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In the Blur series, Brewster explores layered experiences of identity – ones that may bridge relationships to Canada and elsewhere, as well as to the present and the past. She is influenced by vernacular photographs, particularly images of Caribbean Canadians not long after their arrival in this country.
How often do we take note of the strange weather? The artists’ works included in Weather Amnesia offer visual insight into the profound disruptions that are under way. With strangeness becoming the new normal, the exhibition makes us wonder and think about what kind of future awaits us
For his first solo presentation in Canada, American artist Rashid Johnson stages a major new site-specific commission. Entering the Clerestory, we find ourselves surrounded by two monumental tiled panels, each containing an accumulation of nearly one hundred faces.
NADI presents a selection of objects that highlight, through their art-making process, how collaboration and cooperation might interrogate art history and strengthen communities. Through a multi-disciplinary practice–comprising performance, sculpture, and video–NADI engage collaborative and collective action as strategies to challenge essentialist readings of contemporary artworks projected onto Indigenous cultural producers.
First solo show in Canada for the German artist, filmmaker, writer and cultural critic. Hito Steyerl is an acute observer and interpreter of globalized and digitized cultures; her work often blends the personal with the political and irony with seriousness as she investigates how images are created, packaged and consumed.
Margaret Priest's drawings, sculptures, paintings and prints explore the spatial and material qualities of modern structures, reflecting her commitment to insightful observation, personal memory and feminist philosophy.
The interactive installation will be made up of three zones. Beginning at the east entrance of the Daniels Building, visitors will enter a subterranean space through a Transitory Zone or “mouth of the cave,” illuminated with an artificial skylight created via digital technology. Here, visitors will store their belongings and choose from a variety of body wearables or “spelunking gear”.
Using dissonant imagery, fragmented narrative and immersive, sensorial environments, Perry considers the unsettling nature of our times. Often her works respond to personal circumstances that consider the visceral impact of pain, loss, mental health and our shared experience of living in a hyper-accelerated, technologically dominated world.
With a stream of material shifts within individual works—cast, pierced, studded, dotted, painted, coated, carved, and compressed—Katie Bethune-Leamen makes evident these eternal vacillations. The world’s engine feeds on such provisional contrasts: formation and dissolution, presence and resonance, attraction and repulsion.
SPACE invites one artist to produce a yearlong series of images for a public-facing billboard located on the east façade of Mercer Union. Erdem Taşdelen’s Vicissitudes: Act Two (2019) is the second edition in a series of four billboard images commissioned by Mercer Union.
A collaboration between a collage artist and a floral designer, ‘quiet vignettes’ combines both practices to create a subtle — almost evanescent — experience of a balance and poised marriage of two art forms.
The Gladstone Hotel's annual art and design exhibition is back! Come Up To My Room (CUTMR) will transform the entire Hotel with immersive design installations for 4 days only! Happening adjacent to DesignTO and the Interior Design Show (IDS), Toronto is set to come alive with artists and designers.
Composed and tuned, the exhibition manifests as one sonic experience from three sound installations [Diagonale (1988), Waiting Room (2000), Tap (1969-1972)] one screening (Solar Breath (2002), two recordings (Falling Starts, W in the D, 1975) and a piano for Snow’s performance – all sharing the same acoustic space.
A Handful of Dust features a selection of modern and contemporary images from the last 100 years, focusing on the visual representation of dust in photography, both as an element of the everyday and as poetic allegory.
Nir Evron’s film, A Free Moment, reveals a dizzying perspective on the never-completed Jordanian Summer Palace’s concrete bulk and the city sprawling beneath it, suggesting that long-ago political conflicts can have persistent influence, disorienting lives and altering the meaning of public spaces far into the future.
Drawing on archival materials from the Art Gallery of Ontario and artworks from the collection of the Ryerson Image Centre, the exhibition and accompanying publication highlight the gallery’s role in advocating for the cultural recognition of the medium in Canada.
In her current research, Tam investigates the spatial aesthetics of early 20th century North American Chinese restaurants, opium dens, karaoke lounges and curio shops as sites of cultural blending, interaction, misunderstanding and memory consumption.
Daimonic presents a collection of generative drawings born of computer code and made real using a robotic drawing peripheral. Daimon is the ancient, Hellenistic forebearer of the modern term ‘Demon’. Whereas the modern term has come to refer to some abstract malevolent entity the ancient term has a more nuanced and esoteric meaning. A Daimon or Daimonion is interpreted as an entity that mediates between the material and the immaterial realms.
Lorenza Böttner: Requiem for the Norm is the first North American presentation of the work of Chilean/German artist Lorenza Böttner. Lorenza Böttner created over 200 individual works, painting with her feet and mouth and using dance, photography, street performance, drawing, and installation to celebrate the complexity of embodiment and gender expression.
Ka mua, ka muri is a new sound and moving image installation by Aotearoa New Zealand-based artist Shannon Te Ao (Ngāti Tūwharetoa) that explores our experience of time, history and song. At the heart of the exhibition is an acknowledgement of the critical importance of language as a vital means to maintain links to indigenous knowledge systems, culture, and identity.
Working primarily with found textiles and foraged objects, Lewis' works take shape through slow, labour-intensive processes such as carving, quilting and scavenging, drawing on a material and spiritual resourcefulness that has long been significant to black cultural production.
Highlighting her evolution as an artist over fifteen years, Diane Arbus: Photographs, 1956–1971 features 150 photographs and is curated by Sophie Hackett, the AGO’s Curator, Photography. First major solo exhibition in Canada in almost three decades.
Getting The Most From Your Hammer is a series of staged photographs and videos that examine working-class stereotypes of masculinity and manhood.