Making Methods: Becky Ip, Samantha Mogelonsky, Mark Stebbins
The Robert McLaughlin Gallery, Oshawa, Ontario
Until November 3, 2013
Opening Reception:RMG Fridays, September 6 from 7-10pm

The works in Making Methods focus on concepts of repetition, detail, and labour as a means of production. They arise in an era when rapid digital and non-physical experiences are commonplace. In this exhibition, art by three emerging Toronto-based artists demonstrate a deliberate engagement with the physical, through material. This modernization of craft-based processes could indicate an increased focus on hand-rendered art.

Although each of the artist's work is steeped in process, it is not, however, the process alone that makes their work compelling. Becky Ip's video To cry (of birds) draws on her family history. The artist's meticulous research, followed by graphite drawings, which are then translated to illustrations on birch plywood and filmed, along with live action sequences on 16mm, create a final work that is a dream-like and very personal portrait of the artist's family history. Accompanying the film is a paper sculpture installation, each piece intuitively cut and folded.

Mark Stebbins' paintings deal in the art of the error—the glitch. His meticulous process is a manipulation of material, which includes paint and ink, allowing us to draw comparisons to digital images as well as textiles such as knitting and embroidery. The result is works of incredible detail and colourful pattern that celebrate a tension between accumulation and corruption of data. (Follow Mark on Facebook)

Samantha Mogelonsky's sculptures are experiments in material and labour, each made with disarmingly excessive method. In one example, the artist works with sequins, sewing pins, and a document tube, creating an object that at first glance is smooth and soothing, but upon closer inspection reveals an interior that is sharp, overlapping, and dangerous. Mogelonsky re-presents the sculptures in a series of photographs of their interiors to hallucinogenic effect. (Follow Sam on Facebook)





Though this exhibition reveals the "type" of process by which each artist produces their work, the significance of their practices is revealed through the artists' individual sensibility and intent. - Curated by Linda Jansma.

A 72- page catalogue accompanies the show, featuring colour photography and essays by curator Linda Jansma and writer Darryn Doull. The catalogue will be available for purchase from The RMG Bookstore, as well as through ABC Art Books Canada.

Making Methods will travel to the Judith & Norman ALIX Art Gallery in Sarnia, Ontario, in Spring 2014.

For further information and media inquiries, please contact:

Jacquie Severs, Manager, Communications & Social Media
JSevers@rmg.on.ca or 905-576-3000

The Robert McLaughlin Gallery
72 Queen Street, Civic Centre, Oshawa, Ontario, L1H 3Z3
www.rmg.on.ca
Follow The RMG on Twitter | Fan on Facebook | Read the Blog

Gallery Hours:
Monday to Friday 10am-5pm | Thursday 10am-9pm | Saturday and Sunday - 12-4pm

The artists and The Robert McLaughlin Gallery gratefully acknowledge the support of The Canada Council for the Arts, The Ontario Arts Council and The City of Oshawa.





Top Image: Top Left: Samantha Mogelonsky, Pin Spiral I, 2012. Bottom Left: Mark Stebbins, The Gleaners, 2013. Right: Becky Ip, Tower and Flight (detail), 2012. Images courtesy of the artists.
Middle Image: Gallery installation. Courtesy of the Robert McLaughlin Gallery.

Shannon Collis: Overtones
September 13 – October 12, 2013
Artist Talk: Friday, September 13, 2013, 6:00-7:00 pm
Opening Reception: Friday, September 13, 2013, 7:00-9:00 pm




Shannon Collis, Frequencies, 14 lithographs, 14" x 14" each, 2012.

Open Studio is pleased to present Overtones, an exhibition by Baltimore, MD-based artist, Shannon Collis from September 13 – October 12, 2013. The exhibition is accompanied by a text by Toronto, ON-based sound artist, Darren Copeland.

Overtones features a series of ongoing experiments that explore the relationship between sound and visual form. Collis investigates the sonic behaviors of different material surfaces when agitated by a variety of kinetic, mechanical devices. The project consists of simple systems that explore the expressive character of audible visual phenomena and the relationship between the drawing substrate, the printed mark, and sound. The work expands on methods from a traditional printmaking practice by highlighting the acoustic traces of material process. Small mechanical drawing devices act as tools to etch the surface of metal plates and other substrates. The resulting images reveal both the dense layering and subtle patterns of movement. These images are shown together alongside their related acoustic-mechanical devices. Both elements evolve through a series of stages, a process of translation and exchange between artist and technologies. Collis has developed interesting ways to interact with sound on a physical level, to make audible the visual qualities of mechanical and hand-generated marks. She hopes to maintain the expressive and intuitive nature of the print/drawing process, including the descriptive aspect of different drawing methods and the spontaneity of mark making. This can be reflected in the rich layering and complexity of marks.

Shannon Collis is a Canadian artist residing in Baltimore, MD. A graduate of the Master of Fine Arts program at the University of Alberta, Edmonton, Collis is also completing research at Concordia University in Montreal in the area of Digital Media and Computation Arts. She is an Assistant Professor of Art at the University of Maryland, where she teaches Digital Foundations and Print Media. Her studio practice focuses on creating installations and interactive environments that explore various ways in which digital technologies can transform our perception of audio and visual stimuli. Her work has been exhibited across North America as well as in Europe, Asia and Australia.

Showing Concurrently




Selected images from George Walker's Conrad Black: A wordless biography told in 100 wood engravings.

George Walker: The Image of Conrad Moffat Black, Baron of Crossharbour — A Wordless Narrative
Print Sales Gallery

Of all the people who represented the establishment in Canada, Conrad Black is one of the most outspoken and charismatic characters representing the elusive 1% of society. He is a public person of international stature who at one time was a media baron of great power and wealth. George Walker's wordless narrative is about his rise and fall and the parade of images that surround his story. It is a story of wealth and power and how it appears in the media and the larger cultural theatre. It is a story of how power and authority are seen and represented and how we read the images of a life and interpret a story from what we see. Some of the images are referenced from media resources and others are invented. Each image is hand engraved on the endgrain of Canadian maple wood. The story is wordless in the traditional sense, but the engraved image is the text; the story exists like a silent picture with the reader interpreting the narrative. The visual story is an anomalous form of reading with its own unique grammar — the irony, of course, being that Conrad Black is one of the most verbose and literate men in the public sphere.

