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.
Opening Reception with light refreshments: March 12, 6:30pm – 8:30pm
First Floor Hallway Gallery
Join members of the Canadian Bookbinders and Book Artists Guild for a group show that celebrates the book
as art in its many forms, as envisioned by Jenny Iserman, Liz Menard, Maureen Piggins, Christine Su, and members
of the Southwestern Ontario CBBAG Chapter. The exhibition is running concurrently with CBBAG’s Art of the Book 2018 at Craft Ontario.
Jenny Iserman’s formal education is in the arts and social sciences. She lives in Walkerton, Ontario. She has been exhibiting quilts, book art and mixed media work since 1981. Some of her work includes text written by her husband, Bruce Iserman. Jenny’s book art is currently included in the Art of the Book 2018, a juried travelling exhibition of work by members of the Canadian Book Binders and Book Artists Guild. Her book art has been previously shown at Quest Art, Durham Art Gallery, Minto-Harriston Gallery, Orillia Museum of Art and History, and at the Southampton Arts Society, where she has received awards for her book art and for printmaking. She is a past recipient of an Ontario Arts Council craft creation and development grant. Much of her work examines social and environmental issues, but Jenny is also exploring aspects of her imagined Small Universe in her recent book and textile art.Jenny has a limited social media presence but occasionally posts on Instagram as Iserwoman.
Liz Menard is a Toronto-based printmaker, visual artist, and educator. Her practice includes drawing, painting, installation, book arts and printmaking. Her interest is in landscape and how our perception of the landscape helps us define who we think we are. She is particularly drawn to water – especially fens, bogs, streams, rivers and lakes as well as the life these systems support. However, she is increasingly concerned about not only our water, but environmental biodiversity and the native plant species and wildlife that our water systems sustain. Like our environment, these things need to be cared for, protected, and nurtured.
Maureen Piggins is a Toronto-based artist and designer. Through a range of artist books, grief, loss and relationships are rewritten, reenvisioned and restructured through the evolving lens of memory, itself an unreliable narrator. Works that examine origins and endings are also explored, in a collection that portrays the inner territory of emotion as well as the quieter landscape of acceptance. Maureen’s artist books, visual art and poetry have been exhibited internationally and are held in collections including the MOMA permanent collection (NY), Labyrint Archive (Sweden), Salon fuer Kunstbuch (Vienna), York University (Toronto) and University of Alberta Bruce Peel Special Collections Library. The desire to explore thematic relationships through content and structure drew her to start making artist books in 2009. Her books range from multi-page accordion books to unique structural pieces, and incorporate her original drawing, painting, photography and poetry. Her poems have been published by both gallery and online publications and she holds a BFA in Fine Art, Drawing and Painting from OCAD University.
Christine Su is a paper and book artist and poet. She hopes one day to have a papercut book of poetry be featured in the Osborne Collection at the Toronto Public Library, where she works.
christine-su.com | Instagram: @su.christine
Art ‘n Mind is a non-profit art gallery and sale, raising funds for the Skylark Youth, Children, and Families Foundation and promoting mental health awareness. This gallery features the art of many different youths (ages 11 to 19) across the GTA, and represents a diverse and vibrant range of skills and creativity in a number of different mediums. The art featured paints a picture of the current artistic landscape among Toronto’s youth. Art ‘n Mind aims to encourage both up and coming youth artists and those struggling with their mental health in Toronto, and inspire even the smallest amount of change.
Opening Reception: Sunday, March 8, from 2 pm to 5 pm
Exhibition Dates: March 8 – March 14, 2020, from 9am to 9pm.
Location: Third Floor Hallway, Artscape Youngplace, 180 Shaw Street, Toronto.
Jamilieh Salek Ostadtaqi
Resilience; redefined demonstrates an insight into the lives and thought formations by twelve cross generational Iranian Canadian female artists who have lived through war, trauma, separation, and displacement. Although the medium varies from artist to artist, but what has remained a constant to weave a common bond is an astonishing conflict between their experience of pain in one hand and the desire to amend and navigate through on the other.
