Festival + Art Crawl on June 15, 7pm till late
(Please note that Artscape Youngplace closes at 9pm)
Come play with us! NUIT ROSE returns for it 6th edition with the theme ARCADE. Featuring 30+ projects, parties and presentations, NUIT ROSE electrifies Toronto with art, music, dance, film, new media, and the fabulous Light Parade.
Featured Artists at Artscape Youngplace
The NUIT ROSE festival is presented by the Throbbing Rose Collective, a group of artists, curators, producers, and art advocates. It is produced with the support of the Ontario Arts Council and the City of Toronto through the Toronto Arts Council.
The Art Bar (562 Church)
MaRS Discovery District
Opening: Saturday, June 15th from 5 – 8 pm
Critical Distance is pleased to participate in Nuit Rose 2019 with a presentation of new work by Eric Chengyang and Ebrin Bagheri curated by CDCC Curatorial Programs Coordinator Emily Peltier.
Chengyang and Bagheri’s work will be situated in the Critical Distance gallery (Suite 302). Additional work by Bagheri will also be on view the 3rd floor hallway outside our door at Artscape Youngplace as a part
of a group exhibition curated by John Rubino for Nuit Rose. Beyond Youngplace, Nuit Rose will takes place at multiple venues across Toronto with its focus in the Church-Wellesley Village.
Gallery hours are Wednesday–Friday, 12–6pm, Saturday–Sunday 11am–5pm, or by appointment through June 23rd.
Schoolscapes on Tape is a collaborative, multidisciplinary arts project with Grade 5 students from Rose Avenue Junior Public School and Paul Penna Downtown Jewish Day School. Working together with sound artist, April Aliermo, students recorded interviews, gathered field recordings and captured performed sound on analog tape recorders. Paired with a student from the opposite school, the students also learned about each other – sharing personal experiences and stories from everyday life. Using only the recordings from the students, Aliermo remixed the sounds. She cut them up, filtered, rearranged and added effects to them, creating looped soundscapes – echoes and reflections of one another through a young person’s emotions. The vibrant prints were created with visual artist, Leah Gold, to further illustrate the work.
Schoolscapes on Tape is a collaborative student art project and educational program of the Koffler Centre of the Arts. This program is generously supported by Agnico Eagle.
Closing Reception: Friday, May 31, 6 – 8 pm
Literally / Figuratively exhibits explorations of the human figure created by students in the Life Drawing program at Rosedale Heights School of the Arts. Using a range of media, surface, and technique, students have each embarked on their own journey in studying the human form. Through anatomical studies, drawing from professional models for over three months and various creative challenges, students have had the opportunity to hone their observational drawing skills and investigate contemporary and historical representations of the figure.
At Rosedale Heights School of the Arts we believe that the arts are for all young people, that they enrich the academic lives of students, and that “talent” should not dictate a young person’s access to learning. Our approach to the arts emphasizes creative process in addition to technique. We cultivate student voice through students developing, planning and curating their own shows.
Works have been selected by a jury consisting of Anthony Cooper, Julian Majewski and faculty. For any inquiries about purchasing artwork or about our program, please contact: firstname.lastname@example.org
Follow us on Instagram @rhsavisualarts.
Opening Reception: Thursday, May 23, 6 – 8 pm
Artists’ Talk: Saturday, May 25, 2 – 3 pm, led by Fred Lum
June 1 open only until 3 pm.
Scotiabank CONTACT Photography Festival
Spectra is an exhibition by a dynamic group of members from Gallery 44 Centre for Contemporary Photography. Gallery 44 is committed to creating programs and exhibitions that reflect the continuously changing definition of photography by presenting a wide range of practices that engage timely and critical explorations of the medium.
Spectra showcases the innovative work of twelve G44 members in conjunction with the Scotiabank CONTACT 2019 Photography Festival:
Annie Tong | Atia Pokorny | Broma | Celina Virani | Christina Shivcharan | David Brandy | Elsie Nisonen | Gustavo Jabbaz | Janne Reuss | Jude Marion | Robert Caspary | Sandy Middleton
On view: April 27 – June 2, 2019
Opening reception: Saturday, April 27th, 1 – 3pm
“An archive, but not an atlas: the point here is not to take the world upon one’s shoulders, but to crouch down to the earth, and dig.”
