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.
After three months of construction, Artscape Youngplace is thrilled to reveal its new exterior space!
In June of 2016, OTS hosted the 3rd Ontario Tire Stewardship Student Design Challenge at Artscape Youngplace. Thirty-two students from 5 post-secondary schools competed to have their landscape and industrial designs selected to form the redesign of our community entrance, using sustainable products made from recycled tires.
The newly enhanced outdoor area of the winning designs features added seating, more trees, and a large performance space. This space was redesigned for the community to enjoy, and uses creativity in the form of the student designs and recycled rubber materials.
OTS is a not-for-profit organization that oversees the responsible recycling of Ontario’s scrap tires. This site was redesigned for the community to enjoy, and used over 850 recycled tires in its landscape and seating elements.
Learn about OTS and the winning students’ designs September 17 – September 23, 2017 | First Floor Hallway Gallery
Featuring Competition winners: Ali Navidbakhsh, Evan Wakelin, Karan Manchanda, Sarah Gunawan, and Shelley Long; plus Runners-up: Anna Longrigg + Jason McMillan, Fionn Byrne, Kyung-Kuhn Lee + Mamata Guragain + Nubras Samayeen, Mitchell Gray, and Rob McIntosh; and Honourable mentions: Dominique Cheng, Émélie Desrochers-Turgeon, Emma Mendel, Stephanie Mauer, and Studio Ha-ha
ON VIEW SEPT 8–15, 2017 FROM 8 AM–8 PM DAILY in the 3RD FLOOR HALLWAY GALLERY at ARTSCAPE YOUNGPLACE
Opening reception Friday, Sept 8th, 7–9 pm
Future Legacy: Design for Canada’s Next 150 Years is an exhibition featuring winners of The Site Magazine’s inaugural design competition. In the context of Canada’s sesquicentennial, entrants were challenged to develop proposals that considered the relationship between the nation’s history, current context, and possible future trajectories. The submissions, which came from across the nation, as well as seven different countries internationally, reflect the spectrum of Canadian geography, culture, population, and politics, and raise pertinent questions to be considered as we move forward collectively.
The winning projects, selected by a jury of Canadian and international designers and thinkers, represent a diverse range of notions of Canada’s identity and legacy, ranging from the scale of the entire country to that of a suburban single-family home. Along the third-floor hallway of Artscape Youngplace, images and text by the five competition winners, five runners-up, and five honourable mentions will be presented along with commentary from jury members and the editors at The Site Magazine. Together, this material presents not only a critical perspective on how legacy shapes the direction of political and ideological undertakings but also a window into the possibilities for architects, landscape architects, and designers to imagine alternative Canadian futures.
The Site Magazine is the current iteration of Canada’s longest running independent architecture magazine. Written by, and for, emerging designers and thinkers, we publish two volumes a year of original writing, design, and art from new voices with fresh ideas. By bringing a Canadian lens to pressing global issues, we aim to cultivate a community of creative and critical thinkers who can influence design futures in Canada and abroad. We are supported by funding from the Canada Council for the Arts and regular partners, including Arts Everywhere. Special thanks to Critical Distance for their support in facilitating this exhibition. Competition image by Shelley Long.
Hours: Tuesday to Friday 12 PM – 6 PM, Saturday & Sunday 11 AM – 5 PM, Closed Mondays & Statutory Holidays
Fall Opening Reception: Thursday, September 14, 2017 | 6–9 PM | FREE
‘Staring Back at the Sun: Video Art from Israel, 1970-2012’ traces the development of contemporary video practice in Israel and highlights work by artists who take an incisive, critical perspective towards the cultural and political landscape in Israel and beyond. Produced and circulated by Artis as an internationally touring exhibition and program (2016-2018), the project showcases the work of 38 artists, including early performances, films and videos never before presented outside of Israel. Divided into four historic and thematic sections, ‘Staring Back at the Sun’ focuses on the activist impulse in video art-making in Israel over the last four decades. Informed by the international history of video art, the exhibition traces the development of the medium in Israel and explores how artists have employed technology and material to examine the socio-political status quo, through themes such as the prominence of political conflict in mass media; the liberalization of the economy; and the impact of free market politics on Israeli culture.