Resilience; redefined allows for painful allegorical forms to crowd the frames and point to the far reaching effects of turmoil, uncertainty and fear, but also in contrast, projects the pliability of the vivacious rays of vitality and rejuvenation to re-stage and enable the brush strokes to draw attention to endurance or even a conditional triumph.
The narration of two voices is clearly interwoven, aiming at a new chapter, and, the art here is unquestionably used as an influence and a response. However, a vessel for the permanent peace may or may not ever be acknowledged!
Curator: Mona Filip
Opening Reception: 23 January 2020, Thursday, 7–9 pm (free admission)
Artist Talk: 26 January 2020, Sunday, 2 pm (free admission)
Montréal-based artist Karen Tam creates immersive installations exploring the way physical experiences of spaces and objects can provide a deeper understanding of specific places, histories and communities. Her recent projects investigate the spatial aesthetics of early 20th century North American Chinese restaurants, opium dens, karaoke lounges and curio shops as sites of cultural interaction. Playing with notions of authenticity, Tam reimagines venues and their material culture, fabricating detailed sets and fake antiques with everyday methods and ordinary materials, bringing them to life.
At the Koffler Gallery, Tam creates a new series of immersive installations to evoke the early Chinese Canadian and other historical photo studios that served Chinese communities in Canada. Her intricate recreations of portrait studio settings and backdrops integrate found and fabricated objects, archival images, 1940s vinyl recordings of Cantonese opera, and mookyu song performances, revealing layered experiences of immigration, displacement and longing.
Tam’s personal impetus for this project is a photograph of her great-grandfather Wong who had migrated to San Francisco in the early part of the 20th century. Like other immigrants at the time, Wong had his portrait taken to be sent along with letters to his family back in Toishan, China. Prompted by this portrait, Tam investigates the emotional and documentary significance of such photographs in revealing the realities of immigration through the implicit tensions of a wishful, reassuring image meant to alleviate separation anxieties by conveying the health and prosperity of the sitter.
Early Chinese Canadian studio photographers and their subjects actively shaped the representation of Chinese identity in North America. Retracing their overlooked existence and restaging the physical environments of these portrait studios, Tam’s installations attempt to piece together and embody absented historic narratives. Furthermore, they seek to evoke similar personal experiences in viewers, positioning these small constructed settings as sites where memory is both encountered and created.
About Karen Tam
Karen Tam lives and works in Montréal and holds an MFA in Sculpture from The School of the Art Institute of Chicago and a PhD in Cultural Studies from Goldsmiths (University of London). Since 2000, she has exhibited her work and participated in residencies in North America, Europe and China, including the Deutsche Börse Residency at the Frankfurter Kunstverein (Germany), Musée d’art contemporain de Montréal (Canada), and CUE Art Foundation (USA). She was a finalist for the Prix Louis-Comtois in 2017 from the Contemporary Art Galleries Association and Ville de Montréal, a finalist for the Prix en art actuel from the Musée national des beaux-arts du Québec in 2016, and long-listed for the Sobey Art Award in 2016 and 2010. Her works are in museum, corporate, and private collections in Canada, United States, and United Kingdom. Tam is a contributor to Alison Hulme’s (ed.) book, The Changing Landscape of China’s Consumerism (2014) and to John Jung’s book, Sweet and Sour: Life in Chinese Family Restaurants (2010). She is represented by Galerie Hugues Charbonneau.
Curated by ma ma (Magdalyn Asimakis and Heather Rigg)
A Big Heritage with A Glorious Past presents the work of Eleana Antonaki and Marina Xenofontos in an inconclusive dialogue around the migratory experience. In their practices, both artists explore transnational feminist perspectives, honing in on the adversities of migration and strategies of settling and creating homes while in exile.
Antonaki’s film Haunting Is An Act of Love (2019) takes place in the distant future where women’s bodies have evolved so drastically to adapt to migration that they have become water. The video functions as a portrait of a woman, a block of water, who tells her story. Her name is numeric: 1,329,784. She explains that the process of evolving was the result of having to cross the Mediterranean habitually over hundreds of years. She speaks through subtitles about her name, how she is programmed to survive, and the bureaucratic power structures that continue to restrict her experience. She continues by speaking of a subversion: that the women in her family have the ability to haunt the places they once inhabited. Drawing connections between archaeology and displacement, which are both considered in their politically motivated sense, Antonaki’s character explains that the women of her time like to return to the sites they were excavated from. This is both their matriarchal heritage and an act of “cheating historical time.”
