Featured:ACCESS IS LOVE and LOVE IS COMPLICATEDOpening October 3, 2019

Vanessa Dion Fletcher, Quillwork in twenty-nine Parts, porcupine quill embroidery on paper, 6 x 9 inches. The quills are folded back and forth making a zigzag pattern and the design is raised off of soft paper. The colours of the embroidery are warm reds pinks and browns.

image: Vanessa Dion Fletcher,Quillwork in twenty-nine Parts, porcupine quill embroidery on paper, 6 x 9 inches. The quills are folded back and forth making a zigzag pattern and the design is raised off of soft paper. The colours of the embroidery are warm reds pinks and browns.


ACCESS IS LOVE and LOVE IS COMPLICATED

AT CRITICAL DISTANCE CENTRE FOR CURATORS
PRESENTED IN PARTNERSHIP WITH TANGLED ART+DISABILITY

OCTOBER 3–DECEMBER 8, 2019 / Opening Oct 3rd, 6–9 pm

CRITICAL DISTANCE and TANGLED ART+DISABILITY are pleased to present ACCESS IS LOVE and LOVE IS COMPLICATED, an exhibition and event series featuring Vanessa Dion Fletcher, Kat Germain, Wy Joung Kou, Dolleen Tisawii’ashii Manning, Andy Slater, Aislinn Thomas, and Adam Wolfond and Estée Klar. This program is co-curated by CDCC Education and Accessibility Coordinator, Emily Cook, and Tangled Art + Disability Director of Programming, Sean Lee and represents the next level in our ongoing series of programs providing opportunities for curators and artists to consider new and more collaborative aesthetic and conceptual approaches to accessibility within and beyond the gallery context.

ACCESS IS LOVE and LOVE IS COMPLICATED takes inspiration not only from disability activist Mia Mingus’ idea that accessibility should be understood as an act of love, but riffs on a pop cultural understanding that love is complicated—and thus, if we truly wish to move towards an accessible future then we must embrace the frictions of it. A lived experience that is often as political as it is relational, disability is a springboard from which access is entangled in the political alterities of our bodies; how they move, navigate and shape the world.

We–disabled people–are, as Kelly Fritsch notes, effective agents of world building and dismantling towards more just relations. But as we dismantle the world and work towards access as an act of love, we must also recognize that this act is complicated. Crip, Mad, Spoonie, and Deaf people are woven together in a tangled through-line of embodied difference, but more often than not our experience of negotiating access (or lack thereof) is performed alone. This is because our experience of disability has been something we’ve been told is located exclusively in our bodies. As we move towards access as love, and our understandings of disability shift towards relational, social and political frameworks, access, like love, becomes complicated—but in a good way. In the words of Carrie Bradshaw, this kind of love is “ridiculous, inconvenient, consuming, can’t-live-without-each-other love.”


FALL 2019 EVENT SERIES

Critical Distance and Tangled Art + Disability are pleased to announce the following events in conjunction with ACCESS IS LOVE and LOVE IS COMPLICATED. All events will take place at Artscape Youngplace; exact locations within the building and further details will be provided closer to event dates. Admission to exhibitions is always free; public open events are free, and pre-registered (space-limited) workshops and events are pay-what-you-can. Critical Distance is committed to paying fair wages as well as reducing barriers to participation in our programs. Accessibility information is provided below and will apply for all events.

Indigeneity, Neurodiversity and the Arts
A Conversation with Vanessa Dion Fletcher and Dolleen Tisawii’ashii Manning
Sunday, October 20th at 2 pm 

How to Make Your Own Word Scavenger Hunt with Vanessa Dion Fletcher
Monday, October 21st at 6 pm

Dream-Worlding with Dolleen Tisawii’ashii Manning
Saturday, November 2nd at 2 pm

The Culture of Crip Aesthetics
Panel discussion with Sean Lee, Andy Slater, Wy Joung Kou and Aislinn Thomas
Moderated by Emily Cook
Saturday, November 9th at 2 pm 

