Annual Program

SIGNALS & SENTIMENTS: A Featured Exhibition of the 2017 CONTACT Photography Festival

April 27–June 4, 2017

Curated by Katelyn Gallucci and featuring Sebastián Benítez, Petar Boskovic, Shelby Fenlon, Maxwell Hyett, and Mickey Mackenna (gallery); Maggie Groat & Jimmy Limit, Karen Henderson, and Josée Pedneault (stairwells)

SIGNALS & SENTIMENTS, a Featured Exhibition of the 2017 Scotiabank CONTACT Photography Festival, is a two-part exhibition that examines how gesture functions as a mechanism for the production of identity. Continue reading

Precious Commodity | Eunice Luk, Ella Dawn McGeough, Juan Ortiz-Apuy, Biliana Velkova

March 10–April 9, 2017

Critical Distance is pleased to present Precious Commodity, a group exhibition of recent 
works by Eunice Luk, Ella Dawn McGeough, Juan Ortiz-Apuy, and Biliana Velkova, curated by 
Alison Cooley.

Articulating a tension between objects and their ways of being—their forms, their significance, 
their social and economic circulation—Precious Commodity brings together artworks that 
examine the complicated sweetness of things. Unanchoring objects from their exchange 
within capitalism, the artists in the exhibition resignify them as vessels for fantasy, desire, 
and alternate possibility. Reflecting on the nature of a world populated by things with 
definitive practical uses and monetary values, each artist playfully contends with form, 
usurping existing representations in the service of building new meanings.  Continue reading

The Path, The Divide | Brynn Higgins-Stirrup

January 19–February 19, 2017

CDCC is pleased to present The Path, The Divide, a solo exhibition of recent works by Canadian artist Brynn Higgins-Stirrup, curated by Oana Tanase.

Fascinated by the ways in which we confront and reconcile intuitive inquiry with organized thought and form, Higgins-Stirrup has developed a distinctive visual language and practice that revolves around learning systems, geometry, mapping, and writing. Seducing the viewer through technical exactitude and material subtlety, her artworks speak of the space that lies between knowledge and truth, information and meaning. Continue reading

Crossing the Line: Contemporary Art from Denmark

November 5–December 11, 2016

Jeannette Ehlers and Patricia KaersenhoutSøren Thilo FunderJens HaaningMaj HasagerTina Helen,
Stine Marie Jacobsen
Jane Jin Kaisen, and Lilibeth Cuenca Rasmussen

Critical Distance is pleased to present Crossing the Line, a timely and provocative survey of contemporary Danish art curated by Earl Miller. Recognizing the transnational nature of much recent art from Denmark, the exhibition asks: Can a nation define itself culturally by looking beyond its traditional borders? Continue reading

Claudia Wieser, Fischreiher, 2009, Gold leaf on book page, 25.5 x 20 cm from The Amoebic Workshop, curated by Astarte Rowe, 2016, Critical Distance Centre for Curators. Installation documentation by Toni Hafkensheid.

The Amoebic Workshop: A Submerged Exhibition

on view September 21–October 23, 2016

Critical Distance Centre for Curators is pleased to present The Amoebic Workshop: A Submerged Exhibition, curated by Astarte Rowe and featuring countless living Mediolus corona amoebas in an aquarium habitat, plus artworks by Jessica Drenk (US), Gabriel Lalonde (Canada), and Claudia Wieser (Germany). Continue reading

Susana Reisman, Respirator masks (Custom Prototypes), Toronto, 2015.

On The Surface | Susana Reisman

May 7 – June 11, 2016

TYPOLOGY is pleased to present On The Surface, a Featured Exhibition of the 2016 Scotiabank CONTACT Photography Festival, featuring Susana Reisman’s findings from her multi-year investigation into the nature of wood. Encompassing aspects of both drawing and painting even as it foregrounds relationships between sculpture and photography, the exhibition includes a selection of large-scale colour photographs and several freestanding wood sculptures. Continue reading

Script, Stage, Screen | Ciprian Mureșan

April 1 — May 1, 2016

Script, Stage, Screen | Ciprian Mureșan, curated by Oana Tanase. Featuring a critical selection of this internationally known artist’s experimental films, Script, Stage, Screen is the first solo exhibition of Mureșan’s work in Toronto, which we are very pleased to present in partnership with the 29th edition of the Images Festival (April 14–23, 2016). Continue reading

Deborah Wang, Earth Plugs, 2014, white gypsum cement, dimensions variable, from Loose Ends, Critical Distance Centre for Curators 2016. Installation documentation by Toni Hafkenscheid.

Loose Ends | Mary Grisey, Faye Mullen, Jérôme Nadeau, Deborah Wang

Jan 14 — Mar 6, 2016

Each decay is a form of transformation into other living things, part of the great rampage of becoming that is also unbecoming. It is cruel, it is death, and it is also life, degeneration and regeneration, for nearly all living things live by the death of other things.

— Rebecca Solnit

Loose Ends, curated by Noa Bronstein and featuring sculpture, video, and photo-based works by Mary Grisey, Faye Mullen, Jérôme Nadeau, and Deborah Wang. Continue reading

Moving right along | Nicolas Fleming

October 15 — December 15, 2015

TYPOLOGY is pleased to present Moving right along, the first solo exhibition of work by Nicolas Fleming in Toronto. Appropriating the visual language and syntax of design-build practices, Fleming’s new artworks and site-specific installation transform the exhibition space, exploiting the inherent imperfections and irregular marks characteristic of construction sites to challenge the white cube environment in which they are situated. Constructing a room within a room, the artist’s sculptural gestures within the installation include curved walls and the representation of a fountain which bursts through the ceiling, its shiny finish reflecting the bright neon lighting illuminating the space. Continue reading

Maria Flawia Litwin, Anima (detail), 2015

The Lowest Relief | Maria Flawia Litwin

August 21–September 27, 2015

TYPOLOGY launches its Fall 2015 season with THE LOWEST RELIEF, an intimate solo exhibition of art by Maria Flawia Litwin, curated by Katherine Dennis. In this new body of work, Litwin uses wycinanki (pronounced vih-chee-nahn-kee), a Polish paper cutting tradition, to weave stories layered with personal memories, social history, symbolism and mythology. Each work stems from a significant autobiographical detail in the artist’s life. Yet the illustrations are stripped of overt personal narrative. The focus instead is on quintessential life experiences — those as simple and complex as birth and death, and as fleeting or all encompassing as love, alienation, pain, fear or passion — that transcend gender, geography and culture. Continue reading