Author: artoronto

Tuesday, March 5, 2013, 6 – 8 p.m.
MERCER UNION A Centre for Contemporary Art
1286 Bloor Street West

What/Where is Social Practice?

A public conversation with Linda Duvall, Kim Simon and Amish Morrell

Where can we view social practice within the frame of art? Do Canadian institutions make space for these kinds of socially- and community-engaged artworks? What is the role of the institution, curator and artist in making these works more visible? This conversation takes place between an artist, a curator and a critic, and invites the public to collaborate in unpacking some of these ideas.

Space is limited. Priority is given to Mercer Union Student Members.

We ask those interested in attending a session to RSVP to Ellyn Walker, RGRG Program Coordinator at ellyn@mercerunion.org

Mercer Union RG*RG sessions are ad hoc meeting groups, lectures and workshops aimed towards the needs of recent graduates and emerging cultural workers. Topics ranging from grant writing to public speaking, from D-I-Y initiatives to building professional relationships have been the focus of resource groups, led by various professionals within their respective disciplines. Mercer aims to engage the community and its young audiences in these insightful, interactive resource groups that help develop the skills needed for careers in the contemporary art and cultural sectors.

Linda Duvall is a visual and media artist who works and presents within gallery contexts, on the web, and within defined public communities. Linda Duvall’s projects focus on how individual identities are formed and revealed within a societal context. Her work often mimics the fieldwork of sociologists as she collects oral histories and records ordinary conversations in order to discern meanings hidden in mundane and familiar language. Her work consistently addresses public knowledge and presentation posited in contrast to the more intimate and possibly private material that is initially hidden.

Amish Morrell is Editor of C Magazine, a quarterly journal on contemporary international art, and Special Lecturer in Visual Studies at the University of Toronto Mississauga. For his PhD he wrote a dissertation looking at how contemporary artists address conceptions of community and identity through the re-staging of historical images. He has written for publications including Art Papers, Ciel Variable, Fuse Magazine, History of Photography and Prefix Photo. Curatorial projects include The Frontier is Here, an exhibition of works by contemporary Canadian and international artists that explore landscape and identity, and The Walking Projects, a collaborative project to produce new artworks that investigate walking as aesthetic practice. He recently edited The Anti-Catalogue (The Model, 2010), a book on contemporary artists collectives, and is published in Byproduct: on the excess of embedded art practices (YYZBooks, 2010), edited by Marisa Jahn.

Kim Simon has been active as a curator for over 15 years; she is currently curator at Gallery TPW in Toronto. Founded in 1980 as a non-profit venue for photographic practices, TPW is now committed to an expanded media-specific and discursive mandate, addressing the vital role that images play in contemporary culture and exploring the exchange between photography, new technologies and time-based media. For the last few years Simon’s particular curatorial research investigates an ethics of viewing in relation to the aesthetics of troubling images, within the context of pedagogical and journalistic turns in contemporary art.

Robbery Art Gallery presents
The Riders Union
Saturday, March 2, 2013 at 6 p.m.
Robbery Art Gallery
457 Roncesvalles Avenue Toronto

Robbery Art Gallery, the newest art gallery in Toronto’s Roncesvalles neighbourhood, will be hosting “The Riders Union” art event, showcasing the creative side of the snowboard/skateboard culture in Southern Ontario. The event will demonstrate a creative variety of local artists from the snowboard/skateboard industry displaying paintings, sketches, photography, graphic design, carving, and music.

The following artists will be featured:
• Dave Amos
• Dan Brandon “DB”
• Richard Roth
• Smolik
• Jeff Taylor
• Kristyna Mracek

The event will include live music, a 50/50 draw and industry sponsored products from local shops, brands and resorts that will be auctioned off for the charity. In addition, Unity Market Cafe will cater the event from Barrie.

