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: July 4, 2019
The Centre for Emerging Artists and Designers (CEAD) is excited to announce the finalists for the Artscape Youngplace Photography Career Launcher: Sabrina Carrizo Sztainbok, Margaret Cornell Kirk, Lily Lü Yùnrú, Bidemi Oloyede, and Alejandro Rizzo Nervo. They will exhibit their works in the hallway galleries of Artscape Youngplace in July 2019.
The 6th annual Artscape Youngplace Career Launcher is geared towards graduating Photography students. This year, students are offered the opportunity to participate in an extended group exhibition in the Hallway Galleries of Artscape Youngplace. The curatorial team at Artscape will work with faculty and CEAD to transform the Hallway Galleries into a showcase of emerging contemporary photographic practices, for select recipients.
As part of the Career Launcher, a jury comprised of faculty members, a graduate of the CRCP program, and the curatorial committee at Artscape Youngplace will select an artist from the group exhibition and award them a featured solo exhibition during the Scotiabank CONTACT Photography Festival in May 2020.
Additionally, an essay will be commissioned from the CRCP graduate to accompany the solo exhibition.
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.
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