Oh Terrible Language

Glass Armour: Fragile Shields: Karen Justl
December 6 , 1997 – January 10, 1998

a response to the exhibition by Susan Chafe

TITLES: Soft Target; the dimming vision; oh terrible language; long in the tooth, ribs removed to identify position in the cavity of the chest; a ghost pain; articular motives; disarticulation; mask to identify virtue; not listening; a thing that hinges hold; sentimental resignation; slitting my memory on a poetry of glass shards; dislocated pressure; if you were oyster and your teeth pearls; can you see, a pool of frozen water on the moon, intention exists before language.
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Outlaw Mythology and Postmodern Purgatory

Photogenic and Lost: two performances by Grant Guy
November 27 – 29, 1997

a response to the exhibition by Sharon Alward

“To learn truly what each thing is, is a matter of uncertainty.”
( Democritus 500 BCE)

Democritus, the laughing philosopher, suggested that the soul is a form of fire which animates the human body and that pleasure along with self control was the goal of life. His statement that we know nothing truly about anything, but that for each of us, opinion is an influx conveyed by the influx of idols from without is at the heart of the evening of performances by Winnipeg artist Grant Guy.
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Critical Distance

Captive and Absent: Lori Rogers
October 29 – November 22, 1997

a response to the exhibition by Vera Lemecha

At the end of this century, technology is taking the place of what we have defined previously as nature. It is the environment in which we are situated and against which we measure ourselves. Rogers’ use of nature speaks not of a desire for reconciliation with the natural, but investigates our situation in the late twentieth century in which the technological has become the natural. Many of us engage daily with technology – automatic bank machines, voice mail, cel phones, electronic mail, the Internet, computer games, word-processing, and so on. In a very short time the use of these technologies has become so much a part of our daily lives that it is difficult for us to fully comprehend our relationship to them and to the way our relationship to the world has been mediated through them. Allucquére Rosanne Stone, restating Marshall McLuhan’s pronouncement, “the medium is the message,” indicates that it is hard to see what technology does because what it does is silently and pervasively restructure seeing.¹ Rogers’ investigation has to do with a venture Stone describes as “not into the heart of ‘nature’ in search of redemption, but rather into the heart of ‘technology’ in search of nature – and not nature as object, place or originary situation…[but] as a continual reinvention and encounter actively resisting representation.”² Continue reading

Name This Bird: Winnipeg Beach


handmade multiples
Artist’s book by Susan Chafe and Donnelly Smallwood.

Observing journeys to the beaches and rivers as places of reflection where time expands into history, the artists have created Name This Bird – Winnipeg Beach, an image/text ‘notebook’ comprised of a poetic thread of impressions about language and memory.

To sow


edition of 200
Artist’s book by Jake Moore

Moore’s to sow was originally presented as an off-site exhibition in September 1996 at 284 William Ave. Moore used an unbound book format comprised of images and texts to convey the relationship between culture and environment and the precarious artifice of history, identity and economics. Now in the collection of the Victoria and Albert Museum, London.

Max and Ruby’s Fortune


press run of 200
Artist’s book by Brenna George.

Drawing on the lives of two manic depressive people, the artist explores the effects that personality/mood swings have on others and the environment around them. Now in the collection of the Victoria and Albert Museum, London.