GENIUS LOCI, Contemporary artists re-imagine and respond to iconic visual art depictions of the Canadian landscape

Contemporary artists re-imagine and respond to iconic visual art depictions of the Canadian landscape

September 13 – November 4, 2012

Opening Reception: Thursday, September 13, 6 pm FREE

ARTISTS: Yael Brotman, Susan Collacott, Kara Hamilton, Micah Lexier, Immony Men, Don Maynard, Jon Sasaki, Aman Sandhu, Swapnaa Temhane, Jessica Thompson, Gu Xiong

FREE bus from The Gladstone Hotel (1214 Queen St W, Toronto) at 6pm to the Reception, returns at 8pm.

300 City Centre Drive, Mississauga ON L5B 3C1
905 896 5088             
M, T, W, F 10-5 Thurs 10-8 Sat, Sun 12-4

Palimpsest, Laura Barron's new photographs at INDEXG. Featured exhibition of Scotiabank CONTACT Photography Festival 2012

OPENING RECEPTION: Saturday, April 28, 2012 - 3-6 pm

This spring INDEXG presents Palimpsest, the latest work by Mexican-Canadian artist Laura Barrón. This is Barrón’s first solo exhibition with INDEXG since 2006, when we presented both the Periphery series and the book launch for Cathedral, the sublime and poetic image/text collaboration between Barrón and writer José Teodoro, (copies of which are still available for purchase in our gift shop). We are excited and proud to provide a home for the debut of this haunting and exquisite new work, which also has the distinction of being a feature exhibition in the 2012 Scotiabank Contact Photography Festival.

The dominant motif of Barrón’s fifteen-year career as a photo and video-based artist is unmistakably that of the vast, unpopulated landscape, the horizon line that seems to extend beyond the confines of the printed image into infinity. Barrón’s body of work represents an ongoing investigation of pathways that wind through spaces glimpsed in passing, spaces often only partly or subliminally seen, spaces, that in their final forms, don’t exist outside of memory or dream. (Or, of course, art.) The act of seeing place is in these photos inherently, richly subjective. Barrón’s is a very personal kind of work that nonetheless touches on universal experiences, and this dichotomy has never been more potent than in this new, simultaneously harrowing and consoling series.

Barrón moved from Mexico to Canada in 2003. The alternately arduous and exhilarating process of adapting to a new culture and contending with the culture left behind quickly manifested itself in her work, most obviously in the images of landscapes projected onto other landscapes in her 2009 Nostalgia series. Palimpsest was prompted by the deeper ache that comes from prolonged distance from one’s homeland and loved ones and the critical events that are inevitably missed. In April of 2011 Barrón’s father died suddenly and unexpectedly at his home in Veracruz, Mexico. Barrón rushed to attend the funeral and to be with her mother and sisters; a few short weeks later she was back on a plane to return to her life in Canada. “My father’s death marked a fundamental, irreversible, difficult-to-comprehend change, a point of no return,” says Barrón. “Yet here, in Canada, my life essentially remained the same, continuing as before. He never visited me in Toronto and I have no traces of his physical presence in my daily life here. It seems to me that because of this the process of mourning appears has been stalled, waiting for the time I can incorporate something of his traces into my current life.”

With these thoughts in mind, Barrón gradually began to create a series of photographs that explore the process of mourning and its effects on her life and work. Taking inspiration from fellow artist David Miller’s ongoing Night series, starkly beautiful photograms which use only photographic paper and either soil or ashes to memorialize someone who has died, Barrón has developed pieces which likewise bring some material form to a deeply felt absence. She’s used her father’s ashes to construct a series of landscapes. She’s revisited some of her earlier work, repurposing those familiar images to function as background surfaces upon which she imposes new images with the ashes. The combination of the earlier work with this new material creates a palimpsest; one layer depicts a photographed landscape while another depicts something new, sculpted from Barrón’s father’s remains. “With this work,” explains Barrón, “I want to propose an alternate place where, as in our memories and dreams, the past and the present converge and create something new. In a sense, I want to create a place for the dead to exist, and perhaps through this work I will create a portrait of myself as I am now.”