Event Details:

DOORS 6 p.m.
Unity Market Cafe
MUSIC 9 p.m. from The Lions Barber and El Dee (featuring mini guitar & violin)

Door Prizes are to be given out on the hour!
Silent auction with swag from Quicksilver, Smith, Circa, Skull Candy, Billabong, Tropical North, MSLM, Flying Monkey, Coal
50/50 Draw

Tickets: $5
Please Contact Robbery Art at info@robberyart.com
A portion of all proceeds is being donated to the “ART for Cancer Foundation”

December 15, 2012 – May, 5 2013
The Power Plant

Can art be effective as political action? It’s a long contested question that defies a definite answer, but some art just beg to be viewed through a political lens. Such are the works in Beat Nation, a touring exhibition organized by the Vancouver Art Gallery and co-curated by Kathleen Ritter and Tania Willard. Beat Nation first took form in 2008 as an online initiative produced by Glenn Alteen of Grunt Galley, an artist-run centre in Vancouver. Co-curated by Tania Willard and Skeena Reece, the website provided a virtual platform for creative expression and activism to Aboriginal artists and musicians influenced by hip hop culture.

Skeena Reece, Raven: On the Colonial Fleet (detail), 2010. Performance regalia. Courtesy the artist. Photo by Sebastien Krete.

Toronto currently has its turn of Beat Nation, which opened at The Power Plant on December 15th, 2012 and stays until May 5th, 2013. The exhibition features over twenty artists from various corners of North America working across a range of media, from painting to performance and sculpture to sound. Despite the diversity in geography and artistic practice among the participants, the works on show find a common point of departure in the exploration of individual and cultural identities arising from the intersection of Aboriginal and urban youth culture.

Dylan Miner, Anishnaabensag Biimskowebshkigewag (Native Kids Ride Bikes), ongoing. 4 lowrider bikes, mixed media. Courtesy the artist. Photo by Toni Hafkenscheid

For the show’s organizers, the engagement of Aboriginal youth communities with hip pop culture is not an instance of insidious assimilation into mainstream culture. On Beat Nation’s website, Alteen explained that “these artists are not turning away from the traditions as much as searching for new ways into them.” The hip hop subculture had been a vehicle for expression and resistance for disenfranchised urban youth since its origin in Black neighbourhoods of New York City in the early 1970s. This alternative culture, generally involving rapping, DJing, break dancing, and graffiti, soon spread into towns and cities across the continent and beyond. But most remarkably, it soon permeated racial, ethnic, and class borders, reaching and being adopted by youth demographics outside those of its originators. Since the early 1990s, Aboriginal youth have likewise harnessed the subversive potentials of hip hop as a means to alternative cultural production, self-definition, and meaning-making.

Corey Bulpitt and Gurl 23, Raven Finn Whale, 2012. Site-specific graffiti mural in exhibition space. Courtesy the artist. Photo by Toni Hafkenscheid.

In an unexpected meeting of traditional Haida formline, spray paint, and the white gallery wall, the graffiti mural of Corey Bulpitt and Gurl 23 is a striking product of cultural convergence. Titled Raven Finn Whale (2012) and created specially for this exhibition, the work features a red and black spray-painted raven inside the body of a whale, an element drawn from Haida mythology. Lyrics from a KRS-One song written on the lower corner of the mural resonate powerfully: “There is no real justice on stolen land.” More than just a formal juxtaposition of Aboriginal and hip hop cultures, this work thus connects the fight for indigenous land rights to the subversive power of graffiti in reclaiming space and resisting social control. Feminist artist and scholar Allyson Mitchell wrote that graffiti practice “makes visible the invisible on the very bricks and mortar owned by those in power.” This spirit of resistance is the substance of Cheryl L’Hirondelle’s land art piece, uronndnland (2004). The artist arranged rocks on the shoulder of the TransCanada highway where it runs through the Stoney Point Reserve, spelling out in Cree what translates to “look at this left over strip of land.” Presented in the exhibition through photo documentation, this work is a way of “tagging” the landscape to visibly protest the usurping and adulteration of reserve lands.

