Tag: toronto

To Move; To Struggle; To Live;

Response December 20, 2021

By Kalina Nedelcheva


To Move; To Struggle; To Live;
Unspeakable truths— Capture my soul, It is negation;
I'm drowning, Twisted in thoughts of a present singularity That is a sovereign to my being.
Searching for a mediation between What is right and what is wrong— It exists in the crevices:
Beauty and the grotesque I am told these are universal truths, Of reality.
But they are absent, Like bird songs in winter; Reverberations of hope—
Unknown; To me, they are Escaping my ego which is
Broken. Lost in translation. Dead.
Are these abject apologies Truth or Lies
That ring in my ears… Is it my comfort, That stops the heart;
Belonging to those who struggle? Weighted down by all that is known? Venerated spectres
It is impossible For the cruel and insidious, The holy and benevolent that transition
To follow these narratives These spectacles of chaos… To the depths of the psyche
One relies on destruction, Resonating loudly, Like a cacophony of crumbling realities
To create meaning… Is to captivate; A distraction wasted on
The Drowned; The Saved— The human and nature;
There is no difference Only devastating similarities The sameness of the damned;
As moments Are captured, Histories are written, they are
Passing through time, unnoticed; Screaming for remembrance;
Unmarked and unidentified. They swirl like typhoons; But no one notices…
The ugliness diverts the eyes, Intertwined in devastation— We move on,
Change course; Somewhere close to truth again We forget who we are;
No one wants to look in detail Into the chasm Of human origin,
Because there lies the promise of Resilience; We don't know what to make of it
self-destruction Is The only answer—
A ticking bomb, Waiting… To erase;
Waiting to implode; To take my captured soul with it, And forget;
To devastate, Those who are left are Negations that propel you to oblivion,
And the only thing that stands in the way— Expecting The rejuvenation of life is
time. A return of what is lost. Gone.
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Democracy has Fallen: Howie Tsui at The Power Plant

Review December 4, 2021

By Jacqueline Kok

Democracy is said to be under threat in various countries across the world, such as the United States, Brazil and Venezuela. Political leaders like Trump, Bolsonaro and Maduro have been heavily scrutinized for their divisive policies that have caused political unrest. In Hong Kong, the people face a similar situation: protesters routinely occupy the streets, brawling with riot police. They fight against the Chinese Communist Party (CCP) and the enforcement of laws and security measures that go against liberal democracy. To outsiders unaware of the turmoil, Hong Kong is unruly and violent. To insiders, Hong Kong is in a “state of exception,” sitting at “a threshold of indeterminacy between democracy and absolutism,”1 where, on the latter end, the CCP holds central authority. Laws become slip- pery when acts of violence that are normally condemned, like police brutality, are passed by the current Pro-Beijing government. In these kinds of fragile moments, where past governing systems could rapidly shatter at the hands of a current ruling government, one can’t help but begin to wonder: would anarchy, even with its implications, provide possible solutions to a jeopardized democracy?

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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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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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The shape of your face, the speed of your speech

Response May 14, 2021

The Toronto Experimental Translation Collective (TETC) is a group of six artists and thinkers: Benjamin de Boer, Nicholas Hauck, Fan Wu, Eddy Wang, Yoyo Comay, and Ami Xherro. The collective first met and lived together at Artscape Gibraltar Point on Toronto Island in summer of 2020. Since then, they’ve been exploring the possibilities of collective translation. Their latest residency was in Qualicum Beach on Vancouver Island. They are recording an album to be released this year.

In this live garden interview conducted in Fall of 2020 around a suspended microphone, Xherro and the rest of the collective discuss alterity, meaninglessness, intuition, transcription, and zoology.

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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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