Author: artoronto

  • Interview with Stuart Keeler, one of the curators for Scotiabank Nuit Blanche, 2011

    Interview With Stuart Keeler ( SK )
    Curator & Director LEITMOTIF

    An Independent Project Produced for Scotiabank Nuit Blanche  2011 .
    Sponsored by: The Parkdale Village BIA.
    Questions are from Phil Anderson ( PA )

     PA: You also have 6 site-specific projects that are “the result of integrated community collaboration”.

    SK: Those projects are funded by “The Brazilian Biennial Foundation”, by Marcia Vaitsman, from Sao Paolo, held a community series of workshops at the Parkdale Library.  The artist is interested in how Parkdale is portrayed in the media, and what the local resident thinks of this portrayal.  What began this approach is the vast number of languages that are spoken in Parkdale Village on a daily basis.  How can an artist project touch upon and engage with what people are thinking?  Can this culling of information be realized into a sculptural and audio experience? The interviews will culminate into a series of radio broadcasts the night of Scotiabank Nuit Blanche – LEITMOTIF with video, audio, and other interactive tactile gestures. The artist also has cemented herself with numerous visits to Parkdale and Toronto to collaborate with residents and has held several round table discussions – all to be revealed the night of the LEITMOTIF. Another interesting and smart project is by Caroline and Gord Langill, a work about AIDS, Opera and the power of the archive to record a friendship, activate our group memories as a culture. A very powerful and memorable work.

    (Truckstop), Alexandre David, Concept Sketch for LEITMOTIF

     

    SK: The goal is to not use– LEITMOTIF as a “plop art” experience of working or as an exhibition experience.  Yes, the projects are temporary in nature, however the process leading up to the dawn to dusk event can be interesting, inclusive in the production and planning. The goal is to introduce the artist into the neighbourhood and then create an in situ “residency” within the urban fabric of Parkdale.  This allows the neighbourhood as a site to inform the artist in the final development of the piece.  This connection creates stronger community activation, a dialogical action where art and the residents and merchants of Parkdale Village engage.

    Another interesting project is by Patrico Davila and Dan MCafferty – operating as Public Design Unit , the team is using Google Maps as a platform of how people see, experience and view the intersection at the Parkdale Public Library along Queen Street West at Brock Avenue. The artists are interested in a series of visioning workshops to spur dialogue about the aesthetics of the intersection and how it is viewed.  The final result is an engaging, relational work of video, based upon ongoing urban conversation and more to be composed by the artist team the night of Scotiabank Nuit Blanche.  The multiple workshops are free, and the computers are loaned from OCADU.

    PA:Have any of those projects started? How are they integrated in the community? Would it be something that is very obvious or is it meant to be more subtle?

     

    PA: The exhibition you mention is about how we relate to the city. Is this a way for the public to become more aware of public art and installation? Do you think the public is becoming more aware of this kind of art experience?

    SK: Many people have not been to Parkdale Village.  How do we conceive, think about and explore the city of Toronto?  LEITMOTIF is an exhibition platform based upon how viewers see the familiar in a new way. What is the ultimate déjà vu experience?  How does repetitive experience offer a new insight?  Can art really assist with this as a haptic experience?… With all these questions, the historic aim of Scotiabank Nuit Blanche should allow us as viewers a chance to see our territory in a new way.  Artists can assist us in doing this….Maybe the spectacle of previous years can be culminated to allow us a particular freedom to connect with art, ideas or even discuss the experience of living in Toronto in a thoughtful manner which encourages dialogue about the legacy of art.  Perhaps on some level the potential of art in public space on this night event will create questions and how citizens can re-imagine the future of this event itself.

     PA: You also refer to the future of social connectivity and the exhibition lending opportunity for people to think about it through this project. How do you see this happening?  Will people be able to participate in some portions of the project?

     SK: The social projects which may last in the community for some time will be evident, while others are temporary…here and gone.  The déjà vu experience of LEITMOTIF is to be experienced or translated by the viewer.  There are many interactive works, an interesting collaboration with The Gladstone Hotel as well as numerous Parkdale Village merchants and restaurants.  For example: The Workroom, an amazing concept sewing studio boutique along Queen Street West in Parkdale, is supporting two projects:

    One project by New York based sculptor Amanda Browder which is a community based sewing project – in a conceptual vein…this is not your grandmother’s sewing circle….this is a very amazing sculptural accumulation!

    The other project, is a theatrical production by Quality Slippers – led by Bekky O’Neil with live music, based upon a conceptual interlude with scale, artifice and humour…..The goal is to create an exciting environment, and to see the urban landscape in a new way – with an experimental artist project, we can expect repetition and alternative forms of looking and experiences to unfold.  Great for all ages, the piece is captivating and strong.