Cheryl L’Hirondelle, uronndnland (wapahta ôma iskonikan askiy), 2004. 16 inkjet prints. Courtesy the artist. Photo by Toni Hafkenscheid

Another highlight of the extensive exhibition took place in a dark, immersive gallery space that played video works by Jackson 2bears, Bear Witness, and Geronimo Inutiq on rotation. Bear Witness’ video Electric Pow Wow Drum (2010) weaves a narrative out of appropriated images from Hollywood films, set to a charged soundtrack by DJ Shub that remixes traditional Pow Wow music with contemporary club sounds. The multimedia artist addresses the power of representation in shaping the popular consciousness, employing this to his own ends by reclaiming and recontextualizing derogatory representations toward the telling of his own creative narrative. Jackson 2bears’ Heritage Mythologies (2012) is a trenchant video work that also plays with appropriation. Comprised of sampled footages from popular media and newscasts, this visually engrossing piece exposes the one-dimensional and often discriminatory popular (mis)representations of indigenous peoples.

Bear Witness, Electric Pow Wow Drum, 2010. Single-channel video, 4:05. Courtesy the artist. Photo by Toni Hafkenscheid

Reflecting on mythologies, Roland Barthes wrote that myths rid things of complexity and dialectics, efficiently organizing a world purged of depth and history. These video installations and many other works in the exhibition put up a daring fight against oppressive mythologies by bringing suppressed histories and identities back to the surface. Sonny Assu’s Elipsis (2012) is comprised of 67 copper vinyl records, one for each year the potlatch had been banned in Canada. These “records” of history are arranged in an inverted equalizer pattern, alluding to the repressed histories of injustices against Aboriginal peoples. Likewise, the title word “ellipsis” underscores the notion of omission.

Sonny Assu, Ellipsis, 2012. Copper, series of 136. Courtesy the Artist and Equinox Gallery. Photo by Toni Hafkenscheid.

The participants in Beat Nation are filling in this omission with their art, replacing the ellipsis with the expression of their own histories and identities. In navigating the world of today within the purview of their rich traditions, the artists’ encounters with hip hop and youth culture have begotten new and unique modes of expression. Fluidly moving between graffiti and beading, rap and Pow Wow music, these contemporary Aboriginal artists continue to share stories new and old. The spirit of endurance and resistance that comes across in their art tells me they are far from beat.

Amy Luo

 

This was my first time at The Artist Project and I was excited to see emerging artist as well as some established. Looking around I was impressed by some artists’ works who used the technique of  collage. There were many artists being multi-disciplinary, applying more than one medium and that was what made their works so unique. In other words several artists caught my eyes with their exceptional use of layers in creating a narrative. From the ancient use of encaustic painting, mosaic, fibre paper and other versions of collage, aluminum and various other materials, I found the following artists’  approach of mixed medium interesting.

Anahita Azrahimi

Anahita Azrahimi’s – an Iranian influenced, Toronto based visual and installation artist – collages are vivid and captivating. Using only graphics from Vogue magazines, she layers and blends them with her paintings to re-contextualize the final creation. At the end the pieces show an artistic negotiation between space, shape, texture and colour.

Laura Culic

Laura Culic’s use of encaustic, mixed medium, and collage depicts layers of her creative journey. In her process she is reaching back into the past, so much like a process of  excavation. Laura goes through many layers of her discovery such as elements of nature and the complicated procedure of encaustic painting.

Jangmee Park

Jangmee Park, originally from Seoul, works in Toronto with mixed medium involving acrylic and encaustic painting.  She approaches the old binary concept of good and bad by using two distinct layers. They represent, for her, different situations, some good while others are bad but both in need of harmony and balance. She says, “life isn’t what you expect. One can think either ‘I have to do this’ or ‘I don’t have to do that’ – we both have situations like that, but at the end we can’t avoid what we have to do.” In the end, things are as they are and you have to find out what it  means to you and this is procedure that Park tries picture.

Mary Karavos

Mary Karavos – originally a Toronto artist – after a year of studying in Florence, Italy, was inspired by the elements of  mosaic. With a painter’s hand, through the medium of paper fibre, she explores the endless possibilities of what a mosaic-like image can reach. She starts with a motive and continues to build, layer upon layer, until an image emerges. Mary feels that this medium has allowed her to truly grow as an artist.

Victoria Cowan

Victoria Cowan, a Studio Q artist, is originally a printmaker. She cuts up old prints and reuses them to create new pieces. Using aluminum as a background, she layers Japanese paper, magazine cutouts and prints in a bold way. She starts with a random text and builds the story of her works from there. For her, the final story is made by involving the viewer, as she said, “the art is made between the two of us.”