Experimental Audio and Image Description with Aislinn Thomas and Kat Germain
Saturday, November 16th at 2pm

Access is Love and Love is Complicated: A reading group
Thursday, December 5th from 6–9 pm


ACCESSIBILITY INFORMATION

Critical Distance is located on the third floor of Artscape Youngplace, a wheelchair accessible building with a
ramp at the 180 Shaw Street doors, an elevator servicing every floor, and an accessible washroom on every level. The TTC’s 63 Ossington bus stops nearby and is wheelchair accessible. All events will have ASL interpretation and attendant care provided. Childcare may also be available; please inquire. CDCC seeks to facilitate a scent-free environment in order to reduce barriers to access for people with chemical sensitivities, and we ask all who attend our events to kindly refrain from using or wearing scented products or materials in advance of and during our events. All of our access measures rely on, and reflect, the goodwill of our team, colleagues, and visitors — thanks to all participants for helping us improve access for all. If your access needs are not addressed in this statement, we will work with you to support your access to the exhibition and events — contact us at info@criticaldistance.ca to inquire. 


ABOUT the ARTISTS

ANDY SLATER is a legally blind musician, performer, and audio engineer. He is the founder of the Society of Visually Impaired Sound Artists and director of the Sound As Sight accessible field recording project. His current compositions use the sounds of modern, antiquated, and experimental accessibility technology, echolocation, and spacial recordings of his white tipped cane to control the narrative of his own experience as a blind person. www.thisisandyslater.com / www.andyslater.Bandcamp.com / Sound As Sight https://youtu.be/g58VbW9j5UY

ESTÉE KLAR and ADAM WOLFOND are mother and son who are active within the autistic self-advocate community since 2003. Adam is a non-speaking, 17 year-old autistic individual, high school student, poet, and co-founder of The A Collective which is a lab for the emergence of neurodiverse creative practice. Estée is a PhD Candidate at York University in Critical Disability Studies, curator of art, and artist since 1989. She is the founder of The Autism Acceptance Project (2005-2016) and has staged lectures and exhibitions by autistic artists. Adam is a collaborator on Estée’s dissertation which questions notions of agency and mastery as prerequisites for inclusion.

WY JOUNG KOU is a queer, chronically ill, multi-disciplinary artist based in Toronto, with an evolving focus on ceramic, porcelain and glass mosaic work. As a mosaic artist, they are a poet, turned visual-tactile storyteller. Grounded in a disability justice framework centering accessibility, community and intersectionality, their artistic practice is interwoven with personal narratives of grief, diaspora, care, and intimacy. Kou’s independent mosaic work has been exhibited across the GTA since 2015, as well as in establishments such as Tangled Art + Disability Gallery and The Gladstone Hotel. In 2018 they were nominated as the inaugural winner of the JRG Grant for
Artists with Disabilities.

VANESSA DION FLETCHER graduated from The School of the Art Institute of Chicago in 2016 with an MFA in performance, and has exhibited across Canada and the US, including Art Mur (Montreal), Eastern Edge Gallery (Newfoundland), The Queer Arts Festival (Vancouver), and Satellite Art Fair (Miami). Her work is in the Indigenous Art Centre (Gatineau, Quebec), Joan Flasch Artist Book collection, Vtape, and Seneca College. In Vanessa is supported by the City of Toronto Indigenous partnerships fund as artist in residence at OCAD University for 2019. www.dionfletcher.com/

DOLLEEN TISAWAII’ASHII MANNING is a member of Kettle and Stoney Point First Nation, currently residing in Toronto. She is an interdisciplinary artist and scholar, with a PhD in Theory and Criticism (Western) and an MFA in Contemporary Art (Simon Fraser). Manning is an Assistant Professor in Indigenous Education and Pedagogy at York University, on leave while completing her SSHRC Postdoctoral Fellowship at Michigan State University (Philosophy, 2018-2020). Manning’s research takes up Anishinaabe imaging practices, epistemological sovereignty, and the debilitating impact of settler colonial logics.