    PA: Has this project been different from others for you? What has the experience meant to you at this point in time?

    SK: Working with the Parkdale Business Improvement Association (BIA) has been a tremendous asset and learning experience.  Many people do not know what a Business Improvement Association does, or what this mini institution might be interested in. I encourage others to find out.  The urban fabric of Toronto is comprised of many BIA’s which produce festivals and other happenings.  The Village of Parkdale has a great source of energy in their local BIA, a group of people who program events, think and care about the area and the people who live and work here….I encourage people to get involved.

  • ZAP! ZIP! ZONK! NIX! – ArtCrime @ANTIX

    August 6, Saturday 2 – 6 pm
    ANTIX – Centre for Art Crime and Neoism
    276 Crawford Street, Toronto
    through drive way towards garage
    www.istvankantor.com
    http://home.interlog.com/~amen/
    http://www.hungarianpresence.ca/Culture/Media/kantor-215.cfm

    ANTI-X is Istvan Kantor’s storage space and summer gallery, archive of Kantor’s life and crimes, a meeting place for secret conversations, future projects, conspiracy plans, also amazing deals on bloody canvases and many other beautiful Neoist Monty Cantsin artifacts! Come with a juice or beer, bring your friends, look around, sit down, have a great afternoon…while the Rentagon is out on vacation, we R right into revolution!

    Istvan Kantor’s artistic practice incorporates robotic sculpture, video, performance, mixed-media installation, painting, sound, and various other action-based social-mediums like the open-pop-star movement of Monty Cantsin and the world wide network of Neoism. Neoism is a transmission interface and revolving platform to gain public support and media attention for its users.
    Kantor employs all his skills and talents to constantly surprise and fascinate. “I swear to God, I’ll never make any boring art!” he declares with bold determination, irony and wit, holding up a picketing sign.
    His main interest lies in creating work that establishes a discussion within and around the conflicting territories of institutional authority and cultural gentrification. In this regard Kantor’s work investigates the revolutionary and scientific aspects of artistic practices that attempt to surpass the conventional models of creative experience.
    Istvan Kantor is Hungarian-born, Toronto-based artist. Recent and upcoming solo exhibitions include: Monty Cantsin Was Here, Jogja National Museum, Yogyakarta, Indonesia, febr/2011; Made in Estonia, installation, Tallinn, may/2011; Selected works, St.Istvan Museum, Szekesfehervar, Hungary, oct/nov 2011 Upcoming group exhibitions include: Interakcje Festival, Piotrkow, Poland, may/2011; WRO Biennale, Wroclaw, Poland, may/2011

  • Reflections – A Group Show

    Joshua Jensen-Nagle, Versailles Gardens II, 2011, archival inkjet print facemounted to plexiglass, 43×43 inAugust 6 – 2 0,  2 0 1 1
    Opening: Saturday, August 6, 2 – 4pm                    
    BAU-XI PHOTO
    324 Dundas St. West
    Toronto, Ontario M5T 1G5
    T: 416.977.0400
    E: info@bau-xiphoto.com
    www.bau-xiphoto.com
    Hours: Mon-Sat 10-5:30, Sun 11-5:30

     

    Photographer s to be featured include Joshua Jensen-Nagle, David Leventi, Dan Dubowitz, Toby Smith, Chris Shepherd, and Ferit Kuyas, among others.
    A showcase of brand new works by Joshua Jensen-Nagle anchor this collection of handpicked f ine ar t photography from artists at Bau-Xi Photo. Join us for our second summer group show as we ref lect on a wonderful year, and explore the theme of ref lection and all of its dif ferent connotations.
     
     

     

  • John Barkley: Contending Spaces

    Contending Spaces, oil on canvas, 30 x 30 in.

    August 6 – 2 0,  2 0 1 1
    Opening: Saturday, August 6, 2 – 4pm                    
    BAU-XI GALLERY
    340 Dundas St. West
    Toronto, Ontario M5T 1G5
    T: 416.977.0600
    E: toronto@bau-xi.com
    www.bau-xiphoto.com
    Hours: Mon-Sat 10-5:30, Sun 11-5:30

    The Bau-Xi Galler y in Toronto is pleased to be exhibiting the new work of established Canadian painter, John Barkley, in a solo-exhibition entitled Contending Spaces . This is Barkley’s first exhibition with the Bau-Xi Gallery. Barkley’s paintings explore humanity’s relationship to nature and his existential concerns while experimenting with paint application.