While the use of the objets trouvés, raw material in order to express the artist’s idea goes back in time, it was only in the 20th century that collage has become appreciated in its own right. The above artists – whether their works come from an organic beginning without a final product in mind or inspired by an idea –  use their chosen medium well.

Text and photo: Salomeh Ahmadi

Seowon Bang (S.B) interviewed Claire Taylor (C.T), director of The Artist Project (TAP) on February 22, 2013

Toronto’s indie darling art fair showcasing talents by emerging and independent artists is back for the sixth year with a buzz, on view at Better Living Centre, Exhibition Place, through to Sunday, 24 February.

Photo: Fox Martindale

This year, The Artist Project is produced by Informa, who purchased MMPI (an international mega production company presenting well-known art fairs) in July 2012. When asked if the change of hands has impacted the production of the fair in any way, show director Claire Taylor assures it has not: “Informa has a similar mandate to MMPI and that is to put on an interesting and dynamic fair each year.” The fair opened last night with one of the best art parties of the year – it was a great chance to preview the art as well as enjoy cocktails, treats, DJs and meet the exhibiting artists while supporting the Canadian Art Foundation. Taking the helm of The Artist Project for the third time, Ms. Taylor provides an exclusive director’s outlook of the fair: what to look out for this year, the challenges and rewards of the fair, and why The Artist Project is the art fair to visit.

TAP director Claire Taylor. Photo: Alice Tallman

S.B: What are some of the noteworthy new features and/or programming of this year’s TAP? What sets it apart from last year’s, or other art fairs?

C.T: The Artist Competition is one of the most popular features at the show. We invited all exhibitors in the show to submit one work in the 2013 themes of “FACES” and we expect this to really showcase amazing talent. Another popular feature that always draws a lot of attention is the work of the UNTAPPED Emerging Artists – these are the emerging artists that participate in the fair for free and really showcases some cutting-edge work! We have re-launched the Video ArtBox as we feel it’s important to feature the work of artists working in digital media and video. Completely new this year, we are offering the “Uptown/Downtown Hotel Art Tour” where our tour visitors can get an exclusive look inside the private art collections of the Shangri-La Hotel, Toronto and The Hazelton Hotel, and view their wide variety of works including paintings, sculpture, photographs and more.

The Faces Competition. Photo: Fox Martindale

Marian Wihak, Four Seasons, 2012, still on single channel video installation

S.B: This is your third year of directing TAP. What are the challenges (and/or rewards) of running an art fair based solely on emerging artists, if any?

C.T: One of the challenges is to create an exciting space that is both fun and welcoming to visitors. We feel it is very important for people to have the opportunity to meet and purchase work directly from Canadian and international artists, and we want to promote that dialogue between visitors and artists. The rewards are seeing visitors enjoying this experience and being inspired by artists. Another reward for the show is building this wonderful platform that helps support artists and their careers.

S.B: TAP gives great exposure to emerging artists. Are there any artists that have gone on to be critically recognized thanks to TAP? (“Success Stories,” if you will.)

C.T: We’ve had several artists from the UNTAPPED artists that have gone on and been finalists in the RBC Painting Competition, and the majority of the artists meet gallery dealers and art advisors which also encourages new opportunities! We love being invited to their group and solo shows that follow after The Artist Project!

Untapped artist Ivan Alifan, Obedient Wife, 2012, 60 x 48 inches

Untapped artist Jane Duncan, Trophy Lovers, Pillowtalk, 2012, 30 x 30 inches

 S.B: Who is on the jury, and what is the one tipping point that grants yay or nay to an artist’s submission? What makes it the TAP material?

C.T: Every year we hire different jurors from the arts community in order to make sure that the applicants always have a fair process with fresh eyes. This past year we had Megan Oldfield (OCAD professor), Alison Milne (gallery dealer) and Robyn McCallum (TD art advisor). TAP material is art that has a creative edge! The most important is that the artists apply with great images that show off their talent.

S.B: If you had to choose a must-visit booth this year, what would it be?

C.T: The UNTAPPED feature is a must-see, as well as the large-scale installations! We also have artists traveling a long distance to get here – artists from Israel, Spain and Argentina!