George A. Walker holds an MA in Communication and Culture from Ryerson and York University. He was elected to the Royal Canadian Academy of Arts (RCA) in 2002 in recognition of his achievements in Canadian Book Arts. He is an Associate Professor at OCAD University where he teaches book related arts in the Printmaking program. He is the graphic novel acquisitions editor for the Porcupine's Quill and has six titles in print with them. Since 2000 he has worked as designer and artist for Firefly Books Ltd. He has over 25 years of experience in publishing both with large commercial publishers and private presses. He is the author of the popular how-to book, The Woodcut Artists' Handbook (Firefly 2005) now in its second revised edition (Firefly 2010), and is recognized for his art history book on wordless novels, Graphic Witness (Firefly 2007), which has sold over 16,000 copies. Since 1984, his letterpress printed artist's books have been collected internationally by institutions such as the University of Toronto, Morgan Library and Museum (NY), Columbia University (NY), Princeton University (NJ), and the Victoria and Albert Museum (London, UK).

Kaleena Stasiak, Pink Doormat II, etching with chine collé, 22" x 30," 2011.

Kaleena Stasiak: New Work
George Gilmour Members' Gallery

Kaleena Stasiak is fascinated by the ways in which people attempt to transcend loss. In a society that typically sugarcoats or ignores mortality, she forces us to confront it. Stasiak's work shows a continual presence of her interest in craft and women's work and its representation of the creative potential of life.

Kaleena Stasiak attended OCAD from 2004 to 2008. During this time she spent 6 months printing at the Ecole Nationale Superieure de Beaux Arts in Paris, France. After graduation she began printing at Open Studio. She completed a Summer Residency in Printmaking and Book Arts at the School of Visual Arts in New York, NY in 2010, and spent a month printing in the studios at the Nova Scotia College of Art and Design in Halifax, Nova Scotia in 2011. Her work has been exhibited in Canada, the United States, and internationally.

Zavi Lerman
Varied Editions: Open Studio Members' Online Gallery

An initiative of Open Studio's Membership Committee, this online art gallery showcases the work of Open Studio members on a rotating basis.

Open Studio gratefully acknowledges the support of the Canada Council for the Arts, the Ontario Arts Council and the City of Toronto through the Toronto Arts Council. Open Studio also acknowledges the generous support of its members and numerous foundations, corporations and individuals.

Open Studio
401 Richmond Street West, Suite 104
Toronto ON M5V 3A8
416-504-8238
office@openstudio.on.ca
www.openstudio.on.ca

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Please join Oakville Galleries to celebrate our fall exhibition openings on Sunday 15 September from 2:30 pm–3:30 pm at Oakville Galleries at Centennial Square (120 Navy Street), followed by a reception at Oakville Galleries in Gairloch Gardens (1306 Lakeshore Road East) from 3:30 pm–5:00 pm. Need a ride to Oakville? Get on the ARTbus (details below).

Kelly Jazvac: PARK

15 September – 17 November 2013
Oakville Galleries in Gairloch Gardens

Kelly Jazvac, Salp, 2012. Courtesy of the artist and Louis B. James, New York. Photo: Dave Kemp.

Over the past several years, London, Ontario-based artist Kelly Jazvac has worked primarily with discarded adhesive vinyl gleaned from the printing industry. While the vinyl will never degrade, the advertising messages it carries—and thus its value—quickly expire. She transforms large-scale, glossy images into creased, bulging, strangely seductive sculptures that drape and droop across the gallery, poignantly reflecting on obsolescence, the false promises of consumer culture and the pleasures of "dumb" abstract forms.

In PARK, her first solo museum exhibition, Jazvac responds to the distinctive context of Oakville Galleries in Gairloch Gardens with a suite of recent sculptural works, videos, found objects, and a new site-specific wallpaper installation. This latter project stems from a photo shoot that Jazvac undertook in one of the Gairloch Gardens ponds, with key props from that shoot reconfigured into another installation also on view.

Jazvac's exhibition wittily reflects on the artifice inherent to environments like gardens and parks, sites that—despite their contrived relationship to nature—provide spaces of beauty, contemplation and reprieve. With unrestricted views of the carefully manicured gardens visible through the galleries' windows, PARK stages a dynamic interplay of colour and shape, organic and manufactured, real and virtual.

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Surface Tension
Matthew Buckingham, Nina Canell & Robin Watkins, Youngmi Chun, Kelly Jazvac, Sreshta Rit Premnath, Jimmy Robert, Mark Soo

15 September – 17 November 2013
Oakville Galleries at Centennial Square

Matthew Buckingham, Image of Absalon to Be Projected Until It Vanishes, 2001. Courtesy of the artist and Murray Guy, New York.

Over the past decade, digital media has transformed how we take pictures, how existing images circulate in the world and how histories are written. While many artists have questioned where to locate images in our contemporary context, their ongoing presence in museums and galleries underscores that—alongside more dematerialized forms—images remain with us physically.

Surface Tension presents recent works by Canadian and international artists that readily engage with this persistent materiality. In particular, the works here share an interest in the surface of the image and its susceptibility to intervention. From the rough texture of newsprint to the semi-gloss of a snapshot to the sheen of advertising vinyl, it is surface that establishes our encounter with every image. When that surface is unsettled—as happens to the works on view in this exhibition—new relations between images and objects emerge.

Moving beyond the traditional framework of photography, the meanings of the works in Surface Tension are not limited to the subjects of individual pictures. Instead, meaning is made through strategies of assemblage, with images expanded, illuminated or even undone as they assume material form.

Guest-curated by Jacob Korczynski.

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ARTbus: Exhibition tour to the Museum of Contemporary Canadian Art, Art Gallery of Hamilton and Oakville Galleries

Sunday 15 September 2013, 11:30 am-5:00 pm
Pick-up and drop-off at MOCCA (Hart House, University of Toronto)

$10 donation includes admission to all galleries and afternoon refreshments

For reservations, contact artbus@oakvillegalleries.com or 905.844.4402 ext. 27 by Friday 13 September, 4:00pm.

Ride the ARTbus and discover some of the fall's best exhibitions in the GTA!

Our fall ARTbus begins at MOCCA with a tour of David Cronenberg: Transformation, featuring six new TIFF-commissioned artworks by Candice Breitz, James Coupe, Marcel Dzama, Jeremy Shaw, Jamie Shovlin, and Laurel Woodcock. Participants can also visit Camille Henrot: Gross Fatigue, on view at MOCCA as well. The ARTbus continues to the Art Gallery of Hamilton for a tour of Jennifer Marman and Daniel Borins: The Collaborationists. Finally, at Oakville Galleries participants will visit Surface Tension at Oakville Galleries at Centennial Square, and Kelly Jazvac: PARK at Oakville Galleries in Gairloch Gardens. For more information, visit www.oakvillegalleries.com.

This event is generously supported by Trafalgar Brewing Company and Whole Foods Market, Oakville.

