Tag Archives: hearthgarage

“We want to hear your narratives,” is the statement that introduces the online exhibition Erotic Awakenings presented online by Hearth Garage. The ongoing virtual exhibit is an archive of personal erotic awakening stories that were collected, written, and submitted by various named and anonymous contributors—a result of a collaboration between curator Fan Wu and Hearth founders Rowan Lynch, Sameen Mahboubi, Philip Ocampo, and Benjamin de Boer. The series of written poetry and stories approach the very personal and vulnerable experience of sexual awakening from the seemingly dichotomic elements of innocence and carnality. The three-volume collection of texts reminds the reader of universal truths, which are often comedic in nature, found as a result of the vulnerability of sharing personal narratives. Personal, intimate, and voyeuristic, the project mirrors the idea of online forums yet is more tailored in subject and composition. Writing and eros converge in the retelling of lives transformed by an erotic experience, each story expanding on the limitations and freedoms of sexuality. Interestingly, the accounts and memories collected occur from varied points in the subjects’ lives, breaking the popularized mold of the linear development of sexuality within childhood at the onset of puberty, or another coming-of-age narrative. 

By Dana Snow

The Moon is the eighteenth card in the traditional Rider-Waite Tarot deck. When the Moon reveals itself in a reading, it signifies that a time of reflection, intuitive dreaming and evolution lie ahead. The moon whispers softly to us and guides us to the gates of the unknown, insisting on a balance of light and darkness. Moonshow, curated by Tkaronto-based collective Hearth, and exhibited at the plumb in the city’s midtown, lapped at the viewer’s consciousness like the moon pulls the tide: reflection, cyclical repetition and vibration act as guiding forces through the serpentine project space. The exhibition was on view from January 9th until February 7th, 2021, a time that could only be described as desperate in terms of Tkaronto’s COVID-19 crisis. This show underscored the importance of embracing darkness in dark times, offering a respite to the ever-climbing numbers in the crowded city with saccharine appeals of “hope” that other contemporary exhibitions did not.

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.”