Ginette Legaré’s Supply Chains exhibition at Birch Contemporary speaks to the moment, a time when the links to the network of things necessary or desirable to our lives are showing strain. Their pain has arrived in the form of higher prices for fuel and food, and frequently an empty shelf – the canary in the coal mine. Legaré’s Hardwired wall sculpture personifies want at its extreme, a skeletal Dickensian Oliver with an empty begging bowl who pleads, “Please sir, I want some more!”

Ginette Legaré, Hardwired, 2022, reclaimed metal objects, magnet and rubber, 18″ x 9” x 6”

Answering to any crimes associated with breaks in the supply chain may be educed from the artists Lineup, a sculpture that commands an entire wall. The viewer is invited as detective to ferret out the usual suspects from this motley crew of 21 danglers. The innocent one might be the lightbulb in the very top centre of the line-up, its sole felony being one of omission, the poverty of illumination. It brought to mind Picasso’s Guernica with its exploding eye, similarly positioned to Legaré’s lightbulb. A further analysis of the eye and its perceptive properties is the artist’s “Le compas dans l’œil,” mounted on the wall of the gallery’s overflow office space. We accept Guernica as potent art protest against the heinous barbarism of war, with the understanding that an economic war may equally unleash untold global miseries through crippling disruptions in supply chains. If something purely visual could emit audio, Lineup might be likened to a “wall of sound,” something record producer Phil Spector achieved famously in pop music. Legaré’s Lineup as an LP has its A and B side of 20 works in grooves simulated by the suspended wires, each side evenly divided by the mute lightbulb.

Ginette Legaré, Lineup / Délictuelles, 2022, reclaimed metal/wire objects and customized hooks, 11’ x 13 1⁄2’ x 23” (variable dimensions)

Legaré’s floor sculpture Urban Strands is reminiscent of a Rube Goldberg machine, which describes a chain-reaction contraption made to perform a simple task in a complicated way. In any case, Urban Strands seems to be a mash-up of the supply chain logistics from conveyor belt, packaging, shipping container, to shelf and display, equipped with a wire-frame that may have once held a mirror. The last item may be a bid to the viewer for a moment of reflection on the object’s wonder, as the consumer is simultaneously both head and tail of this chain, being the ox that grinds the grain and also one who devours it. 

Ginette Legaré, Urban Strands, 2022, reclaimed metal/wire implements, 76” x 20” x 33”

Suspended from the ceiling of the gallery positioned to roughly its centre is the wire sculpture Upheld. Sweeping upward above the walls of the show space gave it the properties of a tornado, as if harnessing into a funnel the charge emitted by the works, particularly from the densely-packed Lineup piece.

Ginette Legaré’s Supply Chains exhibition is a patiently assembled body of primarily wire objects that have undergone a kind of excavation by the artist as found remains of a still-living civilization, their skins having sloughed to reveal something essential and new in the articulation of a language. The keys to its translation involves a mixing and matching the wire letters of the artist’s alphabet with our own experience as a way of “sounding out” the material world around us. It is through this process that Legaré’s lightbulb illuminates.

Steve Rockwell

Images are courtesy of Birch Contemporary

*Exhibition information: Ginette Legaré, Supply Chains, October 20 – November 26, 2022, Birch Contemporary, 129 Tecumseth Street, Toronto. Gallery hours:  

This fall, contrails converge on yet another COP where promises are sure to be broken, and targets missed. We’ve learned that there is no longer any way to keep global warming under 1.5 C. Extinctions are increasing, habitats are shrinking. The exhibition by the artists’ collective NetherMind at Saint Anne’s Anglican church “…mourns the destruction of the environment by anthropogenic climate change.” It is aptly titled Elegy.

The show is like a scavenger hunt. When you first arrive, you might ask: where’s the art? It will take bit of work to find it all. Pick up a laminated map and go exploring.

The work is site specific; the context and existing features of the church are integral to the installations. The artists have taken a subtle approach. In most cases, the art is hidden in plain sight. For example, the printed guide shows that work by Ed Pien is located in the central pews. As I walked down the middle aisle, I looked high and low and could not find anything – until I turned around. That’s when I saw that there was an entire floral congregation filling the seats.

Ed Pien, Our Beloved, 2016, framed digital prints

Arranged in clusters, the same way people would occupy these benches, were over a hundred framed photos of flowers. Some wilting, some in full bloom and some artificial.  Were they here to mourn for lost wilderness, or yet another extinction perhaps?

John Dickson, Font, 2022, epoxy shell, water, ink, painted plywood, pump

The map indicates that John Dickson had a piece in the area of the baptismal font. Again, the artwork blends into the surroundings. Inside the font itself, instead of an empty vessel or a bowl of still water, there’s a dark swirling vortex. An endless flow disappeared into a black hole, pulling the surface into some unknowable singularity.

Catherine Heard, Sentinel, 2022 plywood, found wood, glass eyes, gold leaf

Mounted on the low wall that separates the main space from the choir section are a pair of Sentinels by Catherine Heard. Their placement on pedestals and their gilt surfaces makes them, at first glance, blend into the décor. They’re sculptures of small children with gold covered twigs sprouting out of them. Deep within each glittering bush lifelike eyes peered back at me. What does this incongruous iconography mean? What is this unknown mythology? Are the gilded twigs new life growing out of their tiny bodies? Or are they on fire? They don’t offer any simple answers.

Lyla Rye, Buried Communication Cable, 2022, HD Video with audio, 10m 05s

Light, accompanied by the sound of chirping birds, emanates from a little niche adjacent to the altar. The source is a video by Lyla Rye filmed from inside a mausoleum crypt. Bodies are presumably buried behind the stone walls on either side. There is a little barred window straight ahead. I noticed that the light was flickering a bit too fast. Outside figures rush by at a frenetic rate. We’re on a different timeline in here – a long-haul time machine. Suddenly the view is invaded by an overlaid sideways video of green grass in the cemetery grounds. I’ll leave it to you to learn the story about the inserted video: it’s both humorous and profound.

The exhibition’s theme is a heavy one; one of loss and grief. The work addresses the issues head on, with solemnity, but around the edges there’s a quiet sense of humour. These artists are like that friend at a funeral who whispers a gentle joke that can bring a smile and a tear at the same time. 