— Allan Sekula
An Archive, But Not An Atlas is a group exhibition that explores personal and social histories as they are unearthed through movement, gesture, language, and land. Four emerging artists address unconscious memory as it is embodied across generations and geographies. Through photography, performance, and film, the artists’ knowledge is rooted in observing subtleties expressed in familial, domestic, or cultural locations.
For many marginalized people the denial of dominant culture to acknowledge inherent, embodied knowledge, acts as a form of erasure. The trauma experienced by the denial of intrinsic relationships to self and land becomes a silencing force, muting creative production. Art critic/historian Hal Foster writes of the incompleteness of the archive as a bridge between the found and the constructed, the factual and the fictional, the public and private. To accept this amorphous state is to accept multiple ways of knowing one’s past, present, and future. An Archive, But Not An Atlas makes space for these four artists to cultivate power and presence through body and land as they converse with history.
An Archive, But Not An Atlas is a Featured Exhibition of the 2019 Scotiabank CONTACT Photography Festival, and is presented in dialogue with Developing Historical Negatives, curated by Gabrielle Moser for Gallery 44. These thematically linked exhibitions investigate how artists engage the archive to question experiences of belonging, displacement, and situatedness in the Canadian landscape. Mining both personal and institutional narratives, the projects activate overlooked and marginalized histories, drawing attention to their ongoing resonance in the present.
Opening Reception and Curator’s Tour with Liz Ikiriko
Saturday, April 27th, 1–3pm
Join us in the gallery for refreshments and a curatorial walkthrough of the exhibition (tour will start at 1:30). See below for location and accessibility information.
System of a Gesture by Camille Rojas
Saturday, May 11th, 1–3pm
Free public premiere of System of a Gesture, choreographed by Camille Rojas. Performance will take place outside Youngplace; in case of rain, an alternate location will be announced closer to the date.
Reading Groups at Gallery 44 and Critical Distance
Saturday, May 18th, 12-3pm, at Gallery 44 and Saturday, May 25th, 1–3pm at Critical Distance
Join curators Gabrielle Moser and Liz Ikiriko in a conversation about the gestures artists and researchers use to activate the photographic archive. Reading out loud from performance studies scholar Diana Taylor’s book, The Archive and the Repertoire (2003), and photography theorist Tina M. Campt’s book, Image Matters (2012), the group will meet across both gallery spaces to consider the “archival choreographies” deployed by artists to develop alternate histories from private and public collections.
Free but please RSVP to coordinator@
#braininjuryinthe6ix marks the Brain Injury Society of Toronto’s (www.bist.ca) 3rd Annual Expressive Art show featuring work by brain injury survivors/thrivers. Opening Tues May 21, 4 to 7pm and running ’til Sat May 25, 2019. Check out the stunning work, learn more about and support an artist with a brain injury, promote us on social via #braininjuryinthe6ix.
All proceeds from sales go directly to the artist.
Spring Opening Reception: Thursday, April 4, 2019 | 7–9 PM | FREE
Artist and Curator Talk: Sunday, April 7, 2 PM | FREE
A Primary Exhibition of the Scotiabank CONTACT Photography Festival
Living in Israel as a Jewish artist of Kurdish, Syrian and Yemenite heritage, Nevet Yitzhak’s practice raises questions about cultural heritage, suppressed histories, collective forgetfulness, and identity. The artist looks to the Afghan war rug, a unique product of the region’s traumatic history of conflict and foreign military presence, as a departure point in exploring the significance and potential of this unconventional medium to protest violence and occupation. Expressing her minoritized position within Israeli society and her dissent from its current politics, Yitzhak’s three-channel video installation, WarCraft (2014), looks to the eastern world for kindred forms of expressions.
