Cartae Open School Year End Exhibition

2 – 30 June 2017

Launch 7-10pm

Briar Boyko
Danielle Fenn
Jennifer Ilse Black
Kelly Campbell
Sarah Epp

Briar Boyko will be giving a performance during the launch.

 

Annual Curated Student Exhibition

 

 

 

 

 

 

 

 

26 May – 9 June 2017

Bryn Vargas
Danielle Fenn
Carolyne Kroeker
Ekene Maduka
Elizabeth Diamond
James Malzhan

Niamh Dooley
Robyn Adams
Sarah Stewart
Sean Rodd
Sonia Bogaert

 

Image: ‘I put up with you everyday’, oil; 2017. Ekene Maduka.

A Performed response to ‘You Can Never Go Home Again’ | Shelby Wright & Katie Lyle

7pm, Friday 5 May 2017, free

Shelby Wright & Katie Lyle (TO) will be presenting their Critical Distance performance in response to Matthew Gardiner’s painting exhibition, ‘You Can Never Go Home Again’.

Gardiner’s paintings involve ambiguous interiors and exteriors that point towards the complex processes involved in contemporary experiences of place, time, and space.

Given Gardiner’s themes, an embodied response seemed to be an exciting means of reflection.

Katie Lyle and Shelby Wright make movement based work combining their artistic backgrounds in dance, film and visual art. Together their collaborative practice focuses on the development of a shared language of movements and phrases. This system acts as a generative source for creation, problem solving and sharing of experience with each other and an audience.

Critical Distance is a program of aceartinc.’s that involves commissioning artists and writers to respond to exhibits in our Regular Program. The essays are usually in the form of a text. aceart.org/category/critical-distance-essays

Info about the artists:

Katie Lyle works in painting, drawing and performance. Her work uses layering and the residual accumulation of paint to portray the unfixed nature of portraiture and narratives. Selected projects include: The Loon, Toronto (March 2017); G Gallery with Bridget Moser, Toronto; Evans Contemporary, Peterborough; Forest City Gallery with Shelby Wright, London ON (all 2016); Erin Stump Projects, Toronto; Model Project Space, Vancouver; Garden Gallery with Shelby Wright, Toronto; and The Nanaimo Art Gallery (all 2015). Lyle received her MFA from the University of Victoria (2009) and her BFA from Concordia University (2005). She has taught Painting and Drawing at the University of Toronto and the University of Victoria.

Shelby Wright is a dancer and choreographer based in Toronto. Wright’s work explores themes of memory, archive and transference through the body. She has received training from Canada’s National Ballet School, École de danse contemporaine de Montréal, the Limón Institute of New York, and holds a BA from the University of Toronto in Cinema Studies and History. She has presented her choreography in Montréal and Toronto, and has performed professionally in these two cities as well as New York. Wright is certified as Associate Teacher of the Vaganova syllabus from the Society of Russian Ballet.

Born in Montreal, Matthew Gardiner obtained his Bachelor of Fine Art from the University of Manitoba in 2008. Since obtaining his Master’s of Fine Art degree from York University in 2012 Matthew has lived in Montreal QC, Winnipeg MB, Victoria BC and Toronto ON while continuing his studio practice. He is the recipient of provincial and federal grants and art awards. Matthew has recently attended a self-directed studio residency. His paintings have been showcased in publications and included in exhibitions across Canada and the United States. He currently lives and works in Toronto, Ontario.

Matthew Gardiner | You Can Never Go Home Again

13 April – 19 May 2017

Thursday 13 April launch and talk

You Can Never Go Home Again is a series of paintings focused on modern society’s interaction and relationship with the natural world; scenarios that explore concepts of interior and exterior spaces; the artificial and the natural; truth and fiction and how they cohabit the same space. The subjects are a combination of found photographic material and the artist’s own imagination. The process of collaging appropriated photographic material emphasizes the themes of illusion inherent in representational painting; illusions that are both manufactured and broken at the same time. This ongoing series was started in the fall of 2013 in Victoria. B.C. and continued throughout several cities in Canada. You Can Never Go Home Again evokes the artist’s own nomadic experiences and refers to modern society’s inability or unwillingness to return to the natural world.

