Category: Review

Grounding at the Art Gallery of Guelph

Review October 20, 2021

By Juilee Raje

While a second provincial lockdown was looming around the corner last winter, my mother and I managed to squeeze in one last visit to the Art Gallery of Guelph. The thrill of getting to see a few exhibitions in person (rather than the tiresome ordeal of clicking through virtual shows online) was much needed. We were restless to get out of the house, the days melting together more insistently than ever. Though I revisited the gallery a few times after, and with different people, this exhibition still sticks prominently in my mind as “the one where we tried to experience an olfactory installation while wearing masks.” 

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The Objects That We Carry: Lorena Salomé at Trinity Square Video

Review October 13, 2021

By Noor Alé

Migrancy, and its generative potential to create a series of movements, is an enduring interest of Lorena Salomé—a Toronto-based Argentinian artist—whose practice employs technology to activate commonplace objects and dismantled electronics to create kinetic works. In Salomé’s exhibition, The Objects We Carry1 at Trinity Square Video, co-presented with Public Visualization Lab in Toronto, she examined issues relating to global migration, gentrification, and eviction through an installation that invited community participation, as well as a series of collaborations with artists whose practices are engaged with travel. 

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when the big E unfurls its tongue: Michael Lachman at CSA Space

Review September 23, 2021

By Alexandra Box

“Man’s greatness is always to recreate his life, to recreate what is given to him, to fashion that very thing which he undergoes. Through work he produces his own natural existence. Through science he recreates the universe by means of symbols. Through art he recreates the alliance between his body and his soul.”
– Simone Weil, The Mysticism of Work, Gravity and Grace (1947)

Late-capitalist mediascapes require the attention of the broader visual world that existed before workers encountered an economic and hygienic reordering due to mass death and unemployment, such as the affordance to some for working remotely. This social and biological decline is making it difficult—at most times, unsafe—to show up in traditional ways for provocation, or a mundane office job. Labour can only benefit from collective reflection, particularly on culture (abstraction, ornament, material, narrative) coming out of charged social and material conditions. Artist Michael Lachman grips onto the strength of fiction and satire as sculptural strategies in his solo exhibition, Let Me Introduce Myself, at CSA Space in Vancouver. Lachman transforms the gallery into a dreamlike office space riddled with stylized artifacts, producing a comedic story told by objects. Technical changes to the gallery space, such as dropping the ceiling height and lining the floor with blue modular carpet, reduced the standing posture for viewers and added to the satirical landscape of “the office.” The exhibition encapsulates the methodical rituals of the nine-to-five workday using comedy, as Lachman steers gallery visitors towards cultural mores, overdetermined ideas of professionalism, and the absurdities of manhood. 

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Structures for the Expanded Plane at YYZ Artists’ Outlet

Review September 17, 2021

By Casey Hinton

It’s a familiar scene used in countless films: the slow drift of bright car headlights shoot through a window, casting diagonally shifting patterns across a dark interior wall. This haunting cinematic moment was replicated in Chris Foster’s solo exhibition, Structures for the Expanded Plane, at YYZ Artists’ Outlet in Toronto in January 2020. The darkened gallery was lit by a single, waist-high spotlight that rotated with a steady mechanical whir in the centre of the room. There was something strangely familiar, yet unrecognizable, in both the piece’s scale and motion—simultaneously a sun, a clock, a searchlight, a lighthouse, a panopticon—a mechanism for both illuminating and revealing. 

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Tie-Dye for Germans at Angell Gallery

Review September 8, 2021

By Stephanie Cormier

Tie-Dye for Germans is an intimate and intensely radiant exhibition of paintings by Janine Miedzik in the Project Space at Angell Gallery. These new works have emerged by bringing together the ways Miedzik has previously approached materials, including a dialogue between her painterly and sculptural approaches to making work. Her combination of painting and sculpture in a spirited, perhaps even comical way, further materializes in the reciprocity between two different methods of working, and ways of seeing. 

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Art for Future Humans: Camille Jodoin-Eng’s Earth Shrine

Review August 30, 2021

By Megan MacLaurin

If the trajectory of our contemporary era is one of environmental destruction, how will this legacy be felt by people 10,000, or even 100,000 years from now? What will these future humans know about us?—that is, if our species manages to survive its own self-annihilating habits at all. One possible way to ensure we will be remembered is through shrines. Across time, shrines have codified and communicated the values of their makers, immortalizing the time and place of their creation by distilling what is considered sacred. 