Nissim Ben Aderet, Tel Aviv, Israel. Photo: Phil Anderson

The Artist Project is on view at the Better Living Centre, Exhibition Place, through to Sunday, 24 February.

Seowon Bang

 

 

 

The Artist Project
February 21 – 24, 2013
Better Living Centre
Exhibition Place, 195 Prince Boulevard ON

Opening Night Preview

I walked along Dufferin Street under the Princess Gate with excited anticipation to see the Artist Project in their new space in the Better Living Centre. A few couples walked ahead of me and I thought we had the same destination but they headed to Medieval Times.

Everything seemed  very well organized as I headed to the Media Centre to sign in. I met up with artoronto.ca’s intern photographer, Alice Tallman and we headed of to check out the artists booths and get a taste of  what this years Project (TAP) had to offer.

Rafa Macarron, Madrid, Spain

The first artist I met was Rafa Macarron an international artist from Madrid, Spain. I talked to his brother as Rafa‘s English was very limited. The work was very colourful contemporary pieces, paintings with some boxes framing some smaller works. Macarron was excited about being part of the Project. I hadn’t realized there were international artists as well as local artists and this seemed like a good choice to compliment the Project.

 Jason Cantoro, Montreal, Quebec

I chatted with silkscreen artist, Jason Cantoro who is based in Montreal and had several city scapes of Montreal silk screened. Cantoro has done several book covers as well and proudly showed us one of local Toronto author, Ray Robertson. Cantoro was excited about being in the Art Project.

Jean-Philippe Roy, Quecbec City

I talked to another Quebec artist Jean Philippe Roy, from Quebec City, who had several metal sculptures. He revealed his father was an engineer and this had likely impacted his work.

Janet Kimber, Toronto (Sony Full Frame artist)

Photographer, Janet Kimber was a photo based artist who was part of the Sony Full Frame competition. Ten photographers were given their choice of working with either the Sony 99DSLR  or a compact sony RXI. Both are high resolution cameras, that are new on the market. For Kimber’s work, Neo Petro Glyphs, she travelled to India to the high ground of Kumbhalgarh Fort where she viewed the ancient etchings in the stone walls. As her statement reads, ” some think of these etchings as a memorial to those who cannot themselves construct monuments.” The outside of the booth had works depicting the Fort while the inside showed details of the etchings.

Sarah Beattie, Untapped Emerging Artist Competition

Jane Duncan, Unpapped Emerging Artist Competition

I visited several artists in the Untapped Emerging Artist Competition, Sarah Beattie with her series of portraits, Jane Duncan with her Trophy series of paintings and Ivan Alifan. These and other emerging artist got to display their work for free. A winner from the juried competition will get a free both next year. All had to apply and could not have been with a professional gallery.

TIAF Director, Linel Rebenchuk (left) & artists

Wing Yee Tong, Installation Zone

There were several installations and sculptures which were a good addition to the project but I thought it could have used more and perhaps placed them throughout the project space rather then have them all together in a cluster. The Toronto International Art Fair (TIAF) uses their installations and sculptures throughout the fair and it seems to work more effectively. TIAF Director was there visiting the project and chatting with several artists.

Le Gallery Director Wil Kucey, artist Janice Colbert and her husband

Gertrude Kearns, Toronto Artist

I  was surprised I didn’t see more gallery directors out scoping the fair. I met Le Gallery Director, Wil Kucey, talking with artist Janice Colbert and her husband. It was getting busy and the crowd was getting thick so perhaps I just missed them. I saw Art Sync Tv out covering the opening reception. Peter Goddard had also written a feature article on February 21th for the Toronto Star that featured artist, Gertrude Kearns and her Military series of  Canadian senior Force Leaders in Afghanistan, a powerful series of portraits and rather sobering at this festive opening. Kearns was seeking a venue for the works to get seen and the Art Project was probably a good choice. Kearns had already sold one piece earlier in the week.

Maureen Paxton, Toronto Artist

I chatted with artist Maureen Paxton. She ventured into a new series of portraits that had her subject wear different hats. The subjects all took the task very seriously as the portraits revealed. This was the first time for Paxton at TAP. Not a first time for Tel Aviv artist, Nissem Ben Aderet who had nothing but good things to say about TAP and Toronto. He found Toronto very receptive to his work.