While the raw material of Barrón’s new work is loaded with psychic gravity, Palimpsest is anything but heavy-handed or sentimental. It glows with Barrón’s singularly spare yet lyrical beauty, her fluid lateral movement and bold use of colour, while using the tactility of the ash mounds to craft a new sense of shadow and depth. This work emerged from loss yet has resulted in images of transformation, of places where all we’ve lost remains with us in some form that waits to be discovered.

50 Gladstone Ave

Hugh Martin, Silent Lake - New Photographs

May 5 - May 26, 2012
Mira Godard Gallery, 22 Hazelton Avenue, Toronto
Opening Reception: Saturday, May 5, 1 - 5 PM

"Through my engagement with photographing the land around the lake, I experienced winter camping at minus forty degrees Celsius, struggling every couple of hours through the night to feed the yurt’s wood stove. I saw the fresh tracks of a lone wolf toward twilight in the frigid dead of winter and heard the shrill cry of some unidentified animal slice through the otherwise silent atmosphere of the remote Canadian wilderness. And I felt a magnificent sense of solitude in early spring when the place was totally empty and the rangers had gone home for the evening. These sensations influenced my understanding of Silent Lake and affected how I photographed it. They also strengthened my belief in the importance of such protected landscapes, which serve as sanctuaries for animals and for the human mind."

The exhibition “Archi-féministes!” brings together a significant body of historical and contemporary work by female artists

Under the curatorship of Marie-Ève Charron (independent curator and art critic for Le Devoir), Marie-Josée Lafortune (director of OPTICA), and Thérèse St-Gelais (professor of art history specialized in gender and women’s studies at UQAM), the exhibition “Archi-féministes!” brings together a significant body of historical and contemporary work by female artists who have contributed to the centre’s history since 1972. For the first time, we are broaching that history from a feminist point of view, an archival feminism proposing a retrospective and updated perspective concerned, among other things, with performativity in artistic practices and strategies deployed through photography, video, and the document. The exhibition, occurring in two parts, draws not only on the OPTICA Archives, but also on private, public, and artists’ collections.

After “Archiver le corps” (“Archiving the Body”), “Performer l’archive” (“Performing the Archive”) brings together artists rooted in the documentary tradition, or revisiting it by way of performance, appropriation, accumulation and repetition. Besides interrogating notions of authorship and artistic tradition, these strategies examine and key off the artist’s body and the time of production and reception of the work. The practices of Sophie Bélair Clément, Raphaëlle de Groot, Vera Frenkel, Clara Gutsche, and Emmanuelle Léonard probe a variety of production processes through critical operations employing fiction, the body, personal narratives, reflexivity, and subjectivity.

Since the 2000s, Sophie Bélair Clément has been producing collaborative installations that revisit contemporary works and reconstruct historic museum and gallery exhibitions. For OPTICA in 2009, she presented “Le son du projecteur,” a project based on her experience at the Museum Anna Nordlander (Skellefteå, Sweden) the previous year. With a master’s in visual and media arts at UQAM, Clément has exhibited in Quebec, Canada and abroad. Last fall, she took part in “The Québec Triennial 2011” at the Musée d’art contemporain de Montréal.

Also holding a masters’ from UQAM’s École des arts visuels et médiatiques, Raphaëlle de Groot has, for the last ten years, produced works that often rely on the collection and archival reorganization of material. She has a great many group and solo exhibitions to her credit, the most important of which took place at Galerie de l’UQAM in 2006. In 2001, she took part in “Artists’ Gestures,” organized by OPTICA as part of the Saison du Québec à New York. De Groot is represented by Galerie Graff, Montreal.

Vera Frenkel, who studied at McGill University, has won numerous accolades and awards, including the 2006 Governor General’s Award in Visual and Media Arts. Her installations, performances, videos, and multimedia works present narrative elements that blur the distinctions between fiction and reality. Frenkel, a professor emerita at York University, has taken part in major solo and group exhibitions, including Documenta IX (Cassel, 1992) and the Venice Biennale (1997). At OPTICA, she took part in the exhibitions “Vérifications” (1984) and “Exposition rétrospective: volet II,” marking the centre’s twentieth anniversary in 1992; she is also among the contributors to “Creative Confusions: Interdisciplinary Practices in Contemporary Art ” (2001).