IMAGE CREDIT: Rona Yefman and Tanja Schlander, still from Pippi Longstocking, The Strongest Girl in the World, 2006 – 2008, single channel HD video.
Opening Reception: Thursday, September 14th from 6–9 pm
Critical Distance is pleased to open our landmark 5th year of programming with Fermenting Feminism, curated by Lauren Fournier and featuring Sharlene Bamboat, Hazel Meyer, Leila Nadir and Cary Peppermint, Sarah Nasby, Kayla Polan, Walter Scott, and Agustine Zegers.
Kombucha, guts, bacteria, vessels, vitalism, effervescence, degradation, and decay. Fermenting Feminism brings together artists whose work fleshes out the intersections between fermentation and intersectional feminisms. As the process of microbial transformation, fermentation becomes both a metaphor and material practice through which to approach feminist practices in the contemporary. Is feminism a relic of the past, something that has soured? Or is feminism still a vital imperative? This exhibition positions fermentation as a vital and viable space to re-conceive feminisms’s pasts, presents, and futures. Working across art, science, performance, and design, the works in Fermenting Feminism make space for multidisciplinary experimentation and conceptual play. Fermentation symbolizes bioavailability and accessibility, preservation and transformation, interspecies symbiosis, sustainability and futurity, harm reduction and care. Spanning the speculative and the literal, the embodied and the ephemeral, the works in this exhibition revisit questions of importance to feminists—consumption, colonialism, hygiene, wellness, agency, ritual, sexuality, transformation, and tradition—through the theory and practice of fermentation.
Fermenting Feminism is a multidisciplinary project that takes different forms: beginning as a publication in collaboration with Lauren Fournier and the Laboratory for Aesthetics and Ecology, it has evolved into site-specific exhibitions, installations, and screenings in Toronto, Berlin, Copenhagen, and Kansas City. This exhibition at Critical Distance marks the Canadian launch of this project. The site-specific evolution of Fermenting Feminism instantiates the context-specificity of microbes and fungi, of fermenting bodies, and of feminisms.
Please join us for an opening reception with the curator on Thursday, September 14th from 6–9 pm. Refreshments will be served and all are welcome.
Our reception is the same night as Koffler Gallery’s fall exhibition opening downstairs — two for one at Artscape Youngplace this evening!
ABOUT THE ARTISTS and CURATOR
Sharlene Bamboat works predominantly in film, video and installation. Based in Toronto and Pittsburgh, she has exhibited at galleries and festivals internationally, including Les Complices* (Zurich), the Images Festival (Toronto), The Art Gallery of Windsor (Ontario), and Vasakh Film Festival (Lahore).
Sarah Nasby works primarily in sculpture and drawing. She holds an MFA from NSCAD University and a BA from the University of Guelph. Selected exhibition venues include Mercer Union, DNA Artspace (London), and Dunlop Art Gallery (Regina). Sarah acknowledges the support of the Toronto Arts Council for her work in this exhibition.
Hazel Meyer works with installation, performance, and textiles to investigate relationships between sport, sexuality, feminism, and material culture. Drawing on archival research, she bring various troublemakers—lesbians-feminists, gender outlaws, leather-dykes—into the performative space of athletics.
Leila Nadir and Cary Peppermint investigate food, ecology, media, and memory, creating social sculptures that facilitate recovery from a cultural memory disorder they call “industrial amnesia.” Nadir is an Afghan-American critic, scholar, artist, and lecturer in Sustainability and Environmental Humanities; Peppermint is an Associate Professor in the department of Art and Art History—both at University of Rochester.
Kayla Polan is a multidisciplinary artist whose practice melds feminism and popular culture to explore sexuality, fetishism, domesticity, queer identity, autobiography, and consumer culture. She holds a BFA in Drawing & Painting from OCADU and her work has been exhibited in group exhibitions in Canada and Europe.
Walter Scott is a Kahnawake-born artist currently based in Montreal and Toronto. His practice includes writing, video, performance and sculpture, through which he explores questions of representation, cultural production, popular culture and narrative construction. His work has been exhibited in Japan, North America, and Europe.
