Billboard on Shaw

Billboard on Shaw: Tsēmā Igharas

May 10 - June 17, 2021

 

This billboard is presented as part of the group exhibition Groundwork, curated by Valérie Frappier for Critical Distance. Featuring artists Alana Bartol, Ileana Hernandez Camacho, and Tsēmā Igharas, the exhibition grapples with the mindset of extractivism and highlights how site-specific performance can bring focus to alternative ways of relating with land. Groundwork is a Featured Exhibition of the 2021 Scotiabank CONTACT Photography Festival.

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Billboard on Shaw: Jorian Charlton

March 8 - May 9, 2021

Billboard on Shaw presented by Gallery TPW in partnership with Critical Distance, featuring Untitled (Angaer) by Jorian Charlton, 2020.

The individuals in Jorian Charlton’s photographs become stand-ins for everyday Black folks, whose beauty and culture often lack recognition and representation as they are. Taking cues from fashion photography, Charlton’s way of working emphasizes her sitter’s active role in being photographed.

Here, Charlton carefully captures the movement in her muse’s hair, distilling a sense of freedom and agency. She is unbound by the static nature of the frame.

Curated by Emilie Croning, Wedge Curatorial Projects

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Billboard on Shaw: Kablusiak | Piliutiyara

November 24, 2020

Billboard on Shaw presented by Gallery TPW in partnership with Critical Distance, featuring Piliutiyara by Kablusiak.

This billboard is presented in the context of Gallery TPW’s ongoing project MOVEMENTS, an online and site-specific program that reflects on both the intimate scale of the body as it shifts through time and space, and organized actions that provoke vital, unsettling change.

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Billboard on Shaw: Zinnia Naqvi | The Border Guards Were Friendly

August 20, 2020

Billboard on Shaw presented by Gallery TPW in partnership with Critical Distance, featuring The Border Guards Were Friendly by Zinnia Naqvi, 2020.

This billboard is presented in the context of Gallery TPW’s ongoing project MOVEMENTS, an online and site-specific program that reflects on both the intimate scale of the body as it shifts through time and space, and organized actions that provoke vital, unsettling change.

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A close-cropped image of a dining table with the fragments of four people sitting around it. One person is holding a smartphone and swiping through images, the images are obscured by the fingers in motion. There is a used plate on the table, and a container filled with olives and lemons. There are subtitles that read "I closed all the window and now everything is in one room."

A Big Heritage with A Glorious Past | Eleana Antonaki and Marina Xenofontos

February 13–March 29, 2020

Curated by ma ma (Magdalyn Asimakis and Heather Rigg)

 

A Big Heritage with A Glorious Past presents the work of Eleana Antonaki and Marina Xenofontos in an inconclusive dialogue around the migratory experience. In their practices, both artists explore transnational feminist perspectives, honing in on the adversities of migration and strategies of settling and creating homes while in exile.

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Billboard on Shaw: Pejvak | The Bell at the End of Time

Summer 2019

Billboard on Shaw co-presented in partnership with C Magazine, featuring The Bell at the End of Time (detail), by PEJVAK (Rouzbeh Akhbari and Felix Kalmenson), 2019.

“We came across the following documents during our research residency in Tbilisi at Georgia’s State Silk Museum in March 2019. Reviewing the extensive archives maintained by the museum’s library, in preparation for our upcoming film on the Silk Road, we were captivated by a series of notes and illustrations that felt oddly out of place in the collection. These documents stood out from the rest of the archives not only because of their seemingly disconnected subject matter but also because of their disparate sorting logic and clandestine placement amongst various expedition reports and personal notes written by Nikolay Shavrov, a Russian biologist and the founder and first director of Tbilisi’s Sericultural Station. At first glance, these records appeared to be little more than incidental entries or misplaced files, but soon, with the help of Darejan Demetrashvili, the librarian, and Mariam Shergelashvili, our research coordinator, we uncovered a series of interconnected narratives concerning a monumental intervention in the environs of Mount Ararat in modern-day Turkey.”

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Billboard on Shaw: Ivanie Aubin-Malo | Oposiyik

February 7-March 31, 2019

Billboard on Shaw curated by Neven Lochhead with the exhibition Public Syntax, presented in partnership with SAW Video, featuring Oposiyik [Performance Continuation] (2019) by Ivanie Aubin-Malo.

Public Syntax is an exhibition that highlights the distinct time-based practices and approaches of seven artists, as well as those participating in the Video in the Public Sphere Working Group.

Responding to Critical Distance’s mandate to advance curatorial inquiry and encourage collaborative frameworks, exhibition curator Neven Lochhead employs a conversational mode to form ‘syntactical’ relations between these various practices, identifying collective editing processes where the ‘sequence’ becomes a vector on which to group together. In the gallery and public spaces, artists in this exhibition generate affinities not through the question of ​where will we meet,​ but rather ​when will we occur?

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Nadia Myre, Indian Act (Billboard), 2002, digital print on adhesive vinyl, 8 x 8 feet, from Through Lines curated by Noa Bronstein, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid.

Billboard on Shaw: Nadia Myre | Indian Act

September 13–November 25, 2018

Billboard on Shaw curated by Noa Bronstein with the exhibition Through Lines, presented in partnership with the Koffler Gallery, featuring Indian Act by Nadia Myre.

Through Lines is an exhibition that brings together works of seven artists that challenge notions of redaction, tackling its typical devices of shredding, blacking out, editing, and covering up. Each project featured in this exhibition engages a restorative gesture that speaks to the ways in which history and memory are conceptualized within a contemporary context. Rather than considering redaction simply as a bureaucratic tool or an outcome of state control, these specific approaches enable new forms of knowledge production and remembering, both politically and personally. Contemplating alternative legibilities that might emerge through redaction, the exhibition highlights the spaces of inquiry revealed through acts of obstruction.  Continue reading

Nadège Grebmeier Forget, After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017, performance documentation and multi-platform intervention (billboard, 8x8 ft), in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid.

Billboard on Shaw: Nadège Grebmeier Forget | After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017.

June 23 – August 5, 2018

Billboard on Shaw curated by Florence-Agathe Dubé-Moreau and Maude Johnson with the exhibition … move or be moved by some ‘thing’ rather than oneself, featuring After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017 by Nadège Grebmeier Forget.

… move or be moved by some thing rather than oneself. examines the intersections between methods of creation and reflection particular to curatorial and choreographic spheres. As part of the ongoing discussion on dance in the museum, this exhibition responds specifically by disengaging from the danced gesture. It gathers artists who, on the one hand, borrow from curatorial and choreographic methodologies; and who, on the other hand, transform the multiple spaces (physical, virtual, social, political, historical, etc.) and temporalities of the gallery. Continue reading

Dayna Danger, Kandace (Billboard), 2018, digital print on adhesive vinyl, 8 x 8 feet, from Forward Facing curated by Cass Gardiner, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid.

Billboard on Shaw: Dayna Danger | Kandace

April 21–June 3, 2018

Billboard on Shaw curated by Cass Gardiner with the exhibition Forward Facing, presented in partnership with Aboriginal Curatorial Collective–Collectif des commissaires autochtones and featuring Kandace by Dayna Danger.

In partnership with Aboriginal Curatorial Collective–Collectif des commissaires autochtones, Critical Distance is pleased to present Forward Facing, a Featured Exhibition of the 2018 Scotiabank CONTACT Photography Festival. Curated by Cass GardinerForward Facing is an exhibition that examines intersectionality within Indigenous identity. Continue reading