Clara Gutsche holds a masters in photography from Concordia University where she also teaches. She is noted for her documentary photography, particularly a renowned series on the Milton Parc neighbourhood jointly produced with David Miller and presented at OPTICA in the exhibition and catalogue “You Don’t Know What You’ve Got ‘Till It’s Gone... The Destruction of Milton Parc” (1973). Since 2000, her work has been the subject of solo exhibitions at a number of venues, including the Musée de la Photographie (Charleroi, Belgique), the Casa delle Letterature (Rome), VU (Quebec City), and Occurrence (Montreal).

Having studied at UQAM and Concordia University, Emmanuelle Léonard broaches the status and tradition of documentary photography. Winning the Ville de Montréal’s Prix Pierre-Ayot in 2005, she has taken part in many group and solo exhibitions, notably those held at the Musée d’art contemporain de Montréal and the Neue Berliner Kunstverein (Berlin). In 2007, as part of the 10th edition of the Mois de la Photo à Montréal, OPTICA presented Léonard’s “Une sale affaire.”

372, Sainte-Catherine Ouest (#508)
Montréal (Québec) H3B 1A2

“A Case for Collateral Art”. Arts writer and critic Patricia Phillips headlines the Goldfarb Lecture in Visual Arts at York U

Art critic, theorist, curator and educator Patricia Phillips of the Rhode Island School of Design is the featured speaker for the 2012 Goldfarb Lecture in Visual Arts. She will deliver her talk, titled "(un)Public: A Case for Collateral Art", on February 1 at York University.

In her illustrated lecture, Phillips will consider questions arising around public art: its content, communication and the expansive sense of audience that includes both intended and unanticipated viewers or participants. She will discuss the peripatetic, restless scope and range of art in public spaces, and how this makes critical work on the topic an engaging and bracing, yet somewhat speculative activity.

“The variables and vagaries of art in the public realm are different, and potentially more complex, than art encountered in the more rarified environments of museums and galleries,” Phillips says. “People rarely end up in museums or galleries by accident; it’s generally a considered act, regardless of whether a viewer knows about art.

“Public art, on the other hand, invokes the idea of ‘accidental’ publics, spontaneous affiliations and unpredictable temporalities.”
The dramatically variable characteristics, dimensions, durations and contexts of public art make analysis intriguing, discursive and always approximate, says Phillips.

Dr. Phillips' research and critical writing involve contemporary art, public art, architecture, landscape and the intersection of these areas. Her essays and reviews have been featured in Artforum, Art in America, Flash Art, Sculpture and Public Art Review, as well as in books and essay collections published by Rizzoli International Publications, Princeton Architectural Press, M.I.T. Press, Routledge and other leading publishers. She is the author of Ursula von Rydingsvard: Working (New York: Prestel, 2011) and It is Difficult, a survey of the work of Alfredo Jaar (Barcelona: Actar Press, 1998).

From 2002 to 2007, Phillips served as editor-in-chief of the Art Journal, a quarterly publication on contemporary art published by the College Art Association. She was Dean of Graduate Studies and currently serves as Interim Associate Provost for Academic Affairs at the Rhode Island School of Design.

Patricia Phillips’ talk is the eighth in a series of annual public lectures made possible through the generous support of Joan and Martin Goldfarb, longstanding benefactors of the Department of Visual Arts and Faculty of Fine Arts at York University.

2012 Goldfarb Lecture in Visual Arts – Patricia Phillips speaks on (un)Public: A Case for Collateral Art
Date: Wednesday, February 1 at 5pm
Location: Room 004 Accolade West Building, York University, 4700 Keele St.
Admission: Free


ART BROWNIE SOLO by New York artist Kurt Ketchum

Kurt Ketchum
1/28/2012 - 2/26/2012

OPENING RECEPTION: Saturday, January 28, 2012 - 3-6 pm
Artist statement
This series continues a sincere dialogue between a peaceful warrior and everything that is. Creative discipline attempts to shape a cohesive response to the vast field of information as it presents itself. Personal aesthetic structured by a limited understanding of the beautiful math and language that allow everything to exist.