Oakville Galleries has two locations:

Oakville Galleries in Gairloch Gardens is located at 1306 Lakeshore Road East, 2 km east of downtown Oakville. Opening hours are Tuesday to Sunday 1:00 pm–5:00 pm.

Oakville Galleries at Centennial Square is located at 120 Navy Street in downtown Oakville. Opening hours are Tuesday to Thursday 12:00 pm–9:00 pm; Friday 12:00 pm–5:00 pm; Saturday 10:00 am–5:00 pm; Sunday 1:00 pm–5:00 pm.

Admission by donation.

For more information about Oakville Galleries, our exhibitions or programs, please call 905.844.4402 or visit www.oakvillegalleries.com.

Oakville Galleries gratefully acknowledges the ongoing support of the Canada Council for the Arts, the Ontario Arts Council, the Ontario Trillium Foundation, and the Corporation of the Town of Oakville, along with our many individual, corporate and foundation partners.

Concordia University's FOFA Gallery presents

Sol LeWitt Wall Drawings #103, #123A, #1099 and #394
Facilitated by Anthony Sansotta
York Corridor and Sainte-Catherine Street vitrines and the VA Building

All Betting and Cashing
Kyla Chevrier
Main Gallery

J'vas t'attendre
Alexandra Côté
Black Box

Supply
Candice Davies
Main Gallery

Sol LeWitt Wall Drawing 289 - Fourth wall composite 1978

Drawing production:
September 3 to 12 (open to the public)

Exhibition:
September 3 to October 25, 2013
Vernissage: Thursday, September 12, from 5 to 7 p.m.

Guided tour of the LeWitt Drawings:
Anthony Sansotta in conversation with François Morelli
Thursday, September 12, from 4 to 5 p.m.
Starting from the VA Building 2nd floor

Where:
FOFA Gallery, Faculty of Fine Arts, Concordia University
1515 Ste. Catherine Street W., EV 1.715
(Metro Guy-Concordia)

Visual Arts (VA) Building, Concordia University
1395 René-Lévesque Blvd. W.
(Metro Lucien L'Allier)

Montreal, Quebec

Gallery Hours:
Monday to Friday, from 11 a.m. to 7 p.m.

Information:
FOFA Gallery or 514-848-2424 ext. 7962

Cost:

Free admission. Everyone welcome.

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Sol LeWitt Wall Drawings #103, #123A, #1099 and #394*
Facilitated by Anthony Sansotta
in partnership with Drawing LAB Dessin

Four Sol LeWitt drawings will be produced with the participation of 27 student artists under the guidance of Anthony Sansotta. Mr. Sansotta has worked on and had a supervisory role in every major retrospective of LeWitt's wall drawings, which include most major museums in America and Europe. He is currently the artistic director of the LeWitt Estate and is involved in the creation of The LeWitt Wall Drawing Center at Yale University. His understanding and implementation of LeWitt's conceptual aesthetic gives him a special insight into Sol LeWitt's views on art and his cultivation and support of emerging artists.

The installation of the LeWitt drawings at Concordia is not intended to memorialize a modernist but to vivify and refocus the principles enacted by LeWitt of educator, mentor and colleague while performing at an exceptional calibre of production within the fine art world of exhibition. In this way it is appropriate as the first public event of the Drawing Lab Dessin at Concordia University. The Drawing Lab is a research collective dedicated to the continued production, examination, and inquiry into the expanded practices of drawing in recognition of the continued relevance and rigour inherent in drawing.

A series of adhoc critical conversations and responses will be hosted in the gallery throughout the exhibition focusing on ideas such as; artists' labour, permanence and performative gesture, from the avant-guard to canon. Dates TBC

*Dates of individual drawing exhibition runs are variable, please check the gallery website for additional information

All Betting and Cashing Kyla Chevrier

In making a wager we extend an invitation to risk, relinquishing control but creating the opportunity for gain. There is something tempting about taking a bet, something that charms.

A wager once placed is deliberately incomplete, its resolution open to all the hazards of chance. Ideas, and even individuals can possess the same ambiguous quality of the gambler's gesture, as can physical spaces.

In such spaces, expectations of function and formality are purposefully blurred. The form is open ended but detailed to offer a viewer the opportunity for a constellation of projections and interpretations.

How does an interior space affect a conversation or the specific scale of a table affect a meal? These are small but important and observable discrepancies. This is not a judgment of taste but about unpacking regulation and exploring physical and psychological boundaries within an imagined field.

Two planes are constructed within the space. Each performs a different and contradictory role affecting the conditions of the room and the subjective physiological experience of the viewer. The planes are not autonomous; rather they generate one form within the frame of the room and share that space with the viewer.

Architecture is often meant to serve the best interests for the public; simple roles such as shelter or more complex aesthetic, social, or political functions. As a sculptor, Kyla Chevrier is interested in frustrating the expected conditions of space, and complicating them further through colors and narrative.

J'vas t'attendreAlexandra Côté

J'vas t'attendre, (I wait for you), is a 20-minute video that explores the longing implicit within a distance relationship. The circumstance of Alexandra Côté's husband awaiting his permanent residency status in France left her with only his clothing in storage in her Montreal home. In an action that recuperates the presence of the absent lover and his contact with her skin, the video documents a performance of transformation as she puts on layer after layer of his clothing. There is a shift in our perception of her as she seemingly expands and refigures herself in his absence. The action makes palpable the presence of absence – her actual body, now padded and large in a white framing field, is hidden from view, encased in his clothing, it is her second skin.

Supply Candice Davies

Candice Davies remakes objects of the everyday using art historical methods and materials like carving cinder blocks from marble and insulating foam from exotic wood. For the FOFA Gallery, Davies has replicated our most commonly used office supplies. Her work aims to draw attention to the layers of generic and lived meaning within the space of the gallery by engaging the viewer in an unexpected encounter with objects.

At first glance, the replicated objects seem unremarkable. But, with attention or attempted use, their deviations from the original mass produced objects becomes apparent. The objects have a slightly off kilter appearance, their weight is different and they lack the familiar functions of the mimicked objects. What remains are objects that visually fill the role of original object emulated, set on display on the functioning counter and desk area replacing their original objects, becoming a stand in for the "real."

Through the simulation the replicated objects follow in the tradition of the trompe l'oeil or Jean Baudrillard's Enchanted Simulation where replicated objects become "falser than false where by pure appearances they have too much reality," in turn objects become hyper-real.