The installation comprises three large-scale projections of digitally constructed rugs. Reimagining their iconography to reference contemporary warzones, Yitzhak introduces 3D models of weaponry deployed by existing armies and battlegrounds. Translated into a new medium, these digital designs pay tribute to the traditional war rug’s intent while moving from cultural specificity to address other conflicts and articulate a bold indictment of aggression. Yitzhak’s digital patterns expose a vastly destructive potential, reminding us of the ubiquity of war imagery and of our numbness to its violence.
Co-presented with Scotiabank CONTACT Photography Festival, in partnership with Images Festival.
An exhibition of the 2019 Graduating Class from the
Contemporary Photography Program at Etobicoke School of the Arts.
Etobicoke School of the Arts’ (ESA) photography program underwent a philosophical transformation eight years ago. The direction of the program moved from a technically focused approach to photography to a contemporary, conceptually driven pedagogy of art making. Now, at age15, students are supported to learn how to make work about their lived experience. By the middle of grade 10 theme-focused assignments are completely eliminated and each student makes art about specific topics that are important to them. By the end of Grade 11 the majority of our students have established a legitimate artistic practice containing honest, thoughtful work that is uniquely their own. Success has been built around a community that shares, listens and creates time and a space where ideas can be communicated, investigated and realized.
The results from this approach speak for themselves. In 2018, fifty-five Contemporary Photography ESA graduates had a 98% success rate of acceptance into their post secondary programs of choice and received over $10 million dollars in scholarship offers to some of the worlds top International and National art programs. Amazingly, every year, over the past eight years, our student’s achievements grow.
From day one we treat our students like artists. Whether they are applying to exhibitions, curating, or speaking publicly about their art, we work to introduce them to real world art practices. Through this CONTACT exhibition we will highlight the three-year journey of each graduating student and the program that helped get them here. You will be introduced to young artists who have re-formulated their history by recording alternative measures of time, who find refuge and strength in “drag”, or have discovered unity and control over their place in the world through their art making process.
For any questions about our program or inquiries about purchasing an art work, please contact us at: ESA.email@example.com
Follow us on Instagram @esa_contemporary_photography
Seneca College is excited to present the 15th Graduate Exhibition from a program that produces a diverse array of talented artists in both digital and traditional mediums. These skills, combined with the entrepreneurial business knowledge produce individuals ready to work in many different specialties including comics, indie arts, children’s books, concept art, spot and packaging illustration. Aboveground Art Supplies is again sponsoring the exhibit with Best in Show award and the Japanese Paper Place is sponsoring with the Japanese Paper Place Traditional Media Award. Both awards will be selected at the reception on Wednesday April 24 from 7-10PM. Please RSVP.
Banner Illustration by Ziyi (Ian) Jiang – 4th semester graduating student
tdsbCREATES Arts Festival 2018 – 2019
A System-wide Celebration of STUDENT VOICE and CREATIVITY Through the ARTS
Presented by The Toronto District School Board & The Toronto Arts Council
Reception & Film Screening: Tuesday, 9th April 2019, 6:30pm – 8:30pm
TDSB students, with support from teachers and professional artists, have responded to issues and questions that are speaking to them through the theme of TRUTH. Their work honours the expressions of youth, centres the importance of inclusivity and well-being and provokes dialogue around ideas and art forms used for communication. This celebration of student work acknowledges student voice and the important role that artists and teachers play in modelling creativity and artistic expression.
Administrative support for the festival provided by Prologue to the Performing Arts.
The exhibition will present selected dioramas from my children’s books trilogy: You Are Stardust, Wild Ideas – Let Nature Inspire Your Thinking, and You Are Never Alone. All these books focus on the message of how we are all connected to the natural world. Specializing in fine sketching and painting techniques, I carefully arranged the painted and texturized paper cutouts to create three-dimensional dioramas. Each diorama contains two to three spreads from the books, yet all of these different scenes come together as one body of artwork.
Sheridan College’s Illustration Program students, working in 16 small groups in their 3rd Year Illustrative Painting Explorations course, curated and developed the exhibition themes and artwork for this collection of small group exhibitions.
