At the Artscape Youngplace Hallway Galleries

With over 9,350 square feet of space, the Hallway Galleries occupy the hallways and stairwells of Artscape Youngplace, on (and between) three floors of this beautiful 100-year-old building. Open seven days a week with free admission.

Rent the Hallway Galleries for art exhibitions.

Current Exhibitions

First Floor Hallway Gallery

Luxury and Value: Paperhouse Studio’s 2nd Annual Members Show
31 July – 15 August 2019

Second Floor Hallway Gallery

Winter Island 2019
29 July – 19 August 2019

Koffler Gallery

Peter’s Proscenium: Christian Hidaka & Raphaël Zarka
20 June – 18 August 2019
Koffler Gallery

Critical Distance Centre for Curators

Publishing Against the Grain
4 July – 17 August 2019
Critical Distance Centre for Curators


Upcoming Exhibitions

Current Exhibitions

Luxury and Value: Paperhouse Studio’s 2nd Annual Members Show
31 July – 15 August 2019

Opening Reception: July 31st, 6pm to 9pm

Image: “Mom’s Favourite Brand”, Process shot, Mai Vy Nguyen, paper, cardstock, graphite, sharpie, acrylic paint, silk scarves, ornate lacquered box, watch box, 2019
Image description: White, blue, and pink with birds, flowers, branches printed silk scarves background. Foreground – marble printed box, opened with red fabric inside and bag made out of paper with “CD” pattern drawn on top. To the right: round black box with watch made from paper.

Artists: Akiko Lamb and James Spyker, Jill Smith, Mai Vy Nguyen, and Priya “Pree” Rehal
Curated by Lucia Wallace

Often regarded as a disposable substrate, paper is overlooked and undervalued; not fully recognized for its potential as a medium. “Luxury and Value” takes a critical look at the shifting position of craft materials, playing with and within the hierarchy of what is seen as valuable. Considering the act of creating and it’s inherent value, five artists utilize paper to create permanent, finished objects and installations which hold significant emotional and monetary value.

Through mimicry, five artists are recreating everyday objects as well as recognizable luxury goods. The works simultaneously bring to light the absurdity and joy of the everyday, and our tenuous relationships with objects we associate with success or wealth. In their own way, each artist is subverting the current position of paper, while simultaneously using inexpensive materials to challenge why we value luxury goods so highly.

Jill Smith’s sculptural works consider our intimate relationships with objects, evoking a feeling of nostalgia to connect the viewer to simultaneously familiar and obscure objects. Pree Rehal’s installation speaks to their experiences of class trauma and the importance and value of language. Connecting written text, food, and watercolour paintings adorned with spices, oral discourse and consumption play a vital role as markers of success and happiness.

Using the inexpensive to convey the expensive, Mai Vy Nguyen uses paper to recreate luxury products, drawing on her familial relationships and experiences with high end brands as markers of status, incorporating both personal belongings and hand-made objects in her installation. In their collaborative work, James Spyker and Akiko Lamb negotiate value, creating a set of rules to evaluate the value of objects, represented through a hierarchical, material structure.

For the first time in Paperhouse Studio’s Annual Members Exhibition, The Magic Gumball Machine of Fate, an artist multiples project created by Catherine Heard, will feature three limited editions on rotation by Jill Smith, Mai Vy Nguyen, and Pree Rehal. The Magic Gumball Machine of Fate brings an interactive component and an additional layer to the conversation surrounding the monetary value and accessibility of art to “Luxury and Value”.
As a whole, “Luxury and Value” looks at the tensions within our relationships to objects; the contrasts between personal treasures, and the pressures of “having” and ownership in order to achieve the (North) American Dream.


An industrial designer, Akiko Lamb loves the structure, problem solving and the aesthetics of book arts. Teaching credits include: OCADU, libraries, schools, private classes and portfolio preparation for entrance into art/design programs. Her work also encompasses designing for interiors, retail and costume for professional theatre. As designer and teacher, Akiko continues to explore and share her love of the visual arts.

James Spyker is a bookbinder and box maker, focusing on historic techniques and structures. He enjoys vending his wares at book fairs.

Jill Smith is an interdisciplinary artist based in Toronto, Ontario (1995). She holds a Bachelor of Fine Arts (Honors Specialization in Studio Art) from Western University in London, Ontario. Her work is centered around material, relying heavily on experimentation and process. Smith has exhibited work in spaces across Ontario, such as VSVSVS, Forest City Gallery, and Open Studio, as well as Friends and Neighbours Gallery in Montreal, Quebec. Smith has participated in artist residency programs at Sparkbox Studio in Picton, ON (May 2017), AGA LAB in Amsterdam, NL (September 2017), and Luminous Bodies at Artscape Gibraltar Point (Toronto, June-July 2018). Selected work is currently available through 100% Silk Shop and Samara Contemporary in Toronto, as well as through GIFC, a travelling exhibition organized by 0-0 LA. Upcoming exhibitions include booksbooksbooks at The Brandscape.