Through replication in alabaster stone such manufactured objects are elevated to status of the ornament, becoming precious and now of increased value. These replications mimic the effects of the real, but are subverted by lacking function. With the use value removed these replicated objects are further re-positioned within the territory of the ornamental.

the promise that tomorrow made yesterday
Carrie Perreault
Exhibition continues to Sept. 16

Carrie Perreault's "the promise that tomorrow made yesterday" is an installation comprised of approximately 40 rubber, latex, and gold glitter chickens between 30-45cm in length. The chickens are presented in the window in three tiers and mimic the displays of local BBQ chicken and duck restaurants often found in Southeast Asia, and in shop windows common in Toronto's own Chinatown. These chickens hang from custom made hooks that fit around their necks and clasp between their legs, holding them in place, exposed and ready for public consumption. This work was created and explored in Cambodia where promises of a brighter tomorrow are made with the frequency and accuracy of horoscope predictions. (The artist is a Gemini born in the year of the Horse.)

Stantec Window Gallery
24 Spadina Avenue Toronto, ON
www.stantecwindowgallery.com
windowgallery@stantec.com

James Carl
12 September to 12 October 2013
Opening Thursday 12 September from 6 to 8

Diaz Contemporary is pleased to announce a solo exhibition by James Carl. In a suite of new sculptures, Carl continues the material and conceptual explorations set out in his jalousie series, begun in 2006. This will be the gallery's second major exhibition of the work of this celebrated Toronto-based artist.

The jalousie sculptures are made by weaving slats from venetian blinds in a conventional three-way pattern. The hollow volumes and perforated surfaces of the resulting sculptures are unapologetically optical and unmistakably more than meet the eye.

The five new works for this exhibition are increasingly overt in their allusion to the human figure, stretching and reclining in suggestive gestures. Their implied movement, overt sensuality and emphasis on engaging negative space make clear reference to the modernist sculptures of Moore, Arp and other canonical figures of the 20th century.

James Carl's work has recently been exhibited at the Albright Knox Gallery in Buffalo, the Contemporary Art Gallery in Vancouver and the National Gallery of Canada. His work is featured in numerous important public collections in Canada, as well as many notable private collections in Canada, the US, Germany, France and China. In 2012, Carl's public sculpture, thing's end, was unveiled at the Toronto International Film Festival's Bell Lightbox. Carl is also a full time professor at the School of Fine Art and Music at the University of Guelph, Ontario.

For more information please contact us:

Diaz Contemporary
100 Niagara Street (at Tecumseth)
Toronto, ON M5V 1C5
416.361.2972
www.diazcontemporary.ca

Gallery Hours: Tuesday to Saturday 11 to 6, or by appointment

26

presents:

Mike Badour: Wrong But Close




Champagne, 2013, oil on canvas, photo credit: Mike Badour 2013

In this, the inaugural exhibition at 26, we are playing the numbers. Mike Badour makes sense of painting by creating elaborate and invisible systems that lead him through a sequence of actions. The results add up to paintings which are deceptively simple, a combination of meticulous and humble, works that unfold slowly. Just the thing for a quiet Saturday afternoon.

About the Artist:
Mike Badour is a Toronto based artist, whose practice focuses on skepticism of trusted universal signs and systems; numerical sequences, calendars, units of measurement, ecosystems, the formal language of text and design. He is equally skeptical of the compositional rules he creates to make his own paintings. All of this is an attempt to rearticulate and extend the understanding between observer, sign, and meaning, creating a systematic route towards self-expression.
www.mikebadour.info

credit: Shawn Sagolili 2007

About 26:
26 is a domestic viewing space for contemporary art in the Beaconsfield neighbourhood of Toronto, Canada. Featuring an open program of diverse local and international artists, 26 will engage the viewer in a critical and relaxed experience with art. Launching in September, 2013, 26 is the first curatorial collaboration between artists Nicole Collins www.nicolecollins.com and Michael Davidson www.michaeldavidson.net

26 Mackenzie Crescent
Toronto, ON, M6J 1T1
Saturdays, 12-6
416 346 3246
email: 26artspace@gmail.com
tumblr: http://26artspace.tumblr.com/
facebook: https://www.facebook.com/26artspace?ref=hl

SpeakEasy is pleased to introduce:
SpeakEasy Contemporary

SpeakEasy Contemporary is a newly formed collective that aims to unite and celebrate the accomplishments of outstanding artists.

Dedicated to promoting individuals at all career levels SpeakEasy Contemporary provides important opportunities for it's members to present their work to a global audience through the participation and involvement in international Art Fairs across North America, Asia, and Europe.

Please join us for the Inaugural Group Show

5 STAR

September 26 - October 6th

Opening Reception: Friday, September 27th, 7-10pm
Nuit Blanche: Oct 5th (open 7pm-7am)

Participating Artists:
Raw'n Wild
Susan Szenes
Christopher Knights
Margaret Glew
David Brown

Location:
AWOL Gallery
78 Ossington Avenue, Toronto

Gallery Hours:
Thursday-Saturday 12-6pm, Sunday, 1-5pm

For more information please visit
SpeakEasyComtemporary.com

VSVSVS: space mods
Exhibition: September 21 – November 3, 2013
Opening: Wednesday, September 25, 7:00pm

Cambridge, ON– space mods is an exhibition of recent works by the Toronto-based artist collective VSVSVS. The exhibition questions the formal roles of the artist, the curator, and the institution. It highlights the collective's fascination of how we manipulate the spaces we live/work/exist in to meet our needs and whims. space mods fetishizes the oddities within VSVSVS' communal living space: a warehouse sectioned into a gallery space, individual studios, a collective workspace, and living quarters. The collective presents these idiosyncrasies as a series of humorous objects, and romanticizes many of the structural peculiarities that exist within their environment. Objects included in this exhibition stem from the VSVSVS warehouse and respond directly to the physical space of the gallery. Through the introduction of domestic elements, the exhibition reconfigures the white gallery cube and subverts its very function.

VSVSVS is a seven-person collective and artist-run centre based out the Portlands of Toronto. Formed in 2010, VSVSVS' activities encompass collective art making, a residency program, a formal exhibition space, and individual studio practices. Current members include Anthony Cooper, James Gardner, Laura Simon, Miles Stemp, Ryan Clayton, Stephen McLeod and Wallis Cheung. VSVSVS has presented projects recently in Toronto at Art Metropole, Xpace, and Mercer Union. Upcoming fall projects include 1-855-IS IT ART at Toronto's Nuit Blanche 2013, and participation in More Than Two (Let It Make Itself) at the Power Plant (Toronto, ON).
vsvsvs.org

Curated by Cherie Fawcett

Cambridge Galleries, Preston
435 King Street East
Cambridge, ON N3H 3N1
T: 519.653.3632
Gallery Hours:
Mon – Thurs 12:00pm – 8:30pm
Fri 12:00pm – 5:30pm
Sat 9:30am – 5:30pm
Sun 1:00 – 5:00pm

For more information visit www.cambridgegalleries.ca, call 519.621.0460 or follow on Twitter @CGalleries. Admission is free; all are welcome.