50 Gladstone Ave

Art Class 010. Photography and installation by Marc Audette

January 13 - February 11, 2012
Opening reception: Friday January 13, 6-9pm | Artist talk: Saturday January 21, 2pm

Marc Audette’s photographic series, Art Class 010, emerges from a long-term engagement with both teaching and questioning forms of cultural indoctrination. Known for uncanny, almost cinematic photographs and installations, Audette is deeply invested in challenging what he calls “the dogma of the image.” For Art Class 010, he mines the great pedagogical themes of painting and drawing, filling his images with references to still life, life drawing, perspective, foreshortening, chiaroscuro, and drapery studies. Consisting mainly of a series of peculiar tableaux vivants composed and photographed in the university classroom where he teaches, this evolving body of work reminds us that the most effective and affective lessons of our lives may be learned anywhere, simply by valuing the abilities of our own minds and allowing them to engage freely with the world around us. – Emily Falvey, catalogue essay writer

Marc Audette studied fine art at the University of Québec in Hull and earned a Masters in Visual Arts from York University. His work has been shown in solo and group exhibitions nationally and internationally including Le Mois de la Photo à Montréal, le Musée national des beaux-arts du Québec, Gallery 44, Toronto, MacLaren Art Centre, Barrie and Digital & Video Art Fair (DiVA), New York. He is a founding member of L’Association des groupes en arts visuels francophones (AGAVF), a national arts service organization that represents visual arts groups active in Francophone communities outside the Province of Quebec. In addition to having taught in the Faculty of Fine Arts at York University’s Keele campus, Audette teaches in the Multidisciplinary Studies Department at the Glendon campus, and has been curator of the Glendon Gallery since 2001.

Gallery 44 Centre for Contemporary Photography
401 Richmond St W, #120, Toronto, ON, M5V 3A8
416. 979.3941

The Art Gallery of Mississauga Welcomes R. Stuart Keeler as its new Curator/Director of Programmes

Art Gallery of Mississauga (AGM) announced the appointment of R. Stuart Keeler to the position of Curator/Director of Programmes with the Art Gallery of Mississauga.

“Stuart has tremendous energy and a wealth of ideas he is eager to implement in his new capacity as Curator/ Programme Director for the Art Gallery of Mississauga. He has extensive knowledge and experience in the arts and has a proven record of working closely with arts communities, and realizing ambitious projects. I believe he will be a great addition to our staff team and a welcome catalyst to increasing the AGM’s profile in the Mississauga arts community and beyond.” - Robert Freeman

R. Stuart Keeler is an artist who organizes exhibitions and multi-platform projects with the collaborative role of “curator” as the conceptual identity of his practice.

Keeler is based in Toronto, and holds an MFA from The School at The Art Institute of Chicago.

He is a regular contributor to Sculpture Magazine, Public Art Review, ArtPapers, Arcade, and Drain Magazine, this fall, Green Lantern Press (Chicago) will launch Service Media, an anthology edited by Keeler featuring 17 essays by leading cultural practitioners that question community and socially based art practices globally.

In 2009/2010, in Atlanta, Keeler co-founded and directed Le Flash, an exhibition that brought together a community with a dynamic landscape of contemporary art.

In Chicago, Keeler developed ART/44-46 a nationally award winning exhibition project partnering artists with civic agencies and residents. Recent projects include: Interiority with The Contemporary Art Council at The Hyde Park Art Center (Chicago); PORTABLE – Projects (Toronto); and Americans For The Arts – Salon des Refuses (Baltimore). Forthcoming projects are LEITMOTIF, and Independent Project with Scotiabank Nuit Blanche and the Parkdale Village BIA in Toronto.

His work has been featured and presented internationally as well as presented on numerous panels at The Museum of Contemporary Art in Chicago, The Atlanta Contemporary Art Centre, The College Art Association in New York City, the Public Art Network and has worked as a community arts consultant and grant writer with civic agencies internationally.