NetherMind is an artist collective that has been active for over thirty years. In their early shows they exhibited in empty industrial and warehouse spaces with installations that were dramatic in a haunted house, spooky movie sense. Their logo, for a time, was an exploding skull. The current exhibition is more subtle and yet delivers a profound experience without becoming maudlin or didactic. 

I’ve only covered a fraction of the show. I hope I’ve given you a sense of what to expect without giving away too many spoilers. Making your own discoveries is integral to the experience. A few parting words of advice: use the map to make sure you discover everything; don’t be shy, go up the stairs, and be sure to bring a toonie!

Text and photo: Mikael Sandblom

*Exhibition information: ELEGY / John Dickson, Catherine Heard, Greg Hefford, Lyla Rye, Reinhard Reitzenstein, Max Streicher + guests: Ed Pien & Kendra Yee, October 29 – November 13, 2022, St. Anne’s Anglican Church, 270 Gladstone Ave, Toronto, Gallery hours: Fri – Sun 1 – 6pm.

The visitor arriving at Art Toronto, Toronto’s Art Fair may be forgiven for thinking she’s rolled into an international airport. Immediately upon entering the Convention Centre you’re confronted by a crowd of people who seem neither to be staying nor leaving, but hovering in that peculiarly human way; and in the background stand strategically placed sculptures by airy escalators. Indeed, you would not be mistaken for thinking you are a tourist. You are an art tourist. 

To paraphrase Philip Larkin’s poem Here: the visitors ‘push through plate-glass swing doors to their desires’. Not the cheap suits, red kitchen-ware etc. that Larkin lists, but to expensive objects. As in upscale shopping malls – for this is at bottom a shopping mall – most visitors are here to ogle, to covet what they cannot afford.

Still, given the relatively pricey entrance fee our tourist expects to get some reward from her visit. At least she gets to see plenty of art – a veritable orgy of it, in fact. There are nearly ninety galleries represented, as well as several artists collectives, major collections and museums across the country. About ten percent of the galleries are from overseas, e.g., from Germany, the USA and the UK. So the emphasis is on homegrown talent, including well-known names such as Ken Lum, Kent Monkman and Edward Burtynsky. It is a who’s who of the local art establishment, though the Art Gallery of Ontario is conspicuously absent. Occasionally the booths aim mostly to entertain. For example, the booth of the Portrait Gallery of Canada is displaying a set of eccentric costume hats from which the public can pick one and get their photo taken wearing it.

Portrait Gallery of Canada

The art on display throughout the hall is simply all over the map. There is artisanal or decorative art such as Sami Tsang’s large-scale ceramics (Cooper Cole Gallery).

Sami Tsang’s large-scale ceramics, Cooper Cole Gallery, Toronto

At the other end of the spectrum there is art with very lofty goals, e.g., Nep Sidhu’s conceptually inspired sculpture She in Gold Form (Patel Brown Gallery). Sidhu, it is explained, sees the role of contemporary art as ‘to attempt to mobilize instances of connection to ameliorate damages caused by colonial histories…’.

Nep Sidhu, She in Gold Form, Patel Brown Gallery, Toronto

Some of the work is quiet, e.g., Isabel Yellin’s exquisite wall pieces (Towards Gallery).

Isabel Yellin’s wall pieces, Towards Gallery, Toronto

Others are brash, e.g., Haitian artist Clovis Alexandre Desvarieux’s painting C.V. (Galerie Hugues Charbonneau).

Clovis Alexandre Desvarieux’s painting C.V., Galerie Hugues Charbonneau, Montreal

The quantity of merchandise is overwhelming. There is so much competing for the visitor’s attention that galleries are tempted to display the closest things they have to eye-candy. The strategy does not lend itself to the contemplation of art, that is, slowly taking it in. Consequently, much of the art selected, though not all, is not intended to be experienced deeply – what you see is all there is. Yes, there is good art to be found and the dealers are happy to talk to visitors, but the whole ambience is not conducive to experiencing art in any authentic sense. Fast and glitzy best describes the show.

For me this issue raises the question of what the role of art is. The question is difficult as there is no one answer, given that art is open to be experienced in countless ways. But here is one instance that points to my concern: on display at Monte Clarke Gallery’s booth are masks crafted by West Coast ‘Stó:lō’ master carver Claude ‘Rocky’ LaRock. Such imposing masks, we are told, were originally used ceremonially as spiritual figures. But according to the description affixed to the booth’s wall: ‘LaRock departs from the ceremonial form to create an altogether different kind of mask intended not to transform the identity of a wearer but to transform the condition of the viewer.’ In other words, LaRock is making these masks to be seen on gallery walls. The original meaning behind such masks is stripped away, and the artefacts become instead indigenous-styled objects that are alluring. This illustrates contrasting roles of art. One might describe it as the distinction between substance and spectacle.

Masks by Claude ‘Rocky’ LaRock, Monte Clark Gallery, Vancouver

Of course, most art is not ceremonial in this way. Nonetheless, an important role of art is to enrich our lives, to communicate deeply with the viewer. The substance of such art stems from the artist’s intention, what she tries to communicate. On the other hand, art is spectacle when the artist’s intention is simply to produce something that looks like art, that is, to make objects purely on the basis that it attracts the viewer. While art that is pure spectacle can be entertaining, it amounts to empty entertainment – something that is quickly passed over. There is nothing wrong with pure entertainment, of course, but art can be far more than that. At its best it resonates.

Art fairs are becoming an increasingly important business model for galleries and dealers. The worry is that their ascendance will leave less and less room for slow art, as the market is crowded out by spectacle.

Text and photo: Hugh Alcock

*Art Toronto, Metro Toronto Convention Centre, 255 Front St W, Toronto. October 27-30, 2022.

Part of the fun in seeing art up close is figuring out how it’s been made: an experience of discovery that is easily overlooked in the online world. I’ve selected just a few examples of work from the Art Toronto show that surprised me with an “oh… that’s how it works” revelation:

Three works by Kal Mansur, Myta Sayo Gallery, Toronto

Kal Mansur’s elegant pieces at Myta Sayo Gallery initially appeared to be flat geometric abstracts, but slowly revealed themselves to have a foggy depth. They’re actually three-dimensional constructions under a translucent surface. I couldn’t help but try to guess how the interiors are organized and structured.

Three works by Christian Eckart, TrépanierBaer Gallery, Calgary

Trépanier Baer Gallery mounted these round works by Christian Eckart on the outside of their booth. The faceted and fractured coloured shards glowed like stained glass windows and yet they seemed to be impossibly thin. Up close, I discovered that they were made of canvas, and directly adhered to the wall without any other framing or backing.