Cambridge Galleries presents contemporary art, architecture and design from three locations in the City of Cambridge: Design at Riverside, Preston, and Queen's Square.

Media Contact
Victoria Ford
Publicity and Promotions Specialist
Cambridge Libraries and Galleries
1 North Square, Cambridge ON N1S 2K6
519.621.0460 x 187
(e) vford@cambridgelibraries.ca
(w) www.cambridgegalleries.ca
Image: VSVSVS, Simulated Water Stain on Ceiling Tile, 2013. Courtesy of the artist collective.

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George Legrady, Smoke & Fire, 2013, lenticular, 32 x 47"

Main Space

GEORGE LEGRADY
On the Road

September 12 – October 26, 2013
Opening reception Thursday Sept. 12, 6-9
Artist present

Pari Nadimi Gallery is pleased to present On the Road a solo exhibition of lenticular photographs by US-based Canadian artist George Legrady.

All artistic works belong to a cultural moment and context, and over time an interesting challenge emerges: How might the artist bridge past work with the present? Legrady attempts to bridge this gap by creating a new work through the juxtaposition of early images he produced in the 1970s.

On the Road presents a series of eight panels, each consisting of multiple photographs interlaced together through the lenticular process. This process results in the illusion of movement between images: When the viewer changes the angle from which the panel is viewed, motion and a morphing effect seem to occur. This non-linear, multi-layered format is a transformative one and, furthermore, explores the cinematic narrative potential of the photographic image in non-electronic form.

The exhibition title, On the Road, cannot escape reference to the defining work of the Beat Generation: Jack Kerouac's portrait of the search for personal meaning during the Cold War. But a referential title is just the beginning. Over forty-years ago Legrady embarked on a yearlong journey, searching for meaning himself, during the Vietnam War, October Crisis and hippie counterculture movement. He explains:

"I boarded a plane in Montreal on October 7, 1970 to Paris with $200 in my pocket, two jean shirts in my backpack, my Nikon F and Kerouac's On the Road in my hand. I lasted a year by quickly getting down to the Middle East, spending time in the Negev on the border of the Gaza, old Jerusalem, the Sultanahmet in Istanbul where I met a Turkish artist who took me to his town near the Syrian border. After running out of money, I took a train to Budapest to revisit the country where I was born."

George Legrady is one of the first generation of artists in the 1980's to integrate computer processes into his artistic work, producing pioneering, prizewinning projects in the early 1990's such as the Anecdoted Archive from the Cold War, Slippery Traces, Sensing Speaking Space, and more recently the internationally traveling Pockets Full of Memories and Cell Tango. His work has been exhibited at a number of prestigious institutions including the Whitney Museum of American Art in New York, the Centre Pompidou in Paris, Zentrum fur Kunst und Medientechnologie (ZKM) in Karlsruhe, the SOMArts Center in San Francisco, the National Gallery of Canada, Poznan Biennale, Lawrence Hall of Science, Berkeley, Wellesley College, Wellesley, East Michigan University, Ypsilanti and National Academy of Sciences, Washington. His recent lenticular work "Refraction" has been included into numerous private and public collections such as the San Francisco Museum of Modern Art, and the 21c Hotel/Museum in Cincinnati. Legrady's installation Swarm Vision will be in exhibition Drone: The Automated Image, Curated by Paul Wombell, as part of Le Mois de la Photo à Montréal (Montréal, Canada), September 5-October 5, 2013.

Project Space

"Oh Thank Heaven™" lighting gel over plaster bandages on city rubble. A collaborative image by Elle Kurancid and Ash Moniz, 2013

ELLE KURANCID & ASH MONIZ
Reputations

September 12 – October 26, 2013
Opening reception Thursday Sept. 12, 6-9
Artists present

In the Project Space, Pari Nadimi Gallery is pleased to present Reputations an exhibition featuring Toronto-based artists, Elle Kurancid and Ash Moniz.

If it takes x amount of years to build a reputation and y amount of minutes to ruin it, might it also take y amount of years to ruin a reputation and x amount of minutes to rebuild it? In Reputations, Elle Kurancid and Ash Moniz respond to the aforesaid Warren-Buffet-derived and word-problem-inspired query with works that suggest "it sure might—but that's only the beginning of the maze of reputations." In other words, Kurancid and Moniz manipulate a selection of texts, devices and environments to underline the malleability of identity and opinion. For example, Kurancid muses on convenience and inconvenience in her redesign of the 7-Eleven logo, and Moniz uses plaster bandages to support and immobilize the ruins of condemned buildings throughout the city of Nanjing, China.

Special thanks to Elliot Vredenburg and Markos Teshome.

Elle Kurancid, born 1988, in Peace River, Alberta, Canada, graduated from Ryerson University's School of Journalism (Toronto, Canada) and briefly studied Sculpture/Installation at Ontario College of Art and Design University (Toronto, Canada). Recent exhibitions include The Kitchen Party, a three-part series respectively mounted in a living room, bedroom and hallway (Toronto, Canada), Groaners, Videofag (Toronto, Canada) and Gifts By Artists, Art Metropole (Toronto, Canada); she also co-curated the group exhibition Semicolon Hyphen Bracket, MKG127 (Toronto, Canada). Early October she is performing in FREE LAND, an intervention by artist Maggie Groat, Nuit Blanche (Toronto, Canada). Kurancid's work of literary nonfiction, "Where The Creamazon River Meets Venice Of The Prairies" will be published in The Lake, an interdisciplinary book to be launched at Art Metropole early 2014.

Ash Moniz, born 1992 in Wawa, Ontario, Canada, majors in Sculpture/Installation at the Ontario College of Art and Design University (Toronto, Canada). For the past year he has been enrolled in Nanjing University of the Arts (Nanjing, China) as part of a scholarship exchange program. While in China Moniz exhibited his work in two solo exhibitions: Boxes, Bazaar Compatible (Shanghai, China) and Volume, First Floor (Nanjing, China). Moniz's work also exhibited as part of Toronto's Nuit Blanche in 2012.

Faith, Art, and Activism Mini-Festival

September 16 to October 5, 2013

Religious faith has a long history of engagement with the arts, and with action for social justice. Yet, while these three human concerns can reinforce and deepen each other, they can also exist in tension; and it often seems that at least one of the three must be compromised. In a series of talks, panels, and artistic performances, co-sponsored by the Church of Saint Stephen-in-the-Fields and the Trinity College Chaplaincy, we hope to explore the interactions and contradictions which face those who value all three.