Darren Jones, Chicago, IL artist

Chicago artists, Darren Jones and Armando Pedroso were excited about TAP and were looking forward to seeing some sales. Artist Kelly Grace from Toronto was busy wrapping sold art works as I visited her booth. The small affordable works were popular and kept her busy with sales.

Live painting, Artist Project

The FACES Competition asked that artists address the theme of Faces in their own unique way. It seemed to have worked successfully with a wall of portrait works mounted on a north wall. Off in a corner an artist worked away at a graffiti mural with a live demonstration.

At the Sony Full Frame booth the new Sony models were on display. Canadian Art Magazine also had a booth. Throughout the weekend there are a series of Art Chats with different speakers each time. Part of the proceeds of the opening night ticket also go to the Canadian Art Foundation.

 Artist Project Director, Claire Taylor

TAP director, Claire Taylor was kept busy making sure things ran smoothly. The biggest change she said was the move to the new venue, The Better Living Centre. I think the move was smart and I found it more spacious and well suited to TAP. The Video Booth was back and everything else was pretty much the same, Taylor explained. This was her third year as TAP director and keeping over 250 artists happy is not an easy task but everyone I talked to were pleased the way things were going with the opening night reception.

There was definitely a party mood at the reception with DJ ‘s, line ups for drinks and appetizers. One young woman came up to me and asked if I had a TAP map/guide and I asked her if she was looking for a particular artist. She confessed she was actually looking for a particular vodka bar. No shame, she could have been an artist herself. TAP seemed to agree with its new location and I left walking through the old fair grounds.

Text and photo: Phil Anderson

Thursday, Febuary 21, 2013, 7 – 10 p.m. 
Better Living Centre

The Artist Project is an annual juried contemporary art fair. It took place between February 21st and 24th, located in the Better Living Center at Exhibition Place.

The Faces Competition, presented at the entrance to the event provided the visitors with the most engaging environment for viewing the artwork. That space was arranged like an open gallery featuring many of the artists’ works dealing with the theme of Faces.

This event showcased over 200 artists from across all mediums. Each artist occupied a small cubicle adorned with his or her best work. Visitors weaved in and out of each row like pedestrians on a busy street. The artists were eager to talk with visitors and seemed happy to be involved with the project.

Janet Kimber, Photography, Toronto ON

Sandra Di Leo, OilsAcrylic, Toronto ON

Jose Ortega, Collage, Toronto ON

Kelly Grace, OilsArcylic, Toronto

The schematic of the artists’ booths, although unique in presentation, in fact, hampered the viewer from being able to step back and take in the work. A more open concept would have made the artwork more accessible to the spectators.

Ivan Alifan, Untapped artist, Woodbridge, ON

Gertrude Kearns, Oils and Acrylic, Toronto, ON

Ulrich Panzer, Printmaking, Kingston ON

The combination of Toronto based artists and international artists illustrate Toronto’s growing importance within the international art world. Events such as The Artist Project are highly important for artists, as it enables their talents to be recognized by both collectors and the general public.

Nissim Ben Aderet, Drawing Tel Aviv, Israel

Sandra Poczobut, Installation, Toronto, ON

In these times of economic distress and public funding for the arts dwindling, The Artist Project serves a dual role, marketing the talents of artists and providing a space for the public recognition of emerging artists.

 Text and photo: Alice Tallman

Febuary 21 – 24, 2013
Better Living Centre
195 Princes’ Boulevard, Exhibition Place
Toronto, ON
Hours: Fri  12–8, Sat 11–8, Sun 11–6 p.m. 

A juried art show.

Special Events & Programmes:

Opening Night Party: Thursday, February 21, 7 – 10 p.m. (19+ event)

Celebrate in style and be among the first to view and purchase original art from top contemporary artists. Enjoy an electric evening of art, live music, and delicious eats!

A portion of Opening Night ticket sales will be donated to the Canadian Art Foundation.