    As a boy, John Barkley’s father, an ar tist as well, encouraged him to draw and paint, and eventually took him to paint on sojourns into the country. As a young man, he returned to Ottawa to study. In addition to painting, he is also a dedicated scholar, whose studies and interests factor significantly in his ar t work. His degrees include a Master of Ar ts in Religion, from Carleton University (2001); a Bachelor of Fine Ar ts, Visual Ar t, Magna Cum Laude, Universityof Ottawa (1996); Bachelor of Ar ts, Honours, Psychology, from Carleton University (1989); and a Bachelor of Arts, Law and Psychology, Carleton University. In 2000, he wrote a Master’s thesis which created a new hermeneutic of art, based upon the work of Jung, Tillich, and Heidegger, it was subsequently applied to the work of Roland Poulin.

     John Barkley is an experimental painter living in Chelsea, Quebec. Barkley has been pursuing a professional ar tistic practice since 1996. In the last seven years he has been able to work in his studio, in Wakefield Quebec, as a full time ar tist. Barkley’s works have been exhibited extensively and have been reviewed in LeDroit, The Ottawa Citizen, and The Globe and Mail. His paintings are par t of numerous private and corporate collections

  • Frederic K Hagan: the near north – a selection of watercolours, 1950 – 1990

     Untitled (Near North #84-90), 1990, watercolour on paper, 22.5 x 30 inches 

    August 6 – 2 0,  2 0 1 1
    Opening: Saturday, August 6, 2 – 4pm                    
    BAU-XI GALLERY
    340 Dundas St. West
    Toronto, Ontario M5T 1G5
    T: 416.977.0600
    E: toronto@bau-xi.com
    www.bau-xiphoto.com
    Hours: Mon-Sat 10-5:30, Sun 11-5:30

    Frederick Hagan’s (1918-2003) upcoming exhibition at Bau-Xi Gallery offers the unique opportunity to experience some of the earliest watercolour paintings produced by this important Canadian artist. These watercolour paintings are vivid, colourful works painted with the fluidity and fascination of Hagan’s talented hand.

     ‘The Near North’ complements two other significant exhibitions taking place in Ontario public gallery institutions this Summer and Fall. FIGURE IN PLACE / FIGURING THE LANDSCAPE: These two exhibitions, to be held at the MacLaren Ar t Centreand the Georgian College Campus Galler y respectively, are an intimate look at how the regional landscape of Muskoka Ontario has played an important role in the landscape and figurative paintings of ar tist Frederick Hagan. Selected landscape paintings dating from the 1940s to the 1990s within the context of his figurative work will establish the importance of “place” and “identity” that underpin the conceptual premise and interest with his use of the figure, establishing a “humanist” trajector y for his highly personalized and innovative compositions in oil and acr ylic painting. Regarding these impor tant exhibitions, Dennis Reid states, “I have every confidence that one day the significance of [Hagan’s] contribution, as celebrated here and in a small handful of earlier exhibitions, will be widely acknowledged, and more to the point, deeply understood. We will all be better for it.” – Dennis Reid, Professor of Ar t Histor y, University of Toronto

    Born in 1918 in downtown Toronto, Frederick Hagan exhibited with the Royal Canadian Academy by the age of twenty-one, and taught at the Ontario College of Ar t for thir ty seven years. Hagan’s long career as a printmaker and painter has awarded him placement in the National Galler y of Canada and the Ar t Gallery of Ontario, among many other important collections.

     

     

  • Richard Marazzi: Epoca

    A Photographic Narrative of Cuba

    July 28 – September 3, 2011
    Opening and book launch: July 28,  5–9 p.m.
    Toronto Image Works Gallery
    80 Spadina Avenue, Suite 207,
    Toronto, ON,  M5V  2J4
    T: 416-703-1999
    gallery@torontoimageworks.com
    Hours: Mon – Frid 8:30 – 7 , Sat 1 – 3pm.

    “This project is a visual exploration of the Cuban dance of life. Cuba is a movement of great hardship and joyous celebration. For 50 years, Cuba’s reality has been dominated by a revolutionary dream of creating a more just society and the crippling economic isolation that has resulted from US policies towards Cuba.”

    The focus of this project, however, is not the political. My purpose is not to judge the revolutionary experiment.
    But in Cuba, this political reality permeates everything. It is the canvas for every image. And yet, these pictures reflect the fierce independence and enduring exuberance of the Cuban people, and the music and rhythm of the island nation that continues to define the Cuban experience above all else. It’s what keeps drawing me back. It is in this spirit that I share these images with you.