Monday, September 16, 7 pm:Art+Faith+Politics: Happy Threesome or Collision Course?, a talk by artist Robin Pacific at Saint Stephen-in-the-Fields, 365 College Street. For more information on Robin Pacific's work, you can visit www.robinpacific.ca.

Saturday, September 21, 7 pm:Bread and Honey in Alexandra Park. Poet Sonia di Placido will read from work dealing with the writings of Hildegard of Bingen, a 12th century monastic and theologian who was much engaged with both art and the politics of her day, and we will present some of Hildegard's music.

Monday, September 23, 7 pm:Two out of Three Ain't Bad, a panel discussion featuring Sherman Hesselgrave (Church of the Holy Trinity), Maggie Helwig (novelist and priest at Saint Stephen-in-the-Fields), and playwright Sean Morley Dixon, talking about negotiating the tensions and intersections of faith, art, and activism in musical, literary, and liturgical contexts, at Trinity College Chapel, 6 Hoskin Avenue.

Saturday, September 28, 7 pm:Bread and Honey in Alexandra Park. Maggie Helwig will read from the anonymous 13th century work, The Cloud of Unknowing, and from contemporary poet Tim Lilburn, and lead a discussion about the theology of unknowing.

Monday, September 30, 7 pm: Images of the Word: How does the way we imagine Jesus interact with our thinking about social issues? A talk by Timothy Schmalz at Saint Stephen-in-the-Fields, 365 College St.

Saturday, October 5, 7 pm to Sunday, October 6, 6 am:The Composition Engine, a participatory multivocal performance installation, takes place at Trinity Chapel, while the Avant-Garden reading series presents an all-night reading of bpNichol's Martyrology and related texts at Saint Stephen's.

For more information, contact:
Andrea Budgey, Humphrys Chaplain, Trinity College/U of T, 416-978-3288, chaplain@trinity.utoronto.ca
Maggie Helwig, Church of Saint Stephen-in-the-Fields, 416-526-5438, maggie@web.net
Visit us at www.saintstephens.ca or https://www.facebook.com/ststephen103

Have I Told You Lately
Lisa Perlman
September 19 – October 1, 2013

Opening Reception: Thursday September 19, 7-10pm

Have I Told You Lately, Lisa Perlman's first solo exhibition, explores the relationship between love and anxiety and the communicative barrier that exists within a family. The exhibition is comprised of printed works on paper including sculpture and installation. Lisa uses layered imagery influenced by photos of her family, her childhood home and domestic traditions. These include patterned wallpaper, Royal Dalton figurines, blue jays and carnations. Fragmented text – words and sentences drawn from Lisa's journal – help to connect these images that might otherwise only be meaningful to her.

Lisa Perlman is a graduate from the Fine Art program at McMaster University. She has exhibited in a number of group shows in Hamilton and Toronto, Ontario as well as a juried group exhibition in Durham, Ontario. Lisa currently resides in Toronto, Ontario where she continues her practice at the city's printmaking centre, Open Studio.

www.lisajperlman.com

The Gladstone Hotel, Second Floor Gallery
1214 Queen Street W
Toronto ON M6J 1J6
416-531-4635 x 0
www.gladstonehotel.com

Gallery Hours: Monday to Sunday 12pm – 5pm

Art meets Agriculture meets Main Street



Wendy Lilly. "Disqualified:Three Kinds of Onions on a Disposable Plate" 2012 (Felted wool, paper plate)

Critical Mass: A Centre for Contemporary Art
Current Projects in Port Hope... artist interventions at the agricultural fair, storefront installations on main street and thoughts about what to do before you die.

-Port Hope Fall Fair: Sept 13, 14, 15, 2013.
Currently celebrating it's 183rd year, the Fall Fair in Port Hope is one of the oldest continuously running agricultural fairs in the province. It's the real deal, with a midway, demolition derby, fancy chickens, horse jumping, and the traditional, highly competitive displays of baking, preserves, produce, needlework and folk crafts. Last year, a group of artists operating under the Critical Mass banner stealthily intervened and submitted a number of "non-traditional" offerings to the fair. Our submissions were disqualified, but remained on display, to the delight of all. This year, we've been invited back. Look for the artist interventions (with a Critical Mass sticker) hidden amongst the jams, muffins, tomatoes and crochet.
PLUS: Critical Mass presents Mountain School Bookhouse Jamboree featuring Shannon Gerard and members of OCADU Nano Publishing Course, including jp King and his Lazy Corpse. Look for them under the quilted tent, in the North Field at the Fair. They'll be publishing an instant newspaper with local children and other interested fairgoers.
For more info about the fair: porthopefair.com

-Store Front Installations: Changing and Ongoing through Winter, 2014
As part of the"Identification Papers" project, A.K. Collings has curated an on-going series of storefront art installations along Walton Street, Port Hope's picturesque main street, creating an ever changing, always accessible, free and walkable gallery. Currently on view:
Heather Nicol: "A Fine Specimen"
Lauren Nurse:"Natural Order Series, Parts 1, 2 and 3"
Liz Parknson and Fiona Crangle:"The Letter B"
Upcoming installations will feature Sean Martindale and Daryl Vocat.
Past installations:
Yvonne Singer:"I Do, I Undo I Redo",
Felix Kalmenson:"Hot Air: Instant Nationalism"

-Before I Die: Ongoing through Sept, 2013
Port Hope joins over 300 towns and cities worldwide in the international art project initiated by New Orleans-based designer and social activist Candy Chang. Critical Mass has re-purposed an out-of-commission tourist kiosk at the corner of Walton Street and Lent Lane, to create a six-sided interactive public art installation, in which people are invited to share their hopes and aspirations in a public space. Here are some samples of what has been written to date:
Before I die...
I want to be a tree
I want to see gay marriage legalized everywhere
I want to get a job and support my family
I want to have a drink with Tom Waits
I want to skydive naked

About Critical Mass: A Centre for Contemporary Art
We are a group of artists, curators and arts supporters based in Toronto and in Northumberland County, with a proposal to create a Centre for Contemporary Art in Port Hope, Ontario. We are a registered, not for profit arts organization.

About Port Hope:
On the shores of Lake Ontario, Port Hope is an architecturally preserved small town located less than one hour east of Toronto, easily accessible by VIA rail, or by car on Hwy 401. To get to Walton Street, take exit 461 from the 401 and follow the signs to the Heritage Business District. The Fall Fair is in the east end, at the Town Agricultural Park, Elgin St South at Ward.