Art Chats
The Art Chats series offers a variety of engaging seminars hosted by leading art and design experts. Art Chats are complimentary with admission, space is subject to availability. Here is the 2013 Art Chats schedule:

Friday, February 22, 7-8pm
Art as an Investment?
Jeremy Tabarrok, Wealth Advisor, JTWealth.ca

Saturday, February 23, 3-4pm
Art For Every Space
Manny Neubacher & Anya Shor, The Art Stylists

Saturday, February 23, 6-7pm
Photography: Collecting 101
Stephen Bulger, Owner of Stephen Bulger Gallery

Sunday, February 24, 1-2pm
Material Matters and the End of Photography
Bryne McLaughlin, Managing Editor, Canadian Art Magazine

Sunday, February 24, 3-4pm
Here’s Looking at You: Portraits Today
Betty Ann Jordan, founder of Art InSite

Art Walks
Our docents will take you on an informative exploration of the show where you will meet artists, learn about their inspiration and how they create their amazing artwork. Art Walks are complimentary with admission and last approximately 30 minutes.

FRIDAY: 2:30, 4:30
SATURDAY AND SUNDAY: 12:30, 2:30, 4:30

February 21 – 24, 2013
PROPELLER CENTRE FOR THE VISUAL ARTS
and other venues

Vector:

1. an array of data ordered such that individual items can be located within a single index.

2. any agent that acts as a carrier or transporter.
3. a quantity possessing both magnitude and direction.


With an influence that is spreading across various cultures and sub-cultures through out the world, video games are a pervasive media that are influencing a wide range of social and cultural practices.

Programmed by Team Vector, the festival will address contemporary creative practices that peel back to curtain of gaming and its cultures, positing games as tools and inspiration for contemporary art making. It will feature works by international, national and regional, emerging and established artists.

Works in sculpture, film and video, new media, installation, print, fine craft and performance will all be part of the spectrum exhibited at Vector. These works will incorporate, criticize and address the culture, politics, technology and aesthetics of games, through exhibitions, artist talks, workshops and performances.
 
Propeller will be hosting one of three installations open to the public for the festival’s weekend.
 
net.works
February 21- 24
Curated by Team Vector.
Vector’s game art survey show. This exhibition surveys the myriad of practices that fall under the umbrella of game art creative production. Video, photography, art games, textile and more.
 
Propeller is proud to be the main screening space for Vector.
 
Meditations on the Medium.
Friday, February 22 @ 8pm (curated by Clint Enns)
What do a classic video game cabinet, a tv, and a snack dispenser have in common? How are they different? This program reflects on the nature of the medium.
 
Awaiting the End of the Beginning.
Saturday Night, February 23 @ 8pm (curated by Clint Enns)
Now this is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning. Exploring the competitive nature of video games and the desire for simulated violence.
 
Pop-Up Shop. @ Propeller all weekend
As part of the festival, we are opening a small pop up shop which will be open the entire weekend.  Here, we will be selling artist multiples, books, CDs, DVDs, games and other warez made by game based artists from around the world.   A wide variety of works will be available and all prices will be affordable, making it easy for you to support artists and collect their works.
 
For full schedule of events, particpating artists and to learn more about Vector please visit:
http://vectorgameartfest.tumblr.com/about

Colin Carney, Cinnamon, Cigarettes, and Coffee, 2013, archival digital print, 30 x 45 inches

January 30 – February 23, 2013
The Red Head Gallery

Departure means leaving but Colin Carney’s work gives me the feeling of arriving as well — arriving to some of the most boring places in Toronto such as Pearson Airport, Union Railway Station and a subway tunnel. But Carney, by some magic, is able to bring out their hidden beauty. In Unnoticed – a good title given the many times we don’t really look at the ugly thing — a subway train goes through a metamorphosis that turns it into a futuristic image of golden light and movement.

The photographs are composed of layers and layers of the images Carney’s captured of these locations. Many of the works have elements of printmaking (Good Place For Goodbye) or a painterly outlook (Gone). The presence of the architecture is central to the power of these images, but it is the way Carney treats the architecture that is so innovative. His images represent a particular place or environment but he also includes his physical and emotional memories connected to that place. Sometimes it seems an unreal backdrop for unreal things like the whispers and worries of travelers or the sweet smell of the cinnamon buns and coffee they consume and the smoke of their cigarettes – so it becomes almost metaphysical.