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Ursula’s Garden at Sibling

Review August 4, 2021

By Alex Lepianka

I am surrounded by two hundred and twenty-two plaster polyps cast in place along the perimeter of Sibling’s gallery floor. The forms, which make up Robert Anthony O’Halloran’s installation Ursula’s Garden, are nippled, bellied and creased, with a rare few still stretching the condoms in which they were cast. Pushed up against the wall or slumped onto the floor, collapsing, tired and erect, the castings demarcate a lively zone within the gallery. There is humour to O’Halloran’s installation, and it hits like a scrap of itinerant latex flung, forgotten and rediscovered in a faraway corner of my bedroom the morning after a low-consequence fuck. O’Halloran’s garden is not the underwater Disney hell that the show’s title references, but neither does it realize a place of oceanic, post-coital peace. Instead, each one of its castings strikes an irreplicable pose, hardened or perhaps exhausted by its once-living desires.

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consciously incoherent: anti-aesthetics & associational networks in ‘fractured horizon—a view from the body’

Review June 15, 2021

By Zach Pearl

The poignance of an exhibition is often measured by its ability to distil a historical moment, letting it hang in the air like luminous vapour. Amongst the media art exhibitions of the last year, perhaps none were more poignant than the eight-part artist video series, fractured horizon — a view from the body, which circulated during the weeks of protest that followed the killing of George Floyd. Curated by Toronto-based curator and editor Yaniya Lee as the culmination of her research residency at Vtape, Canada’s largest video art distributor, an impressive range of works by BIPOC women artists from Canada and the United States were sent out to Vtape subscribers’ inboxes like supplements; weekly injections of perspective and affirmation for all those in the arts community already feeling disheartened amidst the first wave of a global pandemic, and one now imbued with the urgent politics of fighting anti-Black racism and revealing white privilege. Like a shot in the arm, every Friday between June 5th and July 24th, 2020, a new piece would go up on Vtape.org, sometimes elegiac in tone, sometimes documentarian, but all of them anchored in their conjuring of the body politic. Pieces by Buseje Bailey, Richelle Bear Hat, Hannah Black, Deanna Bowen, Thirza Cuthand, Cheryl Dunye, Donna James and ariella tai each, in their own way, worked to reaffirm the vital connection between the social and material factors that constitute a “body” in the contemporary moment and, more specifically, to interrogate the strategies of representation that keep existing power structures in place. 

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Experience and the Object: Experiments in Relational Art & Architecture

Review May 27, 2021

By Laura Beshears

I step slowly into a long corridor of vertically aligned PVC pipes in two straight lines, the synthetic material contrasting with the forest surrounding it. With the view around me obscured by the structure, which grows incrementally taller as I walk through it, I direct my gaze up toward the sky and become attuned to the sounds of twigs breaking beneath my feet and wind whirring through leaves. The path leads to a larger clearing of space – although walls of PVC pipes still surround it – and I join others who had taken the same meditative stroll moments before me. I linger, beholding the canopy of trees above and letting the soundscape of nature envelope me. I exit and find myself back in the forest, but with a different sensibility. Calm and at ease, I take pleasure in having encountered nature through an innovative sensory lens. 

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New Strata at Hearth Garage

Review May 4, 2021

By Angel Callander

The year 2020 was, for many, characterized by forcing our collective attention toward myriad social issues, emphasizing not only their interdependence on each other, but on exploitation and class differences as well. It became clear very quickly that ‘essential’ jobs are the ones that cannot be done from home; they are also the ones with the lowest pay and little to no health benefits or sick days. Large numbers of people already in precarious positions lost their jobs, their income, and for many, their homes. Demands for rent cancellation and mortgage relief, particularly for those in large Canadian cities, underscored the cycle of working people living month-to-month who pay large portions of their paychecks to landlords, most of whom use tenants’ rents as their only income, and who in turn give that money to the bank for their mortgage. But who did the government ultimately bail out? Amidst subsidies for banks, there was never rent cancellation or legislated relief for tenants, just calls from government officials for landlords to “do the right thing.”

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