Contact Information:
Aurelie K. Collings, Ph.D.
Curator and Founding Director
Critical Mass: A Centre for Contemporary Art
Port Hope, ON
criticalmassart@gmail.com
criticalmassart.com
twitter.com/criticalmassart

Our activities are made possible by the support of local businesses and individuals, and by a generous grant from the Ontario Arts Council

COMING TO TERMS

CURATED BY JOHN G. HAMPTON
PRODUCED BY THE JUSTINA M. BARNICKE GALLERY

OPENING RECEPTION
Monday 16 September 2013 4:00 p.m. to 6:00 p.m.
Exhibition Dates: September 16, 2013 - June 15, 2014

ABOUT THE EXHIBITION

Coming to Terms is an exhibition of seven international interdisciplinary artists working within the intersection of translation studies and artistic practice. The exhibition sprawls through the halls and offices of the Jackman Humanities Institute, and is structured around three overlapping themes: hegemonic anglophonization and its effects; deconstructionist translation; and intersemiotic translation. Employing a myriad of divergent mediums including video, vinyl text, commercial signage, chalk diagrams, and embroidered silk, the artists in Coming to Terms survey the concessions and accessions made when meaning is exchanged across disciplinary, cultural, linguistic and material borders.

The Jackman Humanities Institute is a fully accessible space. If you require an accommodation for a disability, please contact us to make an appropriate arrangement.

ARTISTS

Haegue Yang (Seoul/Berlin)

Benny Nemerofsky Ramsay (Berlin)

Simon Glass (Toronto)

Nicoline van Harskamp (Amsterdam)

James Clar (New York)

Thea Jones (Toronto)

Carl Trahan (Montréal)





Justina M. Barnicke Gallery
170 St. George Street Tenth Floor
Toronto, Ontario
(416) 978-8398 || jmbgallery.ca

EXHIBITION HOURS
9:00 a.m. – 5:00 p.m.
Free and Open to the Public

Contact Information
Jackman Humanities Institute
(416) 978-7415 || humanities.utoronto.ca

John G. Hampton
johnghampton@gmail.com




Image: James Clar - "Global English" 2011

La Galerie du Nouvel-Ontario présente OSONS L'HUMAIN de l'artiste
PIERRE RAPHAËL PELLETIER

« Osons l'humain », une nouvelle exposition de l'auteur franco-ontarien et artiste visuel Pierre Raphaël Pelletier, sera à la Galerie du Nouvel-Ontario (GNO) dès ce vendredi 13 septembre.

L'exposition de Pelletier est la première de la saison 2013-2014 de la GNO qui porte le thème « paysages humains | de la conception à la création ». Interrogé sur son processus de création artistique, l'artiste répondit ainsi :

« Génératrice du voir, dans tout travail de création, c'est la forme qui donne cohérence au processus de création et à l'œuvre.

J'y suis à mon temps, à mon lieu, à mon histoire, à mes migrations, dans mon corps et dans mon esprit. J'y sens la tranquille respiration de mes trouvailles et de mes échecs dans la matière, tout aussi humble soit-elle.

Ce qui m'amène à l'utilisation abondante de matériaux mixtes : plumes, boas, pompons, broche à poule, coton à fromage (étamine), peinture acrylique, bouts de bois, cocottes, ficelles, cure-pipes colorés, papiers, cartons, etc., avec toujours une prédilection pour les couleurs vives (bleu, rouge, jaune, serties dans des taches de blanc). Toute matière est travaillée, pour y insuffler une forme, avec ou au-delà de tout effet esthétique. C'est comme si je voyais à hauteur de création.

Quoique jamais achevée, la forme est beaucoup plus qu'elle-même dans toute activité de création qui nous ouvre aux possibilités multiples de la forme. Ce qui fait que de plus en plus, en création, le spectateur est appelé à interagir avec l'œuvre, participant au processus de création, devenant « créateur » à son tour.

Je suis, nous sommes, en création, toujours en phase de changements, de mutations profondes, et de remises en question fondamentales, qui nous entraînent dans un mode de pensée allant de pair avec la liberté, celle-là même que nous défendons quand nous ouvrons toutes grandes les vannes de l'indignation et de la colère. »

Pierre Raphaël Pelletier
Embrun, 2013

Artiste engagé au sens le plus noble du terme, Pierre Raphaël Pelletier édifie depuis trente ans une œuvre littéraire et picturale d'une profonde cohérence dans laquelle se nouent et se dénouent les rapports à Soi et à l'Autre.

Diplômé de l'Université d'Ottawa en philosophie (baccalauréat, maîtrise et scolarité de doctorat), il a notamment été critique d'art, recherchiste, professeur et directeur de l'éducation permanente de son alma mater. Ses peintures, dessins, sculptures et objets hétéroclites ont servi à illustrer de nombreux livres et ont été exposés à une cinquantaine de reprises (seul ou en groupe) principalement au Québec et en Ontario.

vernissage
vendredi 13 SEP à 17 h
exposition
du 13 SEP au 12 OCT 2013

gn-o.org

La Galerie du Nouvel-Ontario presents OSONS L'HUMAIN by artist
PIERRE RAPHAËL PELLETIER

« Osons l'humain », une nouvelle exposition de l'auteur franco-ontarien et artiste visuel Pierre Raphaël Pelletier, sera à la Galerie du Nouvel-Ontario (GNO) dès ce vendredi 13 septembre.

L'exposition de Pelletier est la première de la saison 2013-2014 de la GNO qui porte le thème « paysages humains | de la conception à la création». Interrogé sur son processus de création artistique, l'artiste répondit ainsi :

« Osons l'humain », a new exhibition by franco-ontarian author and visual artist Pierre Raphaël Pelletier, will be shown at la Galerie du Nouvel-Ontario (GNO) as of this Friday, September 13th.

Pelletier's exhibition is the first in the GNO's 2013-2014 season with "human landscapes | from concept to project" as its overarching theme. Asked about his creative process as a visual artist, Pelletier responded thusly :

"Progenitor of sight, in all creative work, it is form which imparts coherence to the creative process and its resulting works.

I am of my time and space, of my story and its migrations, in my body and my spirit. There, I sense the calm breathing in and out of my discoveries and failures in matter, humble as it may be.

Which brings me to the appropriation of mixed materials: feathers, boas, pompoms, chicken wire, cheesecloth, acrylic paints, pieces of wood, pinecones, thread, coloured pipe cleaners, sheets of paper, cardboard, etc., with an ever-present predilection for vibrant colours (blue, red, yellow, set in splotches of white). All matter is worked, to breathe form into it, with all aesthetic effect and beyond. It's as if I might see from the heights of creation.

While forever incomplete, form is much more than itself in each creative endeavour that reveals the multiple possibilities of form. So it is that in the creative process, the spectator is increasingly asked to interact with the work, to participate in its creation and to become a "creator" in his own right.