 

Bio/

Born in Montreal, Matthew Gardiner obtained his Bachelor of Fine Art from the University of Manitoba in 2008. Since obtaining his Master’s of Fine Art degree from York University in 2012 Matthew has lived in Montreal QC, Winnipeg MB, Victoria BC and Toronto ON while continuing his studio practice. He is the recipient of provincial and federal grants and art awards. Matthew has recently attended a self-directed studio residency. His paintings have been showcased in publications and included in exhibitions across Canada and the United States. He currently lives and works in Toronto, Ontario.

 

You Can Never Go Home Again          Matthew Gardiner                                                19 h, le jeudi 13 avril 2017, vernissage et causerie

Jusqu’au 19 mai

You Can Never Go Home Again est une série de peintures qui mise sur l’interaction de la société contemporaine et sa relation avec le monde naturel; des scénarios qui explorent les concepts de l’espace intérieur et extérieur; ce qui est artificiel et naturel; la vérité et la fiction et comment elles cohabitent dans le même espace. Les sujets sont une combinaison de matériel photographique trouvé par hasard et l’imagination de l’artiste. Le processus de collage du matériel photographique approprié met l’emphase sur les thèmes de l’illusion inhérent dans la peinture figurative; des illusions qui sont manufacturées et brisées en même temps. Cette série en cours a débuté à l’automne de 2013 à Victoria en Colombie-Britannique et a fait le tour de plusieurs villes au Canada. You Can Never Go Home Again évoque les expériences nomadiques de l’artiste et fait allusion à l’incapacité ou à la réticence de la société moderne de faire un retour à la nature.  

Translation/traduction : Simone Hébert Allard

Image: Lakeside-Ritual-BC by Matthew Gardiner. Acrylic on wood panel, 20″ x 30″. 2013.

Mujer Artista: Speaking in Tongues

mujer artista

Carolina Araneda | Cecilia Araneda | Francesca Carella | Alexandra Garrido | Monica Martinez | Mariana Muñoz | Praba Pilar | Camila Schujman | Ilse Torres

January 13 –  February 3, 2017

7 pm, Friday January 13  – Opening / Performances
(performances from 8 pm to 9 pm)

2:30 pm, Saturday January 28 – Performances / Artist Talk

Image: Alexandra Garrido – studio – untitled. Performances Fri Jan 13 and Sat Jan 28. http://mujerartista.ca/artist/alexandra-garrido/


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Over two years ago, after a series of conversations between Cecilia Araneda (filmmaker and curator), Praba Pilar (interdisciplinary artist) and Monica Martinez (visual artist), we came up with the idea of participating in an artistic process from the starting point of collective dialogue.

We named this process Mujer Artista.

From our core group of three, Mujer Artista gradually expanded to involve more artists, including dancers Alexandra Garrido, Camila Schujman and Ilse Torres; visual artists Carolina Araneda and Francesca Carella; and interdisciplinary artist Mariana Muñoz.

We are Latin women artists traversing a canon populated by men. We work without privilege. We carry the weight of our cultural histories, that are often brutal and tragic, and burdened with paradoxes. We are visibly different. We are identified as the ‘other.’ We are never quite made to feel at home.

We speak in tongues as we reflect on the contradictions and uneasy mixings which present an underlying quality that finds no easy comfort; our work is extremely personal and it is also the product of complex toil. Ultimately, as you enter into the space you will know each and every one of us artists more personally as people as we speak to you collectively in a manner that may be unexpected.

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We acknowledge the generous support of the Canada Council for the Arts in facilitating the creation of Mujer Artista.

We also acknowledge the support and solidarity of aceart and MAWA: Mentoring Artists for Women’s Art.

Visual Poetics of Embodied Shame | Chun Hua Catherine Dong

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4 November – 9 December 2016; performance: 8pm, 4 November

Visual Poetics of Embodied Shame examines the visual culture of shame in relation to the body, subjects and power in contemporary art. Over the past three years, Chun Hua Catherine Dong has been creating this series of works that integrates performance, photography, video, and installation. Her focus is exploring the visual culture of shame associated with vulnerability in its personal and socio-political dimensions, deconstructing the experience of shame through gestures, moments, and audience participation. In her practice, she considers feminism, globalization, and psychoanalysis, positioning shame as a feminist strategy of resistance — an ethical practice that seeks altered states of consciousness that possibly leads to restore dignity and humanity.