AISLINN THOMAS is an interdisciplinary artist whose practice includes video, performance, installation and text-based work. She culls material from everyday experiences and relationships, exploring themes of vulnerability, possibility and failure. Her work has been exhibited nationally and internationally and has received a number of grants and awards. Recent exhibitions include the WRO Media Arts Biennial in Wroclaw, Poland; Holding Patterns with ArtSpin and Tangled Art + Disability in Toronto, Ontario; Talk Back at Flux Factory in New York; and a commissioned project for the Walter Phillips Gallery in Banff, Alberta.  Aislinn lives and works near the Grand River in Kitchener, Ontario. www.aislinnthomas.ca

KAT GERMAIN is a dynamic artist on stage, screen and audio booth. Artistic modus operandi: authenticity. Uses acting as a petri dish; seeks to explore and understand the human condition from the inside out. Started writing to diversify acting roles, continue to hone skills and mine—in new ways—our collective consciousness and anomalies therein. Arts activist and advocate for increased diversity (both cultural and ability-based) in the performing arts. Trained Audio Describer, tying in to arts access, inclusion and voice work. When not performing or otherwise creating Kat teaches, primarily working with kids with autism/ multiple diagnosis. www.katgermain.com 


ABOUT the PRESENTING PARTNERS

Tangled Art + Disability is boldly redefining how the world experiences art and those who create it. We are a not for profit art + disability organization dedicated to connecting professional and emerging artists, the arts community and a diverse public through creative passion and artistic excellence. Our mandate is to support Deaf, Mad and disability-identified artists, to cultivate Deaf, Mad and disability arts in Canada, and to enhance access to the arts for artists and audiences of all abilities. http://tangledarts.org/

Critical Distance is a not-for-profit project space, publisher, and professional network devoted to the support and advancement of curatorial practice and inquiry in Toronto, Canada, and beyond. With a focus on critically engaged, collaborative, and cross-disciplinary practices, underrepresented artists and art forms, and community outreach and education in art and exhibition-making, Critical Distance is an open platform for diverse curatorial perspectives, and a forum for the exchange of ideas on curating and exhibition-making as ways to engage and inform audiences from all walks of life. www.criticaldistance.ca

More info coming soon! Follow us on Facebook or Instagram for updates.

 


PRESS

Access is Love and Love is Complicated
Akimbo | September 23, 2019

 

Featured:Critical Distance at Edition Toronto 2019October 24-27, 2019

For our fourth year at Edition, Critical Distance is pleased to present an array of editions and publications from the wonderful artists, curators, and organizations we’ve partnered and collaborated with over the past 6 years. From our current exhibition, ACCESS IS LOVE AND LOVE IS COMPLICATED we are featuring two extraordinary chapbooks by 17 year old poet Adam Wolfond, published by Minneapolis-based Unrestricted Interest. As in years past, a selection of free/pwyc publications will be available for taking and sharing, including back issues of Lola (Toronto), Studio Magazine (Harlem), and Contemporary& (Berlin). 

Finally, we are thrilled to launch two new catalogues produced in conjunction with past exhibitions at Critical Distance and TYPOLOGY: On The Surface /Susana Reisman curated by Shani K Parsons (with essay by Daniella Sanader) and Fermenting Feminism curated by Lauren Fournier.

Visit our table to see these and other editions and publications by artists, writers, and publishers we love.

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Featured:Billboard on Shaw: Pejvak | The Bell at the End of TimeSummer 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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Past Exhibitionsin reverse chronological order

FRUITMACHINE

August 27 - September 1, 2019

FRUITMACHINE
MFA THESIS EXHIBITION BY AIDAN COWLING
AUGUST 27 – SEPTEMBER 1, 2019

Critical Distance is pleased to present Fruitmachine, the master’s thesis exhibition of University of Guelph MFA Candidate, Aidan Cowling, for our 2019 Summer Session. Since 2016, Critical Distance has demonstrated support for emerging curators and artists by providing space