Emese Krunák-Hajagos

Opening Reception: Friday, February 1, 2013, 8 – 10 p.m.
MUSEUM OF CONTEMPORARY CANADIAN ART

Visitors in front of Graham Dolphin, Wall (Walk in Silence), 2012

Opening night  for Are You Alright? was busy with the local art community trying to get a glimpse of what was happening on the British scene. Toronto artist, Derek Mainella co-curated the exhibition with British artist, Elizabeth Eamer and was a good way to introduce Canadians to the British scene while also getting British artists an opportunity to exhibit in Toronto and meet the community here.

British Artist, Harry Burden

Harry Burden‘s installation used the dirt from the MOCCA floor to create a wall painting with colourful dyed mops tied  in front.

Harry Burden, Dirty Fucking Hippies, (detail) 2012.

Artist James Unsworth had a link of colourful sausages going up the wall. A small peep hole revealed a video loop as part of the work (Mayonaise Head).

British Artist, James Unsworth

James Unsworth, I Think of Demons, 2009.

Co-curator Elizabeth Eamer also had work in the exhibition.

British Artist Curator Elizabeth Eamer

Many of the artists had collaborated together before in Britain.

Jonathan Baldock, Pierrot, installation view, 2011

Justin Mortimer, Perimeter, 2012

The evening was well attended by the Toronto art scene and fashion crowd and at times as usual at such openings it was difficult to get the best view of art works on display because of being drawn into conversations and catching up with friends. As usual a fun night at MOCCA and a good taste of what the Brits have to offer.

The show is open February 1 – March 24, 2013  at MOCCA, 952 Queen Street West. Gallery hours: Tues–Sun 11 –6  p.m.

Text and photo: Phil Anderson

Opening Reception: February 7, 2013, 7 – 10 p.m.
Gallery 1313

The opening was on a blustery evening with the beginnings of a snow storm. No stopping artist Donald Fowler who drove from Montreal in the snow to attend the reception with his work on display. Montrealers are use to snow.  

Participating artists Donald Fowler and Hilary Kean

The twenty five artists who displayed work in the exhibit each had a different take on the subject matter which made the exhibit more intriguing for the visitors.  

Visitors Iva,Taryn,Trish, Hilary, Tara and Fabio enjoy the show

Despite the snow the gallery was packed and the crowd decided to stay as the snow kept coming down. Artist Roger Gremo who arrived with his male sculptural works in body bags enjoyed meeting some other artists. Gremo who also shows at Gallery Clark told me he was first got representation at the Burston Gallery at Queen Street West and Dovercourt. Josh Burston ran a gallery for several years before the venue became a Star Bucks outlet.

Artist Roger Gremo

Artist Ethan Lester is studying in Victoria working on his MFA and he heard about the exhibit and decided to participate. Some of the out of town artists couldn’t attend the reception such as Madeline Mayo of Montreal. York University MFA student Shanon Scanlan was excited to exhibit her sculptures which are part of her thesis project.

Artist Ethan Lester

Photographer, Paul Dymond was a late entry in the exhibit and was happy to see his painted body figures in the exhibit. Participating photographers Jolie Fejer and Viliam Hrnbovak drove in from Oakville in the storm and enjoyed the exhibit.

Artists Jolie Fejer and Viliam Hrnbovak

Artist Gillian Collyer

The exhibit has became a yearly event attracting different artists from across the country. It is curated online through submissions. Although challenging to install so many diverse works it is always a pleasant surprise to see the results.

Artist  Christopher Haynes with his “Dirty Dishes”

The Sex Show attempts to push the boundaries of the definition of sex. It approaches the topic of sex from all angles, exhibiting works that   vary on a broad scale, from art that is more explicit to art that is more elusive in content. Not only does The Sex Show contain a wide variety of sex-related themes and contents, it also exhibits the use of abundantly different mediums such as video, photography, sculpture, collage, mixed media and paint.

Friend Dave, Artist Roger Gremo and friend Alex

The exhibition is curated by Phil Anderson.

The show is open February 6-17, 2013, Gallery 1313, 1313 Queen Street West, gallery hours:  Wed – Sun 1 – 6 p.m.

Text and photo: Phil Anderson