I am, we are, creating, forever in transient phases, profound mutations, and fundamental reconsiderations leading us to a way of thinking necessarily linked to that same liberty we defend when we open wide the floodgates of righteous anger and indignation.

Pierre Raphaël Pelletier
Embrun, 2013

A committed artist in the noblest sense of the term, Pierre Raphaël Pelletier has been building a profoundly coherent body of literary and pictorial works in which the relationships between the Self and the Other are formed and dissolved. An Ottawa University philosophy graduate (bachelor's, master's, and doctoral studies), he has been an art critic, researcher, professor, and director of ongoing education for his alma mater. His paintings, drawings, sculptures and other miscellaneous works have illustrated numerous books and been shown in over 50 solo and group exhibitions, primarily in Québec and Ontario.

opening reception
Friday SEP 13 2013 at 5 PM
exhibition
13 SEP to 12 OCT

gn-o.org

Galerie du Nouvel-Ontario
C.P. 242 succursale B
174, rue Elgin
Sudbury ON P3E 4N5
705 673-4927

The Artist Projects returns with a lucky $7 ticket special!

The Artist Project is back for another great year with a new style, new programs, and more amazing artists!
Explore and discover. From February 20 to 23, 2014, meet and buy directly from over 250 contemporary artists from various disciplines.

$7 Ticket Special
This is your lucky day!  In celebration of our 7th year, we are offering $7 tickets for 7 days!

Between September 13 – 19, you can purchase your ticket to the show for $7* only (regular price $15)
Get your tickets now and join us for Canada's most celebrated art fair >

Show Dates:
Thursday February 20, 2014 from 7-11pm Opening Night Party (19+ event)
Friday February 21, 2014 from 12-8pm
Saturday February 22, 2014 from 11am-8pm
Sunday February 23, 2014 from 11am-6pm

Location:
Better Living Centre, Exhibition Place
Toronto, ON

Use promo code: 777. The $7 ticket rate for The Artist Project 2014 is valid for online ticket purchases from Friday, September 13 to Thursday, September 19, 2013 at 11:59PM. All tickets are final sale. Our e-ticketing website is securely provided by Microspec.com.

Join us on:     Facebook | Twitter | #theartistproject | Flickr | TheArtistProject.com

September 23-27
Gustaf Broms
PUBLIC INTERVENTION

Monday: Union Station
Tuesday: Richmond Street
Wednesday: Scott Street
Thursday: Stock Exchange
Friday: Courthouse Square

For the duration of a "work week", Broms will perform a series of street actions in public spaces throughout the downtown core, each day between 9am and 5pm. Early in his career working in photography and installation, Broms destroyed his archive and in doing so realized that the intensity of the action far outdid anything he had previously made. In 2005, he completed a series of works entitled "5 Faiths for a Brave New World" in which he worked with objects that were physically too heavy for the body to move. These two experiences created a longing to explore the formless and led up to the project entitled "A Walking Piece" made with Trish Littler, in which the two artists spent 18 months walking across Eastern Europe. The result is considered a drawing. Broms will also perform on Saturday September 28 in a special evening program. Please check www.performanceart.ca for daily locations, or call 416-822-3219 starting on September 23 for details.





September 25
ARTIST TALK
Join us for an informal artist talk with the artists and FADO Director Shannon Cochrane
ARTISTS: Macarena Perich Rosas, Tomasz Szrama, and Gustaf Broms
hub 14
14 Markham Street, Toronto
7pm / FREE

September 28
Macarena Perich Rosas
Tomasz Szrama
Gustaf Broms

Collective Space
221 Sterling Avenue, Studio 5, Toronto
7 pm / $10

ABOUT THE ARTISTS
Macarena Perich Rosas (b. 1982, Chilé) lives and works in Punta Arenas. Located at the southern tip of Patagonia in the Magallanes and Antartica Chilena Region, Punta Arenas is situated, literally, at the end of the world. Her performance work is engaged with themes of territory, location and place, often employing materials unique to her region of the world, including skins and untreated fur. Perich Rosas' presence is raw and intense, conjuring the animal world and a deep connection to geography and the uncharted environment.

Tomasz Szrama (b. 1970, Poland) is a photographer, video-maker, and performance artist. His work is humourous and self-reflexive, often putting his own body into impossible and even ridiculous situations, such as attempting to hang himself with helium balloons, encasing his entire body in a plaster cast and waiting immobile for hours in a busy tourist street, or attempting to board a plane carrying with him his own parachute. His work touches on themes of travel, trust, and the ever-present potential for personal failure.

Gusaf Broms (b. 1970, Sweden) currently lives and works in the Vendel Forest. His practice is concerned with the exploration of the nature of consciousness, the dualistic concept of "I", and the biological reality of the body, in an effort to understand the BEING MIND as a direct experience of REALITY.

ABOUT FADO
Established in 1993, FADO Performance Inc. (Performance Art Centre) is a not-for-profit artist-run centre for performance art based in Toronto, Canada. FADO exists to provide a stable, ongoing, supportive forum for creating and presenting performance art. Currently, we are the only artist-run centre in English Canada devoted specifically to this form. We present the work of local, national and international artists who have chosen performance art as a primary medium to create and communicate provocative new images and new perspectives. Thanks to the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage for their on-going support of our activities. Macarena Perich Rosas' appearance in Toronto is in partnership with LIVE International Performance Art Biennale (Vancouver) and VIVA! Art Action (Montréal). Tomasz Szrama's appearance in Toronto is also in partnership with VIVA! Art Action. Photo credits: Image of Gustaf Broms by Lasse Fredriksson. Image of Macarena Perich Rosa by Monika Sobczak. Image of Tomasz Szrama by Christer Johansson.





www.performanceart.ca
info@performanceart.ca
416-822-3219

Anda Kubis: Transplendent

Artist Reception, Saturday 21, 4-7pm

p|m Gallery is pleased to present Transplendent, a solo exhibition by Anda Kubis. Converse to the expectation that a digital image is cold and impersonal - a romantic flamboyance pervades these exquisite pieces. Kubis deftly combines traditional abstract painting with digital gestures to create artwork reflective of a contemporary culture where our digital and analogue lives meld. Kubis' signature handling of colour and luminosity continues to emanate in these new paintings and works on paper.

Born in Toronto, Anda Kubis initially studied at OCA, moving to complete a BFA at NSCAD and an MFA at York University in 1992. She is an Associate Professor and former Chair of Drawing and Painting at OCAD University. Anda has also taught at the University of Lethbridge and at York University.

The exhibiton continues until October 5, 2013.

Powell MacDougall
p|m Gallery
powell@pmgallery.ca
www.pmgallery.ca
1518 Dundas Street West, Toronto
416.937.3862