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.
CRITICAL DISTANCE and TANGLED ART+DISABILITY are pleased to present ACCESS IS LOVE and LOVE IS COMPLICATED, an exhibition and event series featuring Vanessa Dion Fletcher, Kat Germain, Wy Joung Kou, Dolleen Tisawii’ashii Manning, Andy Slater, Elizabeth Sweeney, Aislinn Thomas, and Adam Wolfond and Estée Klar. This program is co-curated by CDCC Education and Accessibility Coordinator, Emily Cook, and Tangled Art + Disability Director of Programming, Sean Lee and represents the next level in our ongoing series of programs providing opportunities for curators and artists to consider new and more collaborative aesthetic and conceptual approaches to accessibility within and beyond the gallery context. In addition to the exhibition opening on October 3rd, there will be additional programming occurring throughout the month of October and November. Please visit the Critical Distance website at www.criticaldistance.ca for more information and to keep up to date with all programming and events in relation to this exhibition.
Artists: Mary Anne Barkhouse, Gwenaël Bélanger, Katherine Boyer, Sandra Brewster, Hannah Claus, Erika DeFreitas, Julie Favreau, Nicolas Fleming, Iris Häussler, Lucy Howe, Gunilla Josephson, Lewis Kaye, Valerie Kolakis, Carmela Laganse, Heather Nicol, Dainesha Nugent-Palache, Gord Peteran, Birthe Piontek, Yannick Pouliot, Adrienne Spier, Karen Tam, Kevin Yates, Shaheer Zazai, Shellie Zhang
Curator: Mona Filip
Art Director: Nicolas Fleming
Fall Opening Reception: Wednesday, September 18, 2019 | 7–9 PM | FREE
Guided by survival instinct, the human impulse to domesticate the environment has transformed landscapes and ecosystems in search of shelter, security and nourishment. With both positive and negative impact, these transformations seek to eradicate or control “the wild” in pursuit of economic as well as psychological benefits. These attitudes toward nature are paralleled in the home environment where domesticating tendencies can fully manifest in a persistent pursuit for comfort and ease.
Undomesticated brings together a range of works by artists who subvert domestic objects and the settings of dwelling spaces, revealing the flawed human attempts at achieving a sense of belonging. Detouring notions of home and domesticity, the exhibition addresses an underlying impossibility to adapt to and conversely tame our environments in order to construct places where our bodies and psyches can fit in.
Engaging with different aspects of the domestic realm and its inherent politics, the artists in Undomesticated approach a range of themes and voice diverse critical perspectives. Working in a wide range of media, they transform the everyday to reveal its hidden, unyielding strangeness. Ubiquitous furniture, tools and materials are stripped of their familiarity to access deeper states of engagement.
The exhibition extends from the Koffler Gallery into the public spaces of the entire Artscape Youngplace building, taking over its corridors and stairwells. The presentation and service function of these spaces is disrupted, in conceptual alignment with the project’s premise. As art director, artist Nicolas Fleming takes on a multifaceted role as the curator’s collaborator and conceptual designer of the exhibition space, reframing the architectural context for the project and staging the artworks in an immersive environment. Working with construction materials and techniques developed in daily work, Fleming diverts the primary functions of commercial building supplies, especially drywall and plaster, blurring the status of these materials and techniques. The architectural structures he meticulously builds undermine the neutrality of the white cube.
As the initial functions of domestic objects are thwarted, the tension between their practical and artistic status generates uncertainty, leading us to hesitate and ponder which behavior to adopt towards the environments encountered. Through intimate investigations of the domestic realm, Undomesticatedconsiders the psychological, political and emotional layers that shape our notions of home and belonging.
Lead Exhibition Sponsor
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.
Billboard on Shaw co-presented in partnership with C Magazine, featuring The Bell at the End of Time (detail), by PEJVAK (Rouzbeh Akhbari and Felix Kalmenson), 2019.
“We came across the following documents during our research residency in Tbilisi at Georgia’s State Silk Museum in March 2019. Reviewing the extensive archives maintained by the museum’s library, in preparation for our upcoming film on the Silk Road, we were captivated by a series of notes and illustrations that felt oddly out of place in the collection. These documents stood out from the rest of the archives not only because of their seemingly disconnected subject matter but also because of their disparate sorting logic and clandestine placement amongst various expedition reports and personal notes written by Nikolay Shavrov, a Russian biologist and the founder and first director of Tbilisi’s Sericultural Station. At first glance, these records appeared to be little more than incidental entries or misplaced files, but soon, with the help of Darejan Demetrashvili, the librarian, and Mariam Shergelashvili, our research coordinator, we uncovered a series of interconnected narratives concerning a monumental intervention in the environs of Mount Ararat in modern-day Turkey.”
So begins the accompanying text written by Pejvak which unravels this mysterious project, originally commissioned for the Summer 2019 issue of C Magazine themed on “Monument.” An uncanny and productively beguiling blend of fiction and non-fiction, The Bell at the End of Time pivots away from questions explored elsewhere in the issue around the legacy of domineering statues in fathomable space and toward a more speculative and imaginative—although still decidedly political—study of monuments and monumentality.
To read the full text, visit: cmagazine.com/issues/142/the-bell-at-the-end-of-time-by-pejvak-rouzbeh-akhbari-and-felix
About the Artists
Pejvak (PJVK) is the ongoing collaboration between Felix Kalmenson and Rouzbeh Akhbari. Through their multivalent, intuitive approach to research and living, they find themselves in a convergence and entanglement with like-minded collaborators, histories and various geographies.
Rouzbeh Akhbari (Tehran, Iran, 1992) is an artist working in video installation and film. His practice is research-driven and usually exists at the intersections of political economy, critical architecture and planning. Through a delicate examination of the violences and intimacies that occur at the boundaries of lived experience and constructed histories, Akhbari uncovers the minutiae of power that organizes and regiments the world around us.
Felix Kalmenson (St. Petersburg, Russia, 1987) is an artist whose practice navigates installation, video and performance. Kalmenson’s work variably narrates the liminal space of a researcher’s and artist’s encounter with landscape and archive. By bearing witness to everyday life, and hardening the more fragile vestiges of private and collective histories through their work, Kalmenson gives themself away to the cadence of a poem, always in flux.