room and get an experience of the sublime not based in nature.
NANCY PATERSON’S THE FUTURE, BEFORE
InterAccess, March 7 to May 5
For its 35th anniversary, this organization for art and technology moves from Ossington to a new, bigger location at 950 Dupont. First up are works by veteran media artist Nancy Paterson, a timely exhibition showcasing this early contributor to discourse about the internet and cyber feminism.
Oakville Galleries in Gairloch Gardens, April 8 to June 3
After getting some significant exposure abroad in two major group exhibitions, this will be the first solo show in a museum for the Toronto-based artist. Belerique forges her own unique aesthetic language by using sculptural installation to reflect on the 2D vocabulary of photography.
UNCEDED: VOICES OF THE LAND
2018 Venice Architecture Biennale, May 26 to November 25
Renowned Canadian architect Douglas Cardinal and Indigenous co-curators Gerald McMaster (of OCAD University) and David Fortin are taking a team of 18 First Nations designers from Turtle Island (Canada and the U.S.) to Venice. Storytelling is a key component of Indigenous culture and will be used as a framework for looking at architecture and its related issues – like habitat and stewardship.
HELEN CHO’S YOU REMAINED DISMEMBERED
Trinity Square Video, summer 2018
Cho presents a new video work from a series made with Tai Lam – a fast food worker who came here as a refugee from Vietnam – combined together with words from the video “re-imagined as poetry,” and sculptural works made with vinyl, salt dough and ceramics.
NUIT BLANCHE IN SCARBOROUGH
This year begins the era of the multipolar Nuit Blanche. A portion of the annual all-night event will move outside the core to the east end. The shift recognizes that the vibrancy of the city is not exclusive to its downtown. Participants include Ghana’s Ibrahim Mahama, known for his use of draped jute sacks as a sculptural material.
UNTITLED ART TV SHOW
To be announced
This has yet to be confirmed, but there have been rumblings that a major broadcast network is working on a documentary series focused on artists who call this city home and those who hail from here and are forging significant careers elsewhere. Purportedly hosted by a local talent and ex-child actor who boasts a Degrassi: The Next Generation credit on his resumé.
August 6, 2011 § Leave a comment
Melanie O’Brian, Director/Curator of Artspeak in Vancouver for the past six years, recently moved to Toronto to take up the post of Curator & Head of Programs at The Power Plant. With this appointment, O’Brian makes the shift from what’s known in Canada as the artist-run sector to one of the country’s major venues. We spoke over email in March, 2011.
RH: Your professional career up to now has been firmly rooted in Vancouver. How do you think this experience will translate to Toronto? Do you expect to shift your priorities, or will you continue with the type of programming you developed at Artspeak?
MO: My goal is to maintain a strong foundation in the local while intersecting with international practices and dialogues. My programming interests regarding site will undoubtedly shift at The Power Plant. At Artspeak I addressed the institution’s mandate to reflect a dialogue between language and contemporary visual art and I also extended the program outside of the limited confines of the gallery. Through the OFFSITE program (2008-2010), I took artists’ projects into various ‘public’ situations using the street, parks, print, large-scale advertising, building sites, the postal system, etc. While I certainly maintain a desire to do offsite projects in Toronto and address contextual specificities, the institutional spaces at The Power Plant will allow me to initiate projects that would never have been possible at Artspeak.
RH: Speaking about OFFSITE, why do you think art institutions feel the need to develop audiences beyond what you refer to as the “confines” of the gallery? Is this tendency artwork-driven or institutionally-led?
MO: Artists are engaging strategies that re-activate wide cultural, political, and economic discussions within the process of art production and its reception. Institutions are encouraging this activity, often arguing that the audience for contemporary art is wider than ever before. But only a select audience overtly sustains contemporary art’s dialogues. Contemporary art is intersecting with audiences on multiple levels from the gallery to the street, from the blockbuster to the festival, from the biennial to the incidental. Perhaps the spectacularization of contemporary art’s presentation is a point for discussion?
RH: Toronto has a wildly successful Nuit Blanche event, presenting public art works across the city for one night. It attracts an estimated audience of one million people. The number one criticism of the event is that it tends to feature spectacular artworks. This could be seen as pandering to the crowd, or it could simply reflect the changing nature of art. Any thoughts?
MO: These types of events are increasingly common, whether autonomous or embedded in the Olympics. They do not necessarily reflect the changing nature of art, but rather the changing nature of the art system.. Art fairs, biennials, and other large scale spectacles provide a point of comparison. They are formats that often request, if not demand, art that competes with or withstands the spectacle. I might add that in what could be touted as a post-relational aesthetics, post-participatory moment, artists and artworks must not just engage with the art system, but intervene in it and question it productively.
Interview by Rosemary Heather
This text originally appeared in the May/June 2011 issue of Flash Art.
Melanie OBrian is the Editor of Vancouver Art and Economies, an anthology of writing about the Vancouver art scene, which can be purchased here.