Images from the performance are here.

Listen to the artist talk here.

Visual Poetics of Embodied Shame | Chun Hua Catherine Dong
Du 4 novembre au 9 décembre 2016

Performance à 20 h, vendredi le 4 novembre

Visual Poetics of Embodied Shame examine la culture visuelle de la honte en rapport avec le corps, les sujets et le pouvoir dans l’art contemporain. Depuis trois années maintenant, Chun Hua Catherine Dong travaille à créer cette série d’œuvres qui incorpore la performance, la photographie, la vidéo et l’installation. Elle met l’accent sur l’exploration de la culture visuelle de la honte associée à la vulnérabilité dans ses dimensions personnelles et sociopolitiques, déconstruisant l’expérience de la honte par l’entremise de gestes, de moments et de la participation de l’auditoire. Dans sa pratique, elle aborde le féminisme, la mondialisation et la psychanalyse, et positionne la honte comme une stratégie de résistance féministe – une pratique éthique qui cherche des états altérés de conscience qui pourraient mener à la restauration de la dignité et de l’humanité.

beyond différence, and now | Anna Eyler & Nicolas Lapointe

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Launch and artist Talk – 7pm, 19 August 2016

19 August- 23 September 2016

beyond différence, and now hovers between the tangible world of objects and the ephemeral structures of the virtual. Nicolas Lapointe and Anna Eyler examine the role of digital technologies within contemporary society, probing the connections between objecthood, materiality, and the digital artifact. For Lapointe, physical space and substance are conflated with their virtual counterparts. Material objects recall digital processes, while virtual structures replicate physical forms. Objects linger in non-space, transmitting messages from the void. Likewise, Eyler investigates new forms of subjecthood emerging in our increasingly technologized world. Her works are both inquiries into collective memory and archaeologies of perception. Operating within the liminal space between the physical and the virtual, then, the works in this exhibition function simultaneously as record, artifact, and love letter from an imagined digital future.

 

Image: Anna Eyler / Nicolas Lapointe | When two waves meet traveling | resin, aluminum, cardboard | 96” x 12” x 12”. Courtesy of the artists.

Critical Distance response by Sarah Nesbitt

Artist Talk.

 

beyond différence, and now   |   Anna Eyler & Nicolas Lapointe

Vernissage et causerie d’artiste – à 19 h, le 19 août 2016

Du 19 août au 23 septembre 2016

 beyond différence, and now plane entre le monde tangible des objets et des structures éphémères du virtuel. Nicolas Lapointe et Anna Eyler se penchent sur le rôle des technologies numériques au sein de la société contemporaine en examinant les liens qui existent entre le statut des objets, la matérialité et l’artéfact numérique. Pour Lapointe, l’espace physique et la substance se confondent avec leurs équivalents numériques. Les objets matériels physiques sont l’écho des processus numériques, tandis que les structures virtuelles copient les formes physiques. Les objets flottent dans la non-espace, et transmettent des messages provenant du vide. Pareillement, Eyler examine les nouvelles formes des objets qui émergent de notre monde de plus en plus technologique. Ses œuvres sont des questionnements du monde de la mémoire collective et de l’archéologie de la perception. Les œuvres de cette exposition, situées dans l’espace liminal entre le physique et le virtuel, fonctionnent alors simultanément comme record, artéfact et de lettre d’amour provenant d’un futur numérique imaginé.

Traduction : Simone Hébert Allard

Botched fabrications on the foggy landscape | Alexis Dirks

handsvalentino sml

3 June – 8 July 2016  |  Launch 7 pm, 3 June   |   Artist Talk 6 pm, 17 June

On the edge of suburbia and the infinite North, where the materials inside the hardware store mimic a granite highway: Botched fabrications on the foggy landscape combines the raw material with its faux approximation, the authentic against the aspirational.

