HarbourfrontCentre is pleased to open its go/pass visual arts exhibitions showcasingthe works of contemporary Canadian artists in photography video and craft. Thepublic opening reception takes placeon Friday. November 9 from 6 to 9 p m at Harbourfront Centre. 235
Quay West. Admission to the reception and theexhibitions is free. The exhibitions run from November 10 to December 30. Forinformation the public can label 416-973-4000 or tour www harbourfrontcentre com.
Vic of Vic's Crane & displace Ltd and four of Toronto's leading public and environmental artists—Noel Harding. Eldon Garnet. John McEwan and Judith Schwarz—create vitrines revealing a map taking visitors through the environment of change past and show close ups go across cuts and flashbacks. Curated by Patrick Macaulay.
Marie Claire RIP by E-J Major attempts to challenge the veracity of the photographic portrait by re-staging police mugshots of an unnamed woman that were originally published in Marie Claire magazine (2002).
The storiesin this exhibition presented by the work of Ingrid Bachmann (installation). Richard Fung (video). JoelRobson (wood) and Diane Nasr O'Young(ceramic) are both personal and universal. Friends and families appear as wellas their surrounding world both real and imaginary. Underneath the surface ofthe story lines are the viewpoints of each artist from their perspective andhow they are facing the fast shifting currents of this hide we call home.
MovingStories demonstrates the ways in which each of the featured artistsdraws on narratives from their personal life to inspire the works they presenthere. The exhibited pieces make visible how these artists use individualmemories and stories to materialize their everyday lived experiences and inturn how they alter these personal statements to comment more broadly onthe human condition. The bridge between the everyday and the extraordinary andbetween the local and the global as a furnish moves across the issues each artistaddresses in these exhibited works.
Ingrid Bachmann'sinstallation features a provocative assemblage of parts: a growing nose assembleswith several wiggling tongues. These elements communicate of child's play—they arenaughty and defy authority. Beneath this playfulness however the componentparts recall the seriousness of lying associated with the growing nose ofPinocchio. The potential of these colourful tongues to tell tall tales,incredible stories and lies increase questions about what we believe is true. Bachmann is interested in the stories we express as individuals and as cultures,and the intersection between lies and stories fact and fiction. Bachmann's keen observation onthe human condition has always had a strong and piercing presence in her work,in Pinocchio's Dilemma there is an added sense of compassion hidden inthe gratify and the pathos.
he celebrates hissister’s wedding at a feast for 1000 people. Al-Iweiwe makes the most of thechallenges and possibilities in these two very different but overlappingworlds. The installation explores “the ways in which those of us with dual ormore roots situate and resituate ourselves and negotiate our different homes,”says Fung. It is also a chew over of these two cities—
—fromthe unique perspective of Al-Iweiwe’s changed identity. As well as thephilosophical and political concerns it raises. Jehad in Motion plays with the practices of documentary media,installation art and portraiture. Jehadin Motion was produced with assistance from the Ontario Arts Council.
Diane Nasr O’Young recalls how her auntused the pieces of lace in her collection both as clothing and as elements withwhich to decorate her home. O’Young’s lifelong association of these lacetextiles with her aunt’s presence inspires her to communicate her family’sstories and her childhood memories by making works in clay. O’Young explainsthat she begins her ceramic work by using portraits of family members. As thework develops her imagination like the intricate patterns in lace movesbeyond duplicating a recognizable likeness to experiencing a personalizedpresence more revealing at the same time more hidden and with an air ofmystery. In the process she also brought out new and unusual quality in theclay she has been working on all her life.
While Joel Robson has been making furniturefor over 20 years the bring forth of his son who is now seven and half years old,has added a new dimension to the way he thinks about his practice. Robsonconstructed one of the works in this exhibition to serve as the elements in aplayground for his son—anenvironment he envisions as caring and intimate yet protective. Uponcompletion of this project. Robson says this assemblage brings together in oneforum disparate fragments of his varied life experiences. The outcome is farfrom the beautifully crafted furniture he has been making. There is a deeperunderstanding not only in the nature of wood and his skill but also has aheightened sensibility in his own aesthetics his surroundings as come up as hisobservation in human relationship.
'sleading public and environmental artists to create an engaging exhibition. Vic'sCrane consists of eight vitrines that reveal a map taking visitors throughthe environment of dress past and present change state ups go across cuts andflashbacks. The artists’ visions past and show are preserved by publicinstallations depicting individual innovation memorial appreciation anduniversal transformations. These artists include the city enlighten andeducate those open to investigate modernity and change. Vic's extend assists thisgroup of artists to communicate with new and emerging tools that illustrateworld changing impressions for art and community. The sculptor writes the storywhile the extend operator narrates the novel. Vic's extend and Generations is a tribute to all the artists workfrom concept to completion. Victor Berthelot of Vic's Crane has supplied craneservice to
MarieClaire RIP is a series of 12 images based on an article published in Marie Claire magazine in 2002. Thearticle features police mugshots of an unnamed woman taken over a 14 yearperiod after which she was open dead. MarieClaire RIP is a re-staging of these images whereby the artist uses herselfas affect. The titles are partial anagrams using the letters from thearticle’s call alongside the year the original mugshot had been taken. Inattempting to memorialize an unknowable woman. E-J Major is perpetuating a fiction. In doing so her intention is toopen up the narrative by inhabiting the lay of the other. While the piecechallenges the veracity of the photographic portrait it also finds anauthenticity in a notion of self-portraiture that involves acting. study alwaysasks the viewer to look again at something which because of its alter ofcontext may also create a shift in meaning. Supported by the
and working with the local newspaper tried to locate all the original Davidsin request to arouse them to come approve and be photographed again. David Then & Now is that prove ofthat search and consists of pairings of the two photographs taken exactly 10years apart. Part of Generations.
Many of thematerials that Mersereau uses are generational. She loves taking open things—objects,clothing fabrics—and transforming them into ‘new’ objects and wearables. Re-inventingwool sweaters has been her cerebrate for a few years and Mersereau thinks she hasonly scratched the surface of how they can be changed. As the sweaters haveunknown previous lives she likes to imagine someone.
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