Agustine Zegers is a Chilean visual artist and bacterial community, currently finishing a BA at NYU Abu Dhabi. They have exhibited work in Santiago, Dubai, Sharjah, Abu Dhabi, and New York
Exhibition curator Lauren Fournier (Regina, Saskatchewan) is a writer, curator, artist, and PhD candidate currently based in Toronto. In addition to her art and curatorial practices, she has worked as a frontline mental health and harm reduction worker. She has exhibited her work in galleries, artist-run centres, and screenings across Canada and in Berlin, Athens, and Houston. Her writing has been published in Canadian Art, Magenta, Kapsula, The Journal of Comparative Media Arts, Milkweed, Canadian Journal of Woman Studies, and West Coast Line. Recent curatorial projects include The Sustenance Rite at the Blackwood Gallery and Out of Repetition, Difference at Zalucky Contemporary.
CRITICAL DISTANCE (CDCC)
Suite 302 at Artscape Youngplace | 180 Shaw Street | Toronto | Ontario | M6J 2W5
Critical Distance is a not-for-profit initiative and space devoted to the support and advancement of curatorial practice in Toronto, Canada, and beyond. Part gallery and publisher, part professional association and community, CDCC is an open platform for diverse curatorial practices and perspectives, and a forum for ideas on curating and exhibition-making as ways to engage and inform audiences from all walks of life. For more info, visit our website or social media pages, linked above.
image: Sarah Nasby, Living Things (Dorothy Hafner vessel, kombucha, lines pattern), 2017
In partnership with Artscape Youngplace, Critical Distance is pleased to present the Fall 2017 Billboard on Shaw, featuring work by Sarah Nasby, curated by Lauren Fournier.
Fermentation requires vessels to hold and contain its transformative processes. In her Living Things series, Toronto-based artist Sarah Nasby takes vessels designed by women throughout history and re-stages them in light of fermentation as both a practice and a metaphor. Here, a vessel designed by Hungarian-born American designer Eva Zeisel is filled with kombucha, a fermented tea. Nasby graphically interprets the vitality of the kombucha tonic and the undulating design of Zeisel’s pot with her own squiggle pattern, creating a work that is both elegant and excessive in its form. The objects become living things in more than one sense: vessels that we live with, and vessels containing living, bubbling matter.
Sarah Nasby works primarily in sculpture and drawing. She received an MFA from NSCAD University and a BA from the University of Guelph. Her work has been shown recently in Para//el Room at DNA Artspace, London; Taking [a] part at Mercer Union, Toronto; Who’s Afraid of Purple, Orange and Green? at the Dunlop Art Gallery, Regina. She lives and works in Toronto.
Lauren Fournier (Regina, Saskatchewan) is a writer, curator, artist, and PhD candidate currently based in Toronto. She has exhibited her work across Canada and in Berlin, Athens, and Houston. Her writing has been published in Canadian Art, Magenta, Kapsula, Milkweed, Canadian Journal of Woman Studies, The Journal of Comparative Media Arts, and West Coast Line. Recent curatorial projects include The Sustenance Rite at the Blackwood Gallery and Out of Repetition, Difference at Zalucky Contemporary.
This project is presented as part of Fermenting Feminism, Critical Distance’s Fall exhibition curated by Lauren Fournier and featuring Sharlene Bamboat, Hazel Meyer, Leila Nadir and Cary Peppermint, Sarah Nasby, Kayla Polan, Walter Scott, and Agustine Zegers.
On view Friday–Sunday 12–5 pm and by appointment in Suite 302 at Artscape Youngplace from September 14–November 26, 2017.
Sarah Nasby is grateful for the support of the Toronto Arts Council for her work in this exhibition. Critical Distance is a not-for-profit initiative and space devoted to the support and advancement of curatorial practice and inquiry in Toronto, Canada, and beyond. Part gallery and publisher, part curators’ association and network, CDCC is an open platform for diverse curatorial practices and perspectives, and a forum for ideas on curating and exhibition-making as ways to engage and inform audiences from all walks of life.