How do we locate time through objects? How do we allow images to measure value? Photographs of landscapes become objects and bodies become architecture. The work in this exhibition wonders how to represent deep geological time against human progress and history while recounting the personal experiences of time felt through landscape.

Image: Hands Valentino; Digital C-print, 24 x 18″; 2016. Alexis Dirks.

Du 3 juin au 8 juillet 2016  |   le vernissage, 3 June à 19h   |   Causerie à 6 pm, 17 June

En bordure des banlieues et du Grand Nord infini, où le matériel à l’intérieur de la quincaillerie se déguise en une autoroute de granit : Botched fabrications on the foggy landscape agence le matériel brut avec sa fausse approximation, l’authentique à l’encontre des aspirations.

Comment faire pour repérer le temps par l’entremise des objets? Comment permettre aux images de mesurer la valeur? Les photos de paysages deviennent des objets et les corps deviennent de l’architecture. Les œuvres de cette exposition sont un questionnement sur la représentation du temps géologique profond par rapport aux progrès de l’humanité et de l’histoire tout en racontant des expériences personnelles de temps vécues à travers les paysages.

Translation/traduction : Simone Hébert Allard

The Full Catastrophe | Karen Asher

PeachPit med

15 April – 20 May 2016  |  Launch: 7pm 15 April  |  Artist Talk: 1 pm 23 April

The Full Catastrophe encompasses the all-consuming chaos of life- the highs and the lows, the beautiful and the bizarre: the delirious absurdity of it all. The photographs treat the movement, gesture, abstraction, and exchanges of bodies sculpturally, using equal parts humour and horror to dive into the human condition. The domestic spaces reflect the interiority of anxiety and chaotic intimacies, revealing how these clash, obliterate, or co-habit. The series was inspired by personal illness but soon moved beyond the complexity of Asher’s own experience to explore how we all live inside a catastrophe of one kind or another.

 

Karen Asher is a lens-based artist from Winnipeg whose work explores her obsession with stress, absurdity and the human condition. She received her BFA Honours in photography from the University of Manitoba in 2009. Asher is the recipient of numerous grants and awards, has been written up in several publications including Canadian Art, BlackFlash and Border Crossings Magazine, and has exhibited internationally, most recently at Platform Centre and Feature Art Fair in Toronto. Asher is represented by Lisa Kehler Art + Projects.

karenasher.ca


FRENCH

Du 15 avril au 20 mai 2016  |  Vernissage : le 15 avril à 19 h  |  Causerie : le 23 avril à 13 h

The Full Catastrophe réunit tout le chaos dévorant de la vie : les hauts et les bas, la beauté et le bizarre; l’absurdité délirante de tout cela. Le traitement sculptural des photographies exprime le mouvement, les gestes, l’abstraction et les échanges corporels en se servant de doses égales d’humour et d’horreur pour plonger dans la condition humaine. Les lieux domestiques reflètent l’intériorité de l’anxiété et le chaos de l’intimité, révélant la façon que ceux-ci s’entrechoquent, s’anéantissent ou cohabitent. Cette série fut inspirée par une maladie de l’artiste mais dépassa la complexité de l’expérience personnelle de Asher pour devenir une exploration sur la façon que nous vivons constamment à l’intérieur d’une catastrophe ou d’une autre.

L’artiste Karen Asher de Winnipeg fait du travail photographique qui explore son obsession avec le stress, l’absurdité et la condition humaine. Elle a reçu son baccalauréat en beaux-arts de photographie (avec distinction) de l’Université du Manitoba en 2009. Asher a reçu un grand nombre de subventions et de prix, et plusieurs articles ont été écrits à son sujet dans maintes publications y compris Canadian Art, BlackFlash et Border Crossings Magazine, et elle a exposé au niveau international, plus récemment à Platform Centre et Feature Art Fair à Toronto. Asher est représentée par Lisa Kehler Art + Projects.

karenasher.ca

Translation/traduction : Simone Hébert Allard

 

Image: ‘Peach Pit’, Karen Asher, 2015; C-Print 24″ x 24″.