  • Play > Nation

     

    July 1 – November 3, 2011
    Design Exchange / Exhibition Hall
    Toronto Dominion Centre
    234 Bay St.
    Toronto, ON M5K 1B2
    Tel : 416-216-2126
    Email: laura@dx.org
    website: www.dx.org
    Hours: Mon – Fri: 10 –  5,  Sat – Sun: 12 – 5 p.m.
    Fees: Adult $10, Student/Senior $8 DX Members free

    Curated by Anne Marie Minardi, Noa Bronstein, Katie Weber and Mark Scheibmayr

    As the second largest country with one of the worldʼs lowest population densities, Canada is known for vast open spaces and varied geography. The importance of the great outdoors is such a significant part of our nationhood that Canadian iconography – the beaver, the maple leaf, Group of Seven, hiking in the Rockies, playing hockey on frozen ponds – is indelibly linked to the natural environment. Play > Nation will explore the ways in which our unique landmass has contributed to a national love of the outdoors and shaped our collective interest in outdoor sport and exploration. The exhibition sections will focus on Water, Winter, Forest, and Urban environments. Each section will present contemporary Canadian outdoor and sporting equipment, contextualized by historical examples of earlier models and archival material pertaining to outdoor sport and exploration. The exhibit will chronicle the transition of objects used by First Nations peoples and early Canadian settlers and explorers for survival and transportation to our contemporary use of the same items for sport and hobby. Play > Nation will incorporate a myriad of design disciplines, including apparel, industrial design, graphic design, as well as iconic designs.

    Log on to the Play > Nation blog to get a behind the scenes look into how this exhibit is formalized and how the seeds of an idea evolve into a tangible exhibition.

  • OUT OF SORTS: Print Culture & Book Design

     

    June 3 – August 21, 2011
    Chalmers Design Centre/Teknion Lounge
    Toronto Dominion Centre
    234 Bay St.
    Toronto, ON M5K 1B2
    Tel : 416-216-2126
    Email: laura@dx.org
    website: www.dx.org

    Curated by Noa Bronstein

    Catalyst of change, instrument of power and often the basic currency of shared human experience, the book is a pivotal artifact. Out of Sorts explores the various elements of book design, from typography to cover art and features recognized Canadian book designs. The exhibit traces the history of the book and considers the future of the printed page in the wake of digitization and shifting paradigms.

  • Painting on Paper: The Drawings of Robert Motherwell

    Robert Motherwell (American 1915-1991): The Three Clowns, 1945, Gouache and ink on paper, 28.6 x 36.8 cm. Purchased with funds from an Anonymous Donor, with support from the Dedalus Foundation, 1998   98/79 ©Estate of Robert Motherwell

     

    June 25 – December 11, 2011
    ART GALLERY OF ONTARIO
    317 Dundas Street West,
    Toronto, ON M5T 1G4
    T:416-979-6648
    www.ago.net
    Hours: Tue & Thurs – Sun 10 – 5:30, Wed 10 – 8:30

     The Art Gallery of Ontario (AGO)  continues to celebrate the Abstract Expressionist movement with an exhibition of drawings by Robert Motherwell. Painting on Paper: The Drawings of Robert Motherwell, on view showcases 55 works from the AGO collection, which houses one of the largest public holdings of drawings by Motherwell.

    “This exhibition gives visitors the opportunity to explore the mind and works of Motherwell, an eloquent and passionate Abstract Expressionist,” says Mathew Teitelbaum, the AGO’s Michael and Sonja Koerner Director and CEO. “Painting on Paper enriches the Abstract Expressionist New York experience at the AGO, giving visitors an in-depth look at the artistic process and evolution of one of the movement’s major figures.”

    Curated by Brenda Rix, the AGO’s assistant curator of prints and drawings, Painting on Paper demonstrates how Motherwell’s motifs were imagined, refined and revisited over the span of his career by organizing the collection into several major chronological themes, ranging from the 1940s to the 1970s. The works on display were selected primarily from 74 drawings and paintings by Motherwell acquired by the AGO in 1998.

    Painting on Paper: The Drawings of Robert Motherwell is generously supported by The Dedalus Foundation. Abstract Expressionist New York: Masterpieces from The Museum of Modern Art is organized by The Museum of Modern Art, New York. National Bank and Metropia are supporting sponsors of the exhibition.

  • Wooden Bicycle Rack (for Keith) by Alisdair MacRae

    (paper, wood, fluorescent light)
     
    Until July 29, 2011
    Roadside Attractions

     

    911 Davenport Road,
    Toronto, ON  M6G 2B7
    Daily 8 a.m. until 1 a.m.
     
    In Wooden Bicycle Rack (for Keith), MacRae considers the gap between the precision of a computer generated drawing and its less formally constructed wooden support.  The large format drawing is backlit and, for the most part conceals the hand-cut wooden armature.  The informal nature of this support structure is only hinted at by way of the impromptu wood and masking tape shims at its base.
     
    The drawing is one of a series dedicated to artists, this one, to Keith Haring.  Haring, not necessarily a bike enthusiast, sought to communicate widely with his artwork, some of which has been adapted by various bicycle companies. He died of AIDS in 1990, and would have been 52 this year had he lived. The bicycle symbolizes each artist’s enduring talent and drive, cut short, but still supported, still inspiring.