James Nizam, Superposition, archival inkjet print, Gallery Jones, Vancouver

Gallery Jones had a large photograph by James Nizam. At first glance, it appeared to be a photo collage combining before-and-after views of a room demolition. But on closer inspection, I saw that it was a single unmanipulated photograph. Floors and walls had been precisely and carefully cut away. The geometry of the incisions followed a meticulously calculated reverse perspective that aligned with the position of the camera. At any other location in the room, I imagine, the geometry would bend and break apart.

Vicki DaSilva, Magic Cove 1/3, C-print mounted on aluminum, Studio 21 Fine Arts, Halifax

Studio 21 presented work by Vicki DaSilva who has made large scale photographs with mysterious, diaphanous light elements that flow through landscapes. A little video monitor mounted on the wall explained the process. The photographs are long exposures, and the artist has walked through the space with a glowing wand thereby ‘painting’ the elements into the image. 

Regine Schumann, Colormirror  Sculptures, Axel Pairon Gallery, Belgium

In the Axel Pairon Gallery booth acrylic boxes glow from within with fluorescent coloured light. Colours, refractions, and reflections change at different angles of view. Where does this light come from? There are no visible lamps or wires. Looking up, you’ll see the source – UV lamps are causing these pigments to fluoresce, making the work glow from within.

Eric Nado, Reassembled typewriters, Galerie C.O.A, Montreal

Galerie C.O.A. had a set of machine guns mounted on the wall. Real guns? No. Looking closer, I soon realized they were made from old typewriters that have been disassembled and rearranged. A stark warning perhaps, that words and violence are not disconnected.

Steve Driscoll, Desperate for Their Brightness, 2022, Digital Print On Laminated Low Iron Glass, Backlit LED Lightbox, Peter Robertson Gallery, Edmonton

The Peter Robertson Gallery had a large backlit work by Steve Driscoll. Based on a landscape scene, the colours glowed with acidic brightness. Brush marks and scribbles appeared as though they have been directly applied to the glass. But, as it was explained to me, this is a photographic process. The image was blown up from a smaller original and printed onto this transparent medium. The resolution is so fine that there are no pixels or other evidence of digital manipulation visible.

Joe Fleming, White Taps, oil on polycarbonate, 35” x 27”, General Hardware Contemporary, Toronto

General Hardware Contemporary had work by Joe Fleming who paints on transparent polycarbonate panels. This material allows him to paint on both sides of the thick surface. Transparent sections bring out shadows on the wall behind, and grooves into the surface itself allow Fleming to make objects that merge 2D painting and 3D sculpture: a kind of 2.5D space.

John Scott, Dark Commander, 2012, Mixed Media on Canvas, Nicholas Metivier Gallery, Toronto

It’s not only novel techniques that show best in person. Traditional paintings are meant to be seen up close too. John Scott’s Dark Commander, an ominous cross between Napoleon and Darth Vader, is terrifying in full scale. One foot is on its way out of the picture frame. There are boot prints in the paint as though the artist has tried to kick back at this menacing spectre, to stop this world destroyer.

Rae Johnson, Stairs Snow, 2017, Graphite and oil on canvas, Christopher Cutts Gallery, Toronto

Over at Christopher Cutts Gallery’s booth there were a couple of Rae Johnson paintings. Just like John Scott’s work, the digital reproduction does not reflect the full impact of the soft feathery brushwork in Stairs Snow which dissolve like clouds on the canvas.  

It makes such a difference to see art the way artists intended – up close and personal!

Mikael Sandblom

As the world economy titters back and forth with inflation and rising interest rates plus the possibility of heading into a recession you might think art dealers are nervous that the art collectors and the public might be shy about buying art. Not so. The dealers I talked with in their booths were very positive. The VIP preview had kicked off with a number of sales. Daniel Faria of the Daniel Faria Gallery was pleased as were other gallery directors. Things had started off well. Gone was the expensive Gala that had been catered and been a fun event. It was cash bar and no food. People still dressed up and more importantly bought art.

Daniel Faria of the Daniel Faria Gallery, Toronto

Clint Roenisch Gallery, Toronto

Many of the galleries I stopped in to chat with had been going to the Fair for years, some even like Bau- Xi, since the beginning. So, sales must have brought them back. Deborah Carver of Studio 21 Fine Art out of Halifax said that this Fair for her was the place to make connections, meet collectors and get noticed. The Art Gallery of Hamilton was there to help remind people what a great Gallery it is. They were pretty excited about an exhibition coming up by artist Shelley Niro to be displayed there before going to the National Gallery.

Deborah Carver of Studio 21 Fine Art from Halifax

Bau-XI Gallery, Toronto with Kathryn MacNaughton, HOOPLA, acrylic on canvas

There were several Montreal galleries that had returned as well as galleries from Calgary and Vancouver. I chatted with Michael Klein of MKG127, a Toronto gallery, and he said he had one of his best years last year even with the pandemic. Burke Patterson, founder and Creative Director of United Contemporary was pleased with the beginning of the Fair as was gallery director Melanie Trojkovic.

Michael Klein of MKG127, Toronto

Burke Patterson, founder and Creative Director of United Contemporary (right) and gallery director Melanie Trojkovic (left)

Niki Dracos of General Hardware Contemporary (Parkdale) said they had sold several works already. Daniel Ainsley of the Sandra Ainsley Gallery was busy chatting with the public.

Niki Dracos of General Hardware Contemporary, Toronto

Daniel Ainsley of the Sandra Ainsley Gallery, Toronto

Some dealers said they were happy with the overall content of the fair and thought that the quality of work was perhaps stronger than some other years. I met Axel Pairon of the Axel Pairon Gallery from Belgium who said it is their third year and though the Fair had just opened the day before they had a few sales. It was tricky trying to talk with some dealers who were busy talking with clients.

Axel Pairon of the Axel Pairon Gallery with his wife from Belgium

The Fair offers several tours by different curators and lots of panel talks by art experts to complete its programming. There are several installations and sculptures spread through out the Fair as well. I talked with Mykola Zhuravel of Withrow Common Gallery, Toronto about his installation The Broadcasting. Both he and his wife are from Kiev in the Ukraine and he explained the significance of the video that the robotic figure was watching; it was a Russian broadcast from 2014 that talked about invading Ukraine.