Mai Vy Nguyen is a new Toronto-based artist who focuses on community arts and paper-based arts. She continuously confront personal discomforts and traumas with every crease, fold, cut, and slice.

Pree (they/them) is basically a trans Batman, Account Manager by day, artist by night. Their creative research interests include cosplaying, critical race studies, navigating non-monogamy for racialized trans and queer folks, and the Punjabi diaspora. You can generally find Priya playing Yoshi’s Island, making zines or buying more plants. You can find some of Pree’s art at https://instagram.com/stickymangos/

Lucia Wallace is a queer Toronto based artist and recent graduate of OCAD University (2018). She has exhibited and studied in Toronto, Canada and Florence, Italy. She uses sewing, embroidery, and knitting as alternative modes of painting; using traditional craft materials to challenge the artificial hierarchy of mediums. She explores her identity, memories and storytelling through graphic, geometric patterns derived from black out poetry. Her work explores translating digital media into analogue, digitally creating works of glitch art that then inspire the compositions and colours of knit works. She aims to combine and contrast the meditative processes of writing, drawing, knitting, and coding.

Accessibility info: Artscape Youngplace is in an accessible building with a ramp at the front of the building (Shaw Street entrance) and automatic doors. There is an accessible bathroom on the 1st floor, but it is not gender neutral. There are single use bathrooms on the 2nd and 3rd floor, with change room stations. Please reach out to us (flora[at]paperhousestudio[dot]com) for any questions or concerns.

Code of conduct: https://paperhousestudio.com/about/code-of-conduct/
Land Acknowledgement: https://paperhousestudio.com/about/in-solidarity/

Winter Island 2019
29 July – 19 August 2019

Opening Reception: 1 August, 6pm – 8pm

Beat the summer heat with the second annual Winter Island Artist Residency Exhibition, proudly presented by Artscape Gibraltar Point and Artscape Youngplace!

Kite-created maps, and physical and spiritual journeys between the Toronto and Hawaiian Islands all feature in a new exhibition opening at Artscape Youngplace starting July 29!

This year’s exhibition featuring artists Alison Rowe, Sandra Smirle, Brendan George Ko and Addae Nurse will showcase works inspired by, and created during Artscape Gibraltar Point’s Winter Island Artist Residency program.

About the Artists

Allison Rowe – Toronto, ON
Allison is an interdisciplinary artist who in partnership with children at Dovercourt Boys and Girls Club, created a Winter Fun Day for families. Activities including a kid created scavenger hunt of the island, which has been adapted for the exhibition

Sandra Smirle – Montreal, QC
Sandra is a multidisciplinary artist based who uses drawing and video to explore ideas around surveillance and viewership. Using aerial mapping techniques, Sandra has created a “map” of the ever-changing shoreline of Toronto Island

Brendan George Ko – Toronto, ON
Brendan is a photographer, video artist and storyteller living between Toronto and Maui. For Winter Island he will present stories collected from the Indigenous oral traditions of the Hawai’ian Islands as he translates them through spoken word, documentary video and, landscape photography.

Addae Nurse – Toronto, ON
Addae Nurse is an emerging Toronto-based artist whose work often involves the investigation of class and the re-contextualization of race through appropriated imagery. Addae was the winner of this year’s Juror’s Emerging Artist Award.

Now approaching its fifth year, Winter Island is an annual, community arts and public programming initiative developed by Artscape. In exchange for creating public programming, the artists were awarded the opportunity to live and work at Artscape Gibraltar Point’s world-renowned artist residency and studios on the Toronto Islands this past winter.

Peter’s Proscenium: Christian Hidaka & Raphaël Zarka
20 June – 18 August 2019
Curator: Mona Filip

Summer Opening Reception: 20 June 2019 (Thursday), 7 – 9 pm
Artist Talk: 23 June 2019 (Sunday), 2 pm, FREE

Bringing the work of artists Raphaël Zarka and Christian Hidaka to Toronto for the first time, this major exhibition extends their decade-long dialogue around shared interests in the connected histories of scientific, philosophic and artistic invention.

Referencing science, industry, philosophy and the perpetual human search for new paths of discovery, the work of Paris-based artist Raphaël Zarka relies on the collection and re-contextualization of iconic forms that range from minimal to complex geometries. The point of departure for his artistic production is fundamentally sculptural, within an expanded field that encompasses photography, video and the written essay. Working within existing vocabularies of spaces and volumes, Zarka’s artistic process parallels his practice of skateboarding as a re-writing of spaces, repurposing and mining structures as an ecology of critical and contemporary relevance.