“I am eager to become a member of the regional art community and expand the programming and recognition that AGM has already built upon. This is an exciting time to be participating in the history of Mississauga as the city evolves into a truly urban centre with an inspiring culturally diverse population. I look forward to listening, learning and in making important contributions to the field, as well as create innovative opportunities for learning and discovery.” - Stuart Keeler

Emmanuelle Léonard: A Judicial Perspective. Curated by Gaëlle Morel

September 9 - October 8, 2011
Saturday September 17: artist and curator in discussion at 2 pm
followed by a reception from 3 - 5pm

Aesthetic Reappropriation of Forensic Photography

In her most recent works, Montreal artist Emmanuelle Léonard explores forensic photography, and questions the value of proof, trace and information. Although her work focuses on representations of both real and symbolic violence, she excludes dramatic and sensationalist approaches. She probes the documentary and probationary values attributed to forensic photography images, anchoring her process in both the tradition of conceptual art and contemporary photography. Well aware of the applications and formal principles of photographic media in the judicial system, Léonard demonstrates the paradox between the aesthetic neutrality of the images and the brutality of the facts evoked in them.

Gallery 44
401 Richmond Street West, Suite 120
Toronto, Ontario M5V 3A8

Dream In The Flower, JJ Lee's new work at INDEXG. 21 September to 16 October

OPENING RECEPTION: Saturday, September 24, 2011 - 3 to 6 p.m.

Dream In The Flower is a series of mixed media paintings on wood panel, incorporating imagery from traditional Chinese patterning to Western ornithological diagrams to represent the direction of the contemporary, global world.

Born and raised in Halifax, NS, JJ Lee received her Bachelor of Fine Arts from the Nova Scotia College of Art and Design in 1992. After living in Vancouver and exhibiting in Vancouver and across Canada, Lee pursued her Master of Fine Arts from York University, Toronto (1999). Lee has been featured in The Globe and Mail and ELLE Canada. She is the recipient of several awards, such as from the Canada Council, the Ontario Arts Council, RBC /Canadian Art Foundation’s New Canadian Painting Competition and the Asian Canadian Artists Fund for Visual Arts. She is represented in the Magenta Foundation’s Carte Blanche: Painting, a survey of contemporary Canadian painters. She currently lives and works in Toronto where she teaches at the OCAD University.

YYZ Dialogues - Seven Toronto Artists in response to the poems of Leung Ping Kwan

YYZ Dialogues - Seven Toronto Artists in response to the poems of Leung Ping Kwan

Exhibition runs from September 21 to 6 November, 2011

OPENING RECEPTION: Saturday, September 24, 2011 - 3-6 pm
Poetry Reading: 4-5 pm

Leung Ping Kwan's poems were originally written in Chinese. They have been widely published and translated into English, French, German and Japanese. The seven Toronto artists are Laura Barron, Ximena Berecochea, Gary Michael Dault, Larry Eisenstein, Holly Lee, Milena Roglic, and Z'otz* Collective.

50 Gladstone Ave

Fausta Facciponte at Stephen Bulger Gallery

Presented by The Distillery Historic District, Futurism Today or NOT! - CALL FOR ARTISTS TO PARTICIPATE IN

Futurism Today or NOT!
An Independent Project for ScotiaBank Nuit Blanche 2011 (Saturday, October 1, 6:59pm to sunrise.)
Presented by The Distillery Historic District

Curated by Thom Sokoloski, 'Futurism Today or NOT!' will examine the artistic originality of the Futurists and how it can be reinterpreted today as a significant artistic movement of humanity’s inventiveness and/or a fleeting simulacrum of an artificial optimism appropriated by the zeitgeist of its times.

Besides the indoor and outdoor spaces for performance, exhibition and projection, The Distillery Historic District is offering security, power, basic lighting/tech and insurances. A programme will also be printed and distributed inspired by the Vorticists’ BLAST! that will recognize the artists and describe their artistry.

If you are an artist or collective and interested, you are welcome to propose a project which reinterprets or is inspired by one of the hundreds of multi-disciplinary works created by the Futurists. These may include but are not limited to, performance art, aerial spectacle, advertising, Futurist cooking, fashion, cinema, opera, cabaret, media art, sound art, exhibition, photography, action painting & sculpting, etc.