Mykola Zhuravel’s installation, The Broadcasting, Withrow Common Gallery, Toronto

Daria Tischenko-Zhuravel in front of her work, UNITED WE STAND

This year’s Fair was refreshing just for the fact that you didn’t feel you had to wear a mask. There was a great mix of works to explore throughout the Fair and Director Mia Nielsen and her team have done another great job. The quality of works was worth the visit and for some fortunate collectors they will find a new home.

Text and photo: Phil Anderson

Site-specific installation by Ken Lum

For those who have a mind to, the 2022 Art Toronto exhibition at the Metro Convention Centre, is an opportunity for self-reflection, both individually and in the widest sense. Exhibition visitors arriving up the escalators to the show space are confronted with a large site-specific installation by Ken Lum, titled “Portrait – Repeated Text,” 1993-2022. Presented by Los Angeles Royale Projects gallery and Art Toronto exhibitor, it features a man facing a mirror engaged in a martial arts exercise, accompanied by the repeated text, “Breathing (inhale). Breathing (exhale).” The photo on the left side of the work has a man in a wheelchair speaking to a woman with her back turned, beginning with “Please forgive me. Sometimes I get frustrated. That’s all.” I suppose that each of us see ourselves as variously somewhere between the peak of physical power and its low point – immobile powerlessness.

Art Bank’s booth

To the left of the escalator, the Portrait Gallery of Canada, presents an interactive installation by Max Dean and the Itinerant Photo Studio (McAlister Zeller-Newman and Andrew Savery-Whiteway). Using the hat as a prop, “WHO ARE WE” is a project by Max Dean that explores issues surrounding self-expression and co-authorship. Attendees at the fair interact as both artist and subject in Dean’s installation by selecting one of more than 88 hats and pose for a portrait captured within the exhibition. A deeper journey into the Canadian art psyche might be a dive into the Canada Council Art Bank, another exhibitor, presented here at their booth through art consultant, Isabelle Chartier. The collection of more than 17,000 works by over 3,000 artists and are available as rentals; the Art Bank staff are willing to ship from their Ottawa warehouse and install your selected works for your “complete satisfaction.”

Simon Bentley

I had the sense that the ghost of Clement Greenberg was haunting exhibitor booths through the manifold displays of paintings by Jack Bush, perhaps the most internationally-minded member of Painters Eleven. Greenberg had dubbed him a “supreme colorist.” I spoke with exhibitor Simon Bentley and his Jack Bush and the recent opening of his 401 Richmond Street West gallery. If Bush represented the international wing of Painters Eleven (as did William Ronald), then their regional opposite was packaged in the feisty persona of Harold Town, his paintings presented here at the fair by Christopher Cutts Gallery.

Darrell Brown & Daria

Contemplations on the notion of exhibition itself for Canadians might have no better representation for longevity than the Canadian National Exhibition, beginning in 1879 and drawing about 1.5 million visitors a year. The CNE is represented here at the fair by its own gallery venue, Withrow Common, fronted by CNE’s Chief Executive Officer, Darrell Brown. The Withrow Common boasts a 2,675 square-foot exhibition and event venue in the Queen Elizabeth Building complex. At Art Toronto, the Withrow Common Gallery features “Invasion Redux” by Ukranian artist, Mykola Zhuravel and his partner Daria, who lived through the ouster of former Ukranian President Viktor Yanukovich in 2014, and the turmoil and hostilities that followed, culminating in Russia’s attack on the Ukraine. “Invasion Redux” harnesses the memories of these tragic events through its multi-media display.

Robert Houle installation

Central Art Garage in Ottawa mounted an arresting installation by Robert Houle, having been part of their “Blue Thunder” show this past spring. The $130,000 installation has three components, the prominent being a ten-foot walnut table and boxes containing canvas packaged mixed media pieces on hand-made paper and a circular wall installation with a set of 13 works forming a cross within the circle ground that resembled an enormous BAYER aspirin logo. As aspirin has proven to be a miracle drug, Houle’s morning star cross of 13 paper abstractions named for Jesus and the twelve apostles as “Parfleches for the Last Supper,” seems to allude to the communion wafer as possessing miraculous potential. Houle has had a lifelong desire to combine his Anishinaabe Salteaux spiritualism with his Roman Catholic upbringing. The artist has described the Bible as being “the single most important cultural influence on my shamanistic heritage.” Might the presentation of this “pill” act as a balm for the pain suffered by Canada’s indigenous populations during Canada’s residence school era?

A somewhat scaled-down 2022 Art Toronto exhibitor list from pre-COVID years has provided significantly more space between booth aisles, with added seating for lounging, making attendance less hurried, relaxed, and in that, more pleasurable.

Text and photo: Steve Rockwell

90+art galleries in one space gives you a collective experience from a wide range of technical and stylistic approaches to contemporary art. Art Toronto, Toronto’s International Art Fair addresses many pop cultural references, while touching on thematic expressions of personal experience in an array of colourful sculptures, painting, photographs and drawings.

In your tour of the space allotted, maps can be found to distinguish the gallery’s spots and placements. Larger sculptural works featured by galleries are displayed in the middle of room with labels and statements found on the floors in front of feet. Many uniquely engaging displays within the small gallery spaces are also present, from human figure made of gears to stone teddy bears on stands.

You are met not only by interactive exhibits at the entrance but also engaged artist and curators, speaking on behalf of their practices, their displays and their connection to the art of this year’s fair. From Canada to the US, Germany to Great Britain, the experience of the Art Toronto is one you don’t want to miss.

Text and photo: Lex Barrie

Richard Mongiat (left) and David Sylvestre (right) at Revenue on October 22nd. Courtesy of Collective City

Interview about Collective City with Richard Mongiat (RM) and David Sylvestre (DS) by Phil Anderson (PA)

PA: What were the early beginnings of this project?

RM: The idea for the project started about 10 years ago from a conversation that I had with Rae Johnson at an opening at Loop gallery. Rae was one of 3 curators who was responsible for a show at MOCA at the time called This Is Paradise. It was a show that was looking at the Toronto art scene in the late 1970’s and in particular the artist collective Chromazone which changed and re-energized the scene at that time. I was griping to Rae about how bad Toronto (and it’s institutions) are at recording Toronto’s own art history and it was an amazing thing that she (her fellow curators and David Liss at MOCA) had done. Rae basically threw the gauntlet down and said that my generation were responsible for the explosion of artist collectives in the late 1980’s/1990’s and that since no one was recording it, what was I waiting for.