Exhibition closes at 2pm on March 30
OCADU’s Illustration Program students, working in 20 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 23
Informal artist reception March 22, 7 – 9pm in the 2nd and 3rd Floor Hallway Galleries.
Curated by Neven Lochhead and presented in partnership with SAW Video Media Art Centre, Ottawa. Featuring work by naakita feldman-kiss, Ivanie Aubin-Malo, Henry Andersen, Mara Eagle, Phil Rose, Molly Teitelbaum, Anna Queen,and The Video in the Public Sphere Working Group.
In partnership with SAW Video Media Art Centre (Ottawa), Critical Distance is pleased to present Public Syntax, an exhibition that highlights the distinct time-based practices and approaches of seven artists, as well as those participating in the Video in the Public Sphere Working Group, the majority of whom are either Ottawa-based or connected. Situated in-gallery at Critical Distance and across multiple public spaces at Artscape Youngplace, the works in the exhibition embody and expand upon the recent and ongoing programming initiatives of SAW Video and their Knot Project Space, launched in early 2018.
Responding to Critical Distance’s mandate to advance curatorial inquiry and encourage collaborative frameworks, exhibition curator Neven Lochhead employs a conversational mode to form ‘syntactical’ relations between these various practices, identifying collective editing processes where the ‘sequence’ becomes a vector on which to group together. In the gallery and public spaces, artists in this exhibition generate affinities not through the question of where will we meet, but rather when will we occur?
photo by Ghazaleh Avarzamani, Fortuneteller (installation detail), moulded USG hydrocal, 2016.
Ghazaleh Avarzamani’s artistic practice encompasses a variety of artistic forms, including textiles, embroidery, sculpture and installation. Driven by research on manifestations of global powers, their impact on and manipulation of history, geography and knowledge, her work explores the ways in which diverse contexts and systems transform ideas and forms, generating new meaning.
Never Never Land, Avarzamani’s first solo exhibition in Canada, expands on a recent body of work that examines the relationship between experience-based knowledge, memory construction, modern rationality and traditional beliefs. Considering a range of spaces and devices for interactivity and play, her game-based installations, drawings, sculptures and fibre works question the rules and methodologies used to educate and shape the players’ existential outlook.
Game of Goose positions board games as master plans. Based on the oldest existing printed game sheet, the monumental mural piece comprises a 63-space track that maps medieval spiritualist values and superstitions, intending to instruct the player on matters of moral, social and religious import. Complicating the reading of the game, the entire map is embroidered onto a grid of 180 dark blue kisseh (Middle Eastern washcloth/loofa) and reproduced as a blueprint for the architecture of modern games. Used as support, the washcloths are quietly undermining the reality of the game itself. As objects meant to clean and remove, the blue loofas remind the viewer that no structures of power are eternally stable.
Further exploring these ideas in new works created for the exhibition, Avarzamani aims to expose the paradoxical realities behind the surface of society and its traditions, educational methodologies and cultural utopias.
skinwork is a striking exposition of the female form with the ambition of raising awareness for skin cancer prevention. The project was initiated by Heather Mundle and Bettina Bogar in mid-2018 just before Heather tragically lost her life to metastatic melanoma, an all-too-common form of skin cancer. Heather’s passing shifted the focus of the project to become more than a simple photoshoot – skinwork is now an awareness movement in her honour. Featuring more than 60 Canadian women, skinwork is a two-week-long photo exhibition. It will launch on March 5th, 2019 with a special event on International Women’s Day (March 8th, 2019). The exhibition will be open to the public until March 16th.
Edge: Youth Art Show is open to all Secondary School Students (grades 9-12) in TDSB & TCDSB schools and agencies across Toronto. It is a free 7-day exhibition of student artwork. It is non juried with over 100 high school students & youth from approximately 20 schools across the City of Toronto participating in the program each year. It’s a great opportunity for youth to experience exhibiting in an art gallery, and connect with working artists and arts communities.