In Xenofontos’ work, she examines everyday stories that are inflected with insight into the power structures of civic spaces. For her documentary-style film Sunlight Vandalism (2019), Xenofontos presents two narratives woven together to reveal a diverse portrait of Cyprus and the intricacies of Mediterranean migration. This includes a conversation with a Kurdish mother named Ayşe, who requested asylum in Cyprus in 2007. Speaking in Turkish with her friend—who responds in a Greek Cypriot dialect—Ayşe is depicted swiping through images of her new home in Ankara, Turkey, where she has since relocated. The second portion of the film follows Ayşe in her space of work, where she is a cleaner in a local school, and in her living room, where Xenofontos interviews her in front of her wall of images of Abdullah Öcalan—a once prominent yet controversial leftist political figure. This exhibition also includes found images from the artist’s archive depicting the “lemon-dance.” This peculiar annual event was created by Greek-Cypriot immigrants living in New York City, where couples dance while balancing a lemon between their foreheads until it drops. Through these vistas, Xenofontos reflects on the labour of domesticity and the precarity of settling during politically motivated migration.
Through their work, both Xenofontos and Antonaki explore how notions of home exist in relation to the migratory subject. They ask: How can the body stabilize in the face of exile? How can women’s labour question the precariousness of borders? And, what are new forms through which we can understand dispossession? In bringing their work together, this exhibition reflects on strategies of adaptation, resourcefulness, and survival that occur as a result of, but not in direct dialogue with, political governance.
Join us for a celebratory reception with the curators on Thursday, February 13th, from 6–9 pm. Refreshments will be served and all are welcome.
An artist talk with Eleana Antonaki will be presented on Wednesday, March 11th, at 7 pm, in conjunction with this exhibition. Details to be announced soon — follow us on Facebook or Instagram for more information.
Informal artist reception March 20, 7 – 9pm, 2nd and 3rd floor hallway galleries.
OCADU’s Illustration Program students, working in twenty small groups in their 4th Year Illustrative Painting course, curated and developed the exhibition themes and artwork for this collection of group exhibitions.
Exhibition closes at 2pm on March 21
The Magic Gumball Machine of Fate is an artist multiples project that distributes works by Canadian creators and makes art affordable for everyone. The Magic Gumball Machine of Fate is a project by Catherine Heard. Instagram: magicgumballmachineoffate Guest Curator: Lyla Rye. For information or proposals please contact Lyla Rye.
Fire Works by Lisa Cristinzo is the 55th edition released via The Magic Gumball Machine of Fate.
Fire Works is a series of portable palettes and miniature paintings concealed in matchbooks. The back of each reveals fire themed innuendos, while inside the matchbooks a narrative between the danger and comfort of fire emerges. I use these matchbooks as a place to contemplate the hazards of consumerism, employing humour as a coping mechanism.
Lisa Cristinzo is a Toronto-based painter and OCADU graduate. Through large-scale paintings that traverse natural history, climate hazards, consumerism and magic, Cristinzo investigates the bi-products of humanity and their mythic significance. Lisa Cristinzo has exhibited locally and internationally since 2004. Her most recent solo exhibition was at Beaver Hall Gallery, Fire Works For Pleasure (2018). She has an upcoming solo exhibition at Janna Watson Studio this spring (2020).
The Billboard on Shaw is located outside Artscape Youngplace, 180 Shaw Street btw Dundas and Queen Streets, Toronto M6J 2W5. The exact location is on the front lawn facing Shaw Street just south of Argyle Street on the northeast corner of the building lot. The billboard is at street level and measures 8 x 8 feet square. A label with artwork information is located on the back of the billboard structure.
As restrictions by the province and city slowly lift, Artscape is happy to announce that we are planning a safe and gradual reopening of our operations! Starting July 6, Artscape Youngplace will begin providing access to tenants, guests, and camp programming. Public access remains restricted at this time.
Thank you for your patience, we can’t wait to see you back at Artscape Youngplace!