Rae Johnson at OCADU

I approached my friend Dave Sylvestre (who was a founding member of Red Head gallery and formed From*A*Pit with Krys Verrall and myself) if he was interested, even though we had no film making experience. Hell, everything is digital now, how hard can it be? My friend Jeff Winch who teaches film making at Humber College shot all of the initial interviews and we found our first editor Vanessa Jung through a contact at the National Film Board – and Bob’s uncle!

PA: Why did you think it important to document and archive this history of collectives in Toronto?

RM: Because no one else is really doing it – and there really was around 100 artist collectives operating in Toronto during that time period. Well, some academics are but they’re very selective about who and what they’ll record that’s generally based on their academic criteria. We want the artists to tell their own stories.

DS: Richard and I were attracted to the DIY ethos of these collectives. There just weren’t enough opportunities to show your work – so these groups banded together and made their own opportunities. That spirit made these stories inspiring and hopefully, entertaining too.

THIRD RAIL at Liberty Village. Photo: Phil Anderson

PA: How did you go about researching art collectives in Toronto?

RM: At first Dave and I went through a list of all of the collectives that we knew about from that time when we were active in the collective movement. Then it was word of mouth and other artists starting sending us info on other collectives we’d never heard about or come across – there were so many scenes that it was impossible to know of every collective happening during those years! Now we’ve been able to hire artist Nicole Clouston who is our Research & Development person. She’s been scouting out and meeting with a lot of the present day collectives out there and helping us with donating the films to all of the art schools and institutions.

DS: I think Nicole has to do the same amount of exploration and digging as we did in the early days but getting “buy in” from the artists and institutions comes quicker because we have 15 films to refer to.

PA: Were there any surprises in what you found out about collectives in Toronto?

RM: The first surprise we got was from our initial marathon interview/filming session. We interviewed 24 collectives (and 1 curator) over the course of two weekends. Every single collective, despite the genre of art they were working in felt left out and ignored by the existing Toronto art establishments. The painters, the installation artists, the sculptors, the conceptual artists all felt that the other group was getting all of the attention! Really, it was just a group of people all around the same age who felt left out by the commercial galleries, museums and artist run spaces. It really was a generational thing (like it always kind of is).

DS: Richard and I were also surprised by some other recurring themes. It was clear after the first 10 or so interviews that the curatorial aspect of what these collectives were doing was super important. It went well beyond what we think of as a group show. There was a collective aesthetic and a viewpoint about the ideas or the craft they were pursuing. And again, that makes for a good story!

Posters for Symbiosis, Collective exhibit, 1993 (left) and The Purple Institute (right). Courtesy of Phil Anderson

Purple Institute, John Dickson, 1998. Courtesy of Collective City

PA: How has the idea of the art collective evolved over the years ?

RM: It has and it hasn’t. Much of the reasons for forming a collective or starting a collective gallery are pretty much the same. Artists who don’t want the constraints of having to make saleable work for a gallery, artists with shared interests in specific types of art, lack of showing opportunities and a glut of artists, artists working for social change. These haven’t changed over the years. I think technology has been the biggest change. How they connect, how they get the word out, how they even make their work. And of course their access to the whole wide world…

DS: Yes, technology and the speed of communication and the reach it provides has been a real game changer, as they say. But on the other hand, society takes technology for granted and it doesn’t impress people much. So some of the most interesting present-day collectives have a heightened emphasis on community and a sense of personal connection to a communal experience. Perhaps as a reaction to the over saturation of technology (social media particularly). And the pandemic made that yearning for real time connection and experience even stronger.

Off The Wall, an annual event at Propeller Gallery, January 17, 2015. Photo: Brinae Bain

PA: Are there art collective models out there today and are they different from the ones in the past?

RM: It’s still a bit all over the map. There’s still brick and mortar collective galleries (The Plumb for example) as well as groups that still specialize in site specific installation exhibitions. There are collectives like Art Spin that combine cycling to a series of installations at different locations and have broadened the model by adding contemporary dance to the mix. There’s a collective in Scarborough we’re filming called Wave Art Collective who have nothing to do with the downtown Toronto art scene. They’re interested solely in identity and the immigrant experience in Scarborough. We’re making a film about a phenomena we’ve coined Domestic galleries. Artists who have opened up their living spaces (indoor and out) and made them into galleries.

The Plumb, Installation view of Baskets Blighted, 2021. Courtesy of The Plumb

DS: And the city has changed of course. All the “unused” warehouse spaces that existed 25 years ago have long been turned into condos. It’s very expensive to have a studio let alone rent a space that can be converted to present art works. But artists are ingenious and resourceful. And domestic galleries and public art experiences show that.

PA: Do you think new art collectives might be inspired by looking at the past?

RM: I’m not sure. I only hope that they’ll recognize there’s a history of this and maybe take hints of how past generations approached the idea of art collectives and put their own spin on it. I mean, it will always be different to a degree because Toronto is a different place than it was 20 – 30 years ago. It’s certainly more expensive and harder to get space in. So the challenges present day artist collectives will face will certainly affect how artist collectives operate and exhibit.

Fashion show, 2017, an annual event at Gallery 1313. Photo: Simon Termine

PA: Was there a difficult transition from working as a visual artist to becoming a film maker creating a film archive of Toronto art history?

RM: At first Dave and I relied on our editor Vanessa Jung to help shape the films as we really had no film making experience at all. I think being visual artists helped and we were certainly schooled in watching films so we had ideas. From those initial 24 interviews we felt that what we did know well was the story. We worked hard at crafting the stories from the interviews. I think that now, after 15 short films, we’ve become pretty good producers and directors and we’re working with some great editors. I personally just see it as an extension of what I do and have always done as an artist.

DS: Like Richard said, I feel that we’re experts on the story and what is unique about each collective. So we play a bigger role in identifying themes we want to get across in the edit. After that we get to collaborate, or sit back and watch how these incredibly talented editors like Vanessa or Marcel Canzona bring that story to life. And each of the films has an original music score and sound design done by Nicholas Stirling – who is wonderfully versatile. We’re constantly amazed at the different musical styles he has a command of.

PA: What has the response to your work been from the art community?