Japanese/British artist Christian Hidaka creates imaginary, limitless worlds, drawing upon distinct sets of representational languages. His paintings mediate references that inform the depiction of the pictorial plane: those of the 1480s, of Piero della Francesca and the influence of Euclidean geometry; and others which infer a boundless unfolding of space as in Chinese calligraphic landscapes or 1980’s computer games. The intrinsic ambiguity of Hidaka’s compositions suggests that whether we roam nature, shopping centres or virtual worlds, we navigate countless, interweaved cultural forms, codes and stories.

For Peter’s Proscenium, Hidaka and Zarka consider the gallery as a site of intellectual reflection where ideas and thoughts are distilled, creating a site-specific painting and sculpture installation investigating space and perspective. Inspired by the original architecture of gallery – the repurposed library of a former elementary school – the artists’ vision derives from their awareness of a concealed archway and proscenium now hidden by the renovations. These buried vestiges of previous use along with a sustained interest in the visual explorations of Renaissance artist and craftsman Peter Halt inspire an immersive installation that stages the gallery as a space for observation and reflection. Hidaka’s murals surround the viewer creating the illusion of endlessness while focusing attention inwards, where Zarka’s mysterious sculptural characters offer grounding objects of contemplation.

Exhibition is generously supported by Institut français and The Cultural & Science Services of the Embassy of France in Canada.

Publishing Against the Grain
July 4–August 17, 2019

Opening: Thursday, July 4th from 7 – 9 pm

CRITICAL DISTANCE and INDEPENDENT CURATORS INTERNATIONAL (ICI) are pleased to announce the co-presentation of Publishing Against the Grain, a unique exhibition that provides visitors with a rare opportunity to engage in a variety of conversations from across the world. In the context of today’s corporatization and commodification of cultural institutions, and in many political situations where free speech becomes ever more precarious, independent publishing has shown extraordinary vitality and importance as a platform for disseminating alternative, progressive and autonomous positions.

Publishing Against the Grain is a traveling exhibition that highlights the current state of publishing and art criticism as it exists in small journals, experimental publications, websites, and podcasts, as well as other innovative forms. It is organized around projects that connect theoretical, social, political, and aesthetic questions with a focus on community, whether understood in relation to a particular place, or defined in identitarian or diasporic terms. In bringing these projects together from around the world, Publishing Against the Grain reveals how their material and discursive activities respond to intersecting subjects such as contemporary aesthetics, diaspora, sex and gender, gentrification, race, language, and art history.

Alongside the international network of publications sourced by ICI, Critical Distance will present a “capsule” exhibition of arts publishing projects currently being produced across Canada today. Aligning with the values, modes, and methods of production embodied by ICI’s global grouping, our selection will be similarly focused on grassroots/independent projects that demonstrate critical, socio-political and aesthetic engagements with topical issues and ideas, in thoughtful relation to their respective artistic communities as well as broader regional, national, and international publics.

This selection is not intended to be comprehensive or conclusive at this stage of our organizational research, but just the first of an ongoing series of explorations and resulting exhibitions that will seek to evince the incredible diversity and criticality that Indigenous and Canadian arts publishers have brought, and continue to bring to bear, upon global discourses in publishing and its potentials. Visitors to the exhibition will be invited to fully engage with all of the publications on display, with the opportunity to make a case for any of the capsule selections to be nominated for inclusion in ICI’s exhibition for future stops on its international tour.

Finally, Critical Distance is thrilled to announce the first additions to its nascent Curators Library+Archive, including the complete back catalogue of Lola Magazine, which was produced by artist/writer Sally McKay, curator John Massier and arts writer and editor Catherine Osborne from 1997–2003.

Stay tuned for more information on library- and exhibition-related events coming soon!

Publishing Against the Grain is initiated by Alaina Claire Feldman, Becky Nahom, and Sanna Almajedi with contributions from: Adjective / AEQAI / Art Hopper / Art Against Art / Post Capitalism: A Guide to our Future, Telematic Embrace, The Transhumanist Reader / Bisagra / ramona / Chimurenga & Selections from the Chimurenga Library / Curatorial Dictionary / Art-Leaks.org / East of Borneo / Artes Visuales / Exhausted Geographies / SCROLL / Fillip / Art-Language / Glänta / Bidayat / Makhzin / Souffles, Soufless-Anfas / New Culture / Top Stories / Our Literal Speed / Collective Actions / Pages / Pumflet / Corrections and Clarifications / Counter-Signals / PISEAGRAMA / Urbânia / Raking Leaves / Aar Paar / SALT. / LIES / Start Journal / Uganda Press Photo Award / Stationary / Blackbird / Lenny Kwok / Tráfico Visual / Félix Suaz / White Fungus / Life Is A Rip Off / X-TRA

Upcoming Exhibitions