For twelve hours The Distillery Historic District will become the Temporal Institute of Futuristic Happenings.

For more info

Ciel variable presents: Launch of CV89 LIEUX / PLACES

Launch of CV89 LIEUX / PLACES presenting the portfolios of three Montreal photographers who throw a questioning gaze on the spaces we live in: Lynne Cohen, Ewa Monika Zebrowski and Sylvie Readman.

Wesnesday, September 14, 5:30 PM

Place: Le Café de la cinémathèque québécoise

335, boul. de Maisonneuve Est
Berri-UQAM Metro

Wish you were here. Sam Mogelonsky at Red Head gallery

August 31st - September 24th, 2011
Reception: September 8th from 6pm - 9pm

By developing her own form of naïve sculptural language, Mogelonsky constructs environments to transport the viewer into an imaginary space, outside and beyond the everyday. These humorous and sinister sculptural forms seek to investigate storytelling and repetition with the viewer becoming both participant and observer of an invented narrative: where the heroically crafted and time-consuming elements coexist.

Drawing conceptual influence from Utopian literature, theories, and tall-tales, and Susan Stewart's 'On Longing', she will present sculptural ‘island’ forms, thereby building an imaginary ‘little world’ for the viewer to experience. These islands retain the so-called child-like qualities of construction, but reflect the intricate details of her practice and merge the ‘made’ with found kitsch objects.

The exhibition will also include neon signage, resin castings, postcards and trinkets from this imaginary place. Also in the space is a bronze cast of a typewriter that appears as if it has magically melted, which speaks to the changes in narrative perception and the relationship of storytelling to the overall narrative.

Mogelonsky plays with the vernacular of travel, while creating largely desolate, lonely and haunting images, thereby evoking a tension between the expected present and the uncertain future.

Sam Mogelonsky is an emerging Toronto artist. She holds a BFAH from Queen’s University and an MFA from Central Saint Martin’s College of Art, London, UK. She has participated in international residencies, including the Florence Trust Studio Residency Program, London, UK, the Château de la Napoule Art Foundation Residency in Mandelieu de la Napuole, France and A.I.R Casa Marles in Llorenc de Penedes, Spain. She has exhibited in Canada, the UK, Ireland, and Portugal, with exhibitions in artist-run, commercial and publicly funded galleries. Her work is held in Canadian and international collections.

Red Head Gallery
401 Richmond Street West
Suite 115

May Karp at IX Gallery

October 13, 2011 – November 12, 2011
Opening Reception: October 13; 5pm – 8pm
As a young adult, May Karp took courses in design, composition, printmaking and drawing at the Ontario College of Art, Three Schools, and Central Tech. She also studied with Canadian artist John Gould at the YMHA. Concentrating on large abstract designs. May enjoys bright, bold colors in her work. She uses black and white when the mood demands it. Early in her career she received encouragement from the great Canadian sculptor Sorel Etrog. May pursued photography seriously and professionally after retiring from business in 1994. This will be her eighth one-woman show in Canada as well as exhibiting to two group shows in the USA. She has campaigned for a more painterly option that would broaden the scope of photography in self-expression, as well as the older and more familiar concept. She is known for her spontaneous and fearless creativity in experimenting and trying new ways of achieving her goals.
IX Gallery
11 Davies Avenue, Toronto

Obscure Design presents: The Z'otz* Collective and Tailmouthtale. With works by Nahúm Flores, Erik Jerezano and Ilyana Martínez

OPENING RECEPTION: Saturday, July 30, 2011 - 3 to 6 p.m.