RM: From the artists in the community, I think really well. We’re now also making films of present day collectives and we have an artist collective’s database on our website (www.collectivecity.ca) that allows collectives to post pics, info and links to their projects. So I think that younger generations of Toronto’s art scene are starting to appreciate the work we’re trying to do. As for the academics and institutions, they know we’re here, they know what we’re doing but no one’s really reached out to us (David Liss and Ann MacDonald from the Doris MCCarthy Gallery at U of T Scarborough have been great). We have given a few talks at various art schools but there’s lot’s of room still open on our dance cards! We’d love to work with anyone who will help support the idea of artist collectives in Toronto.

David Liss, Director Emeritus of MOCA, 2015. Photo: Phil Anderson

DS: The art community has been incredibly supportive. And now that we’re doing present day collectives we think it would be incredibly cool to facilitate, in some small way, a connection between later career artists and the people in their 20’s and 30’s.

PA: What’s next? Plug your screening …etc at the Revue.

RM: The screening of the 3 new films (Name 10 Parts of the Body, The Outlaw Neon and Art Spin) at the Revue on October 22nd, 1 to 3 pm. We’re working on two new films as we speak and constantly growing the artist collective database. Now that we’ve have reliable funding coming in we’re a bit like a well oiled machine, we’ll continue making films, have free showings and donate them to whomever can use them. There is an endless list of past and present day collective to record!

DS: Yes, never a dull moment! Ha ha.

Art Toronto installation view, 2021. Photo: Phil Anderson

October 27 – 30, 2022 / METRO TORONTO CONVENTION CENTRE
North Building, Exhibit Hall A & B, 255 Front Street West
Hours: Fri 12 – 8 pm., Sat 12 – 8 pm, Sun 11 am – 7 pm

Art Toronto returns to the Metro Toronto Convention Centre, October 27-30, opening with an invite-only preview Thursday the 27th, from 4-9pm. This is Canada’s art fair, featuring 90+ galleries from across Canada, the US and abroad including Night Gallery, Galerie Pici, Royale Projects, K Art, Daniel Faria Gallery, Fazakas Gallery, Pangée and more. Your ticket to the fair gives you access to curated programs.

The programming involves:

• Platform hosts insightful talks with leading voice in the art world.
• Free guided tours are presented by experienced curators, collectors and artists.
• Special projects, installations and the Focus exhibitions enrich your visit.

Since 2000, the Toronto International Art Fair has been dedicated to supporting art in Canada, connecting audiences to local, national and international galleries, and promoting diverse creative practices.

For programming, ticketing and more information click here.

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© Thomas Demand, VG Bild-Kunst, Bonn. Courtesy the artist and Matthew Marks Gallery/Galerie Sprüth Magers/Esther Schipper, Berlin/Taka Ishii Gallery

Thomas Demand’s practice of building models and photographing them has produced a child in “The Triple Folly,” a baby that has grown into an actual building in Denmark. By the artist’s own admission, it may turn out to be an only child. It’s a genesis story that gave Demand an opportunity to explore a tent-to-pavilion aspect of human habitation through postcards, prints, and publications in the wall vitrine facing “The Triple Folly” model on the second floor at Toronto’s Museum of Contemporary Art. The model was realized through the London firm, Caruso St John Architects with their client, Danish textile firm Kvadrat, as a “breakout” space from the company’s nearby headquarters, suitable for house meetings, seminars, or even a concert, but light on heavy, practical use – a folly, in other words. 

Thomas Demand, installation view, House of Card, M Museum, Leuven, 2020

This collaborative interface aspect of Demand’s work is a dominant feature of his House of Card exhibition at MOCA, beginning with Rirkrit Tiravanija’s 2013 Thomas Demand’s Here on the main floor, a life-size model of the karaoke bar Black Label in Kitakaushi, Japan, the exterior of which Demand repeats on the third floor in flimsier board and digital output in paper. The Black Label homage to the artist arose from Demand’s discovery and rendering of the bar at a 2008 residency at Kitakushu’s Centre for Contemporary Art. Tiravanija’s model imbues “life” to an otherwise empty shell, offering karaoke and social ambiance to participating museum attendees.

The model as a latent force that delineates our lived environment is given expression by Demand’s photographs of model details by architects SANAA (Kasuyo Seijma and Ryue Nishizawa) and John Lautner. In Demand’s photos, the pattern template files of the late fashion designer Assedine Alaïa come across as magnified strands of DNA, worn down by years of use. Alaïa’s runway creations and the flesh and blood mannequins that inhabited them may only be inferred in the photos, as are the string of celebrities that came to champion them. SANAA’s contribution to the architectural skins that clothe the art of significant galleries and museums across the globe typifies this crossing of the aesthetic from one discipline to another. Very likely, the inconspicuous site-specific ceiling installation by Martin Boyce on the second floor plays interference on the acoustics of the exhibition space. Its vane-like shapes in muffling the echoes of MOCA’s concrete architecture are a further interface of disciplines.

Thomas Demand, towhee, 2020 Framed Pigment Print, 135 x 172 cm

Viewers of Demand’s 2021 Refuge installation on the third floor at MOCA are afforded a taste of the confinement that NSA whistle-blower Edward Snowden is likely to have experienced in his Sheremetyevo hotel room in Russia as an exile from US authorities. The artist, it seems, had obtained detailed, firsthand experience of Snowden’s presumed room in Russia, upon which his paper and card version of it was based. The journalistic narratives constructed around the whistle-blower as either traitor or patriot exemplify just one front in our current war of information. The re-constructed details of Demand’s Refuge series provide an eerie simulation of the “cell” of its protagonist as casualty of this conflict, and his five weeks of isolation.

Thomas Demand, Refuge V, 2021, C-Print / Diasec, 160 x 200 cm

The subject of Demand’s minute-and-a-half 2001 film, Yard, is Serbian leader Slobodan Milošević and his arrest on charges of war crimes against humanity. In the video, the staccato click of paparazzi camera shutters illuminate a wall behind a chainlink fence as the prisoner is handed over to authorities at the International Criminal Court at The Hague. Since Milošević isn’t visible in the film, we are left to imagine, not only his presence, but any details of the arrest itself.

In the wall vitrine above his postcard display, Demand hung a print of Rudolph Weigel’s Judith and Holofernes. The subject of numerous depictions through art history, Weigel has Judith standing in the doorway of a tent, calmly dropping the head of Holofernes into a sack after her decapitation of the Assyrian general. Implicit in the Biblical story is seduction coupled with its fatal deception.