Would you dare to face your mortality? Would you dare to lie in a coffin? A do-it-yourself cardboard coffin seeks to turn death into a sustainable enterprise through design, technology, and open source methods, while daring you to get comfortable with the uncomfortable. Come on in and stay a while, for this is a unique chance for the living to get cozy with one of life’s certainties…death. #coffinselfies allowed, (dare I say encouraged).
In 2008 in the US alone, 1.8 million bodies were buried in coffins that resulted in the approximate disposal of 1,632,932 kilograms of material, not including the energy used in the processing of the materials for those coffins, such as shipping, labor, manufacturing, finishing, et cetera. In this speculative piece we ask: Can we promote a process of death which uses design, recycled materials, and technology for a more ecological practice of grieving?
We can’t stop from dying but we can die smarter and more ecological – we can D-I-Y.
Grim or enlightening? Curious or distasteful? You make your call at this quirky installation that is part of the multi-site Death and Dying installation series.
The ‘Death and Dying’ series explores the theme of end of life through the lens of design and art. Through participatory and observational experiences, the Series invites you to think about your relationship with death and dying as an individual, a member of a family and social network and as a human being in society. The ‘Death and Dying’ series is a collaboration between OCAD University’s Design for Health graduate program and TABOO Health.
Timelines is a series of poetic narratives that connect the past with the present. Using an extensive collection of objects I have accumulated over a lifetime, each installation attempts to create a visual testimony to the power of memory. Timelines re-imagines the aesthetic association that first brought these objects to my attention, references former bodies of work and re-purposes materials I no longer use or need. Each installation builds on the ideas of preceding installations and are primarily site specific.
Each work in Timelines is suspended on elastic cord and embedded with found and bought objects to create a metaphorical “time line”. The objects become “mark making” tools. Knots, the irregular bumps in the cord, refer to the Quipu, knotted strings used by the Incas to keep records of information related to their daily life. The time lines are ephemeral like the illusory shadows that suggest a third dimension in space.
Timelines is also an exploration of divesting; an entangled, cumbersome undertaking, personal and therefore complicated. At some point in time my collection will be dispersed along with their memories. I will no longer have control over what happens to it. In relation to contemporary practices, I ask: “Where will this collection or work of art eventually reside and what (if any) is its value?” This question addresses the personal worth of the materials I collect and use in my practice and their relevance in relation to and referencing the escalating price of work so prevalent in today’s art market.
‘All Bound Up’ explores the intricacies of queer online intimacy. As app-facilitated/digital intimacies have become increasingly common, a dissonance between how bodies reveal, conceal, and interact has emerged on and off apps. In this exhibition, representations of app-facilitated intimacies become knotted bedsheets and anonymous portraits.
Throughout time, humankind has caught glimpses of fantastic creatures. Whether these legendary forms were seen emerging from the depths of the sea, rustling through tree tops, taunting villages or peacefully drifting amongst the stars, they have stirred our creativity and played a powerful role in our collective imaginations.
Of the ancient world’s legendary creatures, we may know Greek mythology’s divine winged stallion Pegasus, or perhaps the dull-witted trolls of Norse folklore. However, this exhibition explores the less familiar ancient creatures of Hindu mythology. Expect to encounter the dueling monkey brothers Vali and Sugriva, the infinitely long cosmic serpent Ananta, or valiant Garuda, king of birds and sworn enemy of snakes. And Mahishasura, a near-immortal demon buffalo who goes to war with the gods and eventually loses to a tiger-mounted goddess in an epic showdown that is still recited today.
Over thousands of years oral storytelling was the primary tool for sharing the cultural identity and values embodied in these myths.To share these stories with you, the design duo Humble Raja has brought these fantastic beasts to life by illustrating them as a set of playing cards organized into suits by the exotic environments from which they originate (the sky, the sea, the jungle and grasslands). The mythical creatures each take their form as the face cards allowing the theme of their environment, colour and common patterns to stitch each suit together.
The exhibition is a nod to the mystery and allure of these lesser-known creatures. Pairing contemporary design with old folklore, ‘Forbidden Forest’ celebrates the art of storytelling through a series of illustrations, making it accessible to people of all ages and backgrounds.