In late 2010, artist/curator/designer Mark Laliberte was invited to guest curate the work of Z’otz* — a Toronto-based art collective (made up of Nahúm Flores, Erik Jerezano and Ilyana Martínez) whose collaborative practice mixes anthropomorphism, fable, humour and strangeness to produce works that are totemic, and filled with stylistic choices that emphasize play and gesture in visceral, unexpected ways — for a touring exhibition initiated by the Thames Art Gallery (Chatham, ON). As well as taking on curatorial duties, Laliberte developed and designed a 16 page full-colour catalogue under his Obscure Design moniker, prepared to accompany the exhibition on its 2011/12 tour (to venues in ON, AB, SK). Though the large touring exhibition will not have a full-scale Toronto stop over, a small pop-up version of the exhibition will occur in July/Aug in the Art Shop at IndexG. This boutique presentation will act as the official Toronto launch of the recently released Z'otz* Collective catalogue, and will highlight a few examples of recent Z'otz* collaborative drawings on paper.

In addition, Jerezano and Laliberte will collaborate on a new zine project called Tailmouthtale, which will be release in a small edition through Laliberte's imprint, in association with and celebration of International Zine Month.

Obscure Design presents: The Z'otz* Collective and Tailmouthtale will run from July 27 until Aug 14, 2011 with an artists’ reception / launch party being held on Saturday, July 30, 2011 from 3-6pm — copies of the Z'otz* catalogue and the Tailmouthtale zine will be available, and the artists will be present.

50 Gladstone Ave


Ginko: Watercolours by Malgorzata Wolak Dault
July 6 to 24, 2011
Opening Reception - Sunday, July 10, 2011 - 3-6 pm

For her fourth solo exhibition—her second at INDEXG—Malgorzata Wolak Dault is continuing her lyric exploration in watercolour of shards of the natural world.

Her delicate but gesturally assured paintings of Ginko leaves—some of them tumbling, scroll-like, down through the picture plane, others disposed mosaically upon the expanse of the papers she works on—become not only depictions of the intricacies of the leaves of these ancient trees, but are, in the end, something closer to a sort of graphic listening, by the artist, to the imminent but mysteriously elusive life with which each seems powerfully imbued.

About the new Ginko paintings, Malgorzata Wolak Dault has written:

I planted a Ginko tree last autumn and was bewildered by the enormous presence it had

among other trees. The tree was a dreamer, a dancer, a performer. It looked like a fantastic

skirt in a frantic movement, the array of opened fans moving in the wind, peacocks reposing on

the branches before an approaching dusk. It was the configuration of the

Ginko leaves, the brilliant changes of their colours, that, when they started to fall,

they resembled tumbling umbrellas or closed eyelids,

each dreaming its own dream. I collected the leaves, spread them around me and

painted them, not really looking at them but rather as a gesture in experience.

50 Gladstone Ave

Le Mois de la Photo à Montréal presents Cao Fei - Whose Utopia

For its 12th presentation, Le Mois de la Photo à Montréal, in collaboration with Centre d’art et de diffusion CLARK, present the work Whose Utopia by Cao Fei.

Cao Fei is concerned with the fate of individuals facing the radical changes sweeping the contemporary world, and she is particularly sensitive to the impact of China’s accelerated transition toward a market economy. In 2006, she went to a light-bulb factory for a six-month artistic collaboration with the employees, who, due to the extreme rationalization of production, were living under conditions leading to the eradication of their dreams. The video Whose Utopia (2006) is the result of this collaboration, which sought to revive the workers’ contact with their aspirations and their productive power. Although they are physically distant, their reality nevertheless reflects the inner conflict experienced by most individuals subjected to the productivity logic of the industrialized world.

This exhibition is supported in part by a grant from the E. Rhodes and Leona B. Carpenter Foundation.

Cao Fei was born in 1978, Guangzhou, China. She lives and works in Beijing. Cao Fei’s videos, photographs, and digital works associate popular culture with the idea of utopia in order to portray the transitions of contemporary China. She has had a meteoric rise on the international art scene and her work has recently been seen, among other venues, at the Serpentine Gallery in London (2009), the New Museum in New York (2009), and the São Paulo Biennale (2010). Cao received the Chinese Contemporary Art Award in 2006 and was a finalist for the Hugo Boss Prize awarded by the Guggenheim Museum in 2010. She is represented by Vitamin Creative Space in Guangzhou and by Lombard-Freid Projects in New York.

Le Mois de la Photo à Montréal
661, rue Rose-de-Lima, local 203, Montréal (Québec)
1 514 390 0383