Rudolph Weigel’s Judith and Holofernes

The roof of Demand’s Triple Folly model was inspired by a creased legal size paper, a nod to the laws and regulations governing the realization of any actual building. As they say, “All is fair in love and war.” Yet as Demand has demonstrated in numerous past works, “folly” arrives in three dimensions, and who is to account for what happens inside the things we build?

Steve Rockwell

Images are courtesy of MOCA

*Exhibition information: House of Card by Thomas Demand & Martin Boyce, Rirkit Tiravanija, Caruso St John, September 16, 2022 – January 8, 2023, Museum of Contemporary Art (MOCA), 158 Sterling Ave, Toronto. Museum hours: Wed – Thu & Sat – Sun 11 am – 6pm; Fri 11 am – 9 pm., MOCA, Toronto,

While visiting Gallery 1313, I came upon three different exhibitions, each by a single artist and each with a unique approach and style of painting that was powerful and engaging.

In the Main Gallery Icelandic artist and painter Jónína Björg Helgadóttir has a series of figurative oil paintings and prints titled Mindscapes. Helgadóttir brought the canvases with her and re- stretched the paintings at the gallery. Though the artist has exhibited widely in Europe this is her first show in Canada.

Jónína Björg Helgadóttir, Swims, oil on canvas 40″ x 40″

She professes that “Everything means something. Nothing is without purpose”. Indeed, where she is the principle figure in her paintings, there is a lot we can read into them. Her expressions in the colourful paintings follow her wandering thoughts and occasionally seem to stare back at the viewer. They are playful and not without humour. My two favourite works are Swims and Waits. The artist is the central figure in both. In Swims (Syndir) we see two portraits of her in sitting positions. In the one on the right side, the figure is looking down slightly, and seems to be immersed in her thoughts, while the other one turns her head up with an expression of surprise.  There is a swimmer at the top of the canvas. In fact, there are several works in her show that have swimming as a backdrop. In Waits the artist sits in the middle of the composition surrounded with a strong yellow half circle. Yellow conveys energy in her painterly vocabulary, while the circle stands for repetition. The circular background behind her body might be the Earth or her personal surroundings. Sitting in the middle of that chaos, she looks on at the viewer with some kind of expectation.

Jónína Björg Helgadóttir, Waits, oil on canvas 28″ x 20″

In sharp contrast to Mindscapes is Mirren Hinchley’s exhibit Retrofit in the Cell Gallery. These are colourful and busy abstract acrylic works that are thick with pigment and dare you to touch them. Hinchley uses titles “inspired by the incredible images from the James Webb Space Telescope”. The artist seems to take the viewer on a trip to the cosmos with some of these rich paintings which beg you to stare into them. Hinchley also says that her painting has evolved over time. She wants to share with the viewer her love of colour and texture and this is evident in her densely packed but delightful works such as Cosmos 8 and Cosmos 5.

Mirren Hinchley, Cosmos 5, acrylic on paper, 40″ x 40″

Nestled away in the Process Gallery are eight gems of oil paintings on canvas by artist Alison Kruse in her exhibit called Last Year. They pull the viewer in. Kruse describes her fascination with “our connection to places we feel most comfortable”. In her statement she introduces us to writer Julie Beck and her article The Psychology of Home: Why Where You Live Means So Much. Memories are cued to the physical environment and that is what makes us call a home a home. These canvases indeed make you feel like they are calling themselves home. Cedar Lane and Heatwave are my favourites, but choosing these two were difficult. This talented artist has partial representation by Gallery PXP and is also a member of Gallery 1313. I’m looking forward to seeing where she takes us next.

Alison Kruse, Heatwave, oil on canvas, 16″ x 20″

The opportunity to see these three different artists’ work, each in their own space, takes your breath away. Figurative, abstract or landscape, each approach these women bring to painting allows the visitor a satisfying and wonderful gallery experience.

Colin Phillips

Images are courtesy of Gallery 1313

*Exhibition information: Jónína Björg Helgadóttir, Mindscapes, Main Gallery, Mirren Hinchley, Retrofit, Cell Gallery, and Alison Kruse, Last Year, Process Gallery, October 12 – 23, 2022, Gallery 1313, 1313 Queen St W. Gallery hours: Wed to Sat 1–5pm, Sun 1–4pm.

The journey: Where it Began

Exploring a tradition of hundreds of years and intermingling it with 6 individual artistic practices would lead you to Propeller Art Gallery in Toronto and their current exhibition, Washi Sisters: A journey. In 2019 an exhibition by The Japanese Paper Place and Propeller Art Gallery, titled The Promise of Sekishu Washi, featured 39 artists, including several members of the, now collective group, the Washi Sisters. Thus, the connections grew and formed. As the COVID-19 pandemic surged, the collective met via Zoom meetings, sharing their experiences and practices of using the traditional material, Washi paper.

Installation view of the Washi Sisters: A journey at Propeller Art Gallery

This Japanese paper is made by hand from three plant barks: kozo, mitsumata and gampi, originally used by Buddhist monks for calligraphy writing in 610. The branches of the trees are cut, cooked, stripped, pressed and left to dry before becoming the type of Washi paper we know and see used in the Washi Sisters exhibition. Each sister has experimented and journeyed down their own paths to meet in the middle for this show, demonstrating varying techniques and skills which they have developed over years of practice. Propeller Art Gallery was given video recorded access to the behind-the-scenes processes which each artist uses to create their pieces for this show. As a collective, most of the artists experiment with konnyaku, a powdered substance which forms a glue when mixed with warm water. This substance, when added to the Washi paper, allows for the molding of the paper when wet, holding it into the many forms we see in the exhibition.

Installation view of the Washi Sisters: A journey at Propeller Art Gallery

The Artists

We begin with Noriko Yamamoto, whose work, Sora, in The Promise of Sekishu Washi, received an Honorable Mention and an Audience Choice Award. Continuing her practice of using Washi papers, she created works varying from masks to Washi tied with copper wires hanging on the walls. Yamamoto’s career as a dancer and silent storyteller inspired the emotive dance performed on opening night of the exhibition at Propeller, The Crane. Wearing a dress made of Heritage Washi, she used her body to express the delicate yet strong, calm yet expressive nature of Washi paper. She is known to use nature and the human body as sources of inspiration, therefore combining the two in performance brought together two sides to her journey of experimentation through a traditional medium.

Noriko Yamamoto, Wavelets #1, String, pigment, wood, acrylic gel, sinker on Sekishu Banshi with konnyaku, 30.5 x 12″

Susan Ruptash finds herself inspired by the individual fibers and translucency of the Washi paper, using it to create forms and shapes resembling the most fantastical of creations. Though self-described as minimalistic pieces, her works in the exhibition each tell individual stories, while showing respect to their natural materials. Her piece 2292 is an example of the expression of the individual kozo fibers of the Washi paper while also providing us with a calendar. 2292 hangs from the ceiling in a resemblance to windchimes, with each strand representing a month from the year 2021; each circle having been made a day from each month. Also having a love for numbers, she titled the piece after calculating the circumference of each circle and multiplying it by 365.

Susan Ruptash, 2292, Sekishu Mare and Sekishu Banshi with linen thread, 74 x 18 x 18″

The artist wrote, “The piece itself is a commentary on how each day in a year seems the same yet each day deserves to be recognized and celebrated.” Her practice is an homage to the beauty and importance of nature’s creations, celebrating and highlighting their smallest details through Heritage Washi.

Dominique Prevost began using Washi paper in 2008 after the owner of The Japanese Paper Place, Nancy Jacobi, provided her with some sample sheets. It was “love at first sight and touch”, as she describes. Prevost experiments with Washi, allowing it to inspire the movement, direction and depth of her artworks. She even refers to Washi as one of her “studio collaborators”. In the Washi Sister Process Video (found on the Propeller Art Gallery web page), she demonstrates a Japanese Suminagashi technique of using multiple brushes to add coloured pigment and drops of dish soap to a basin of room temperature water, before adding the Washi paper on top to soak. Once removed from the basin, the Washi paper reveals a series of colourful forms, which the artist then rearranges to create her pieces for Washi Sisters: A journey. When asked how she decides to rearrange her pieces, she talked about Regalia, stating that, “In my studio, I hang some of my translucent artworks to see how their colours and patterns interact. Over time, I have grown very fond of that way of suspending layers. It’s an ode to daily rituals, the care we take in humble tasks, folding garments, pairing textures and colours. Regalia is like a proud accoutrement, showing its true colours!”

Dominique Prévost, Regalia, Sumi ink, felt pen, acrylic, suminagashi, lino print, wood, guitar string on Sekishu Banshi, Unryu, and Shodo Tosa Gasen, 40 x 30 x 2″

Sharron Corrigan Forrest was introduced to Heritage Washi many times in her artistic career. From fellow experiences of artists, co-curating the The Promise of Sekishu Washi exhibition and taking Washi paper making workshops in Japan, she now uses Washi as a visually expressive format to engage with natural resources. Some of her works, such as Blue Water tie in the memories of time spent outdoors in Northern Ontario while Lake Meditation acts as a sculptural relief in response to the topographical features of that region. She uses varying colours and sculptural processes (made entirely from Washi and konnyaku) to help guide her as she makes her pieces through various techniques. Like several of the Washi Sisters, Corrigan Forrest believes she is constantly learning from experimenting with Washi paper in her art practice. In order to tell the stories of her pieces, she plays with the lighting and the structure of her works to keep it as natural as possible while also applying a natural colour palette. She aims to demonstrate a deep appreciation for her memories and the natural world.

Sharron Corrigan Forrest, Blue Water, Water-based inks with Oguni Snowbleached, Tama, Unryu, Obonai Washi, Konnyaku, 8 x 8 x 3.5″

From a different approach, Sharon Dembo began experimenting with Washi through printmaking. Inspired by the art of dance, she saw Heritage Washi as a way to translate movement into 3-D forms. In seeing how Washi took to coloured inks and encaustic pigments, Dembo began working with a metal mannequin to create some of her pieces for this exhibition. Her work Beehive was made using a honeycomb imprint on the Washi kozo paper, using a technique called frottage or rubbing onto the paper’s surface. Adding the yellow pigment onto a Hotbox, the paper was placed on top and then removed quickly to get the colour and textures we see in her works.

Sharon Dembo, Beehive, Matsuo Kozo Deep Gold, Green, Fukunishi Udagami with encaustic printing, 32 x 21 x 10″

Works such as Corals and Gathering were made with a similar rubbing technique but in Costa Rica, with rubbing against stone surfaces. Dembo wanted to see the response of the Washi paper to conte and watercolor, so continued experimenting with both. All these techniques can be admired throughout her pieces in Washi Sisters: A journey.

Bunni (Barbara) Bresver is the only artist out of the six who did not partake in the original Washi exhibition at Propeller, The Promise of Sekishu Washi in 2019. However, she is just as much an experimenter and artist of Heritage Washi as her sisters. Heavily influenced in her practice by Japanese brush paints and calligraphy, Bresver uses the medium of paper to fabricate books, boxes and other sculptural pieces entirely from Washi paper. Her advice to other experimenters of Washi: never throw away anything! She believes in keeping leftover torn or tattered pieces for later use, stating that you never know when you may need them again. Her work Endurance is an example of this idea. It was made by accident with a candle lighter over her kitchen sink. Meaning only to burn the edges slightly, the work suddenly became engulfed in flames. What remained of the paper was pieced back together to make what we now see in the exhibition. Bresver is inspired primarily by memories. Her work, Wall of Memories, is an interactive homage to individual memories, asking viewers to write down a name, a place or a time in which something happened that had great impact or added great meaning to their lives. Torn pieces of Washi paper can be found on the table below it, open to all who pass through the gallery floors.

Bunni Bresver, Wall of Memories, Taniai Kozo, Taniai Seitaka, konnyaku, 25 x 36 x 3″

The Journey Continues

Though all torn from different cloths, one thing brought these six sisters together: friendship. Enduring the pandemic as a collective, these artists came through it to show us their true artistic passions for using traditional Japanese paper, varying in technicalities and colours, shapes and sizes. Coming together, Propeller Art Gallery has provided a space to allow everyone to experience the true journey of these six artists and the truly magnificent medium that is Washi.

Lex Barrie

Images are courtesy of Propeller Art Gallery

*Exhibition information: Washi Sisters: A journey / Bunni Bresver, Sharon Dembo, Sharron Corrigan Forrest, Dominique Prévost, Susan Ruptash, Noriko Yamamoto, October 5 – 23, 2022, Propeller Art Gallery, 30 Abell Street, Toronto. Gallery hours: Wed – Sun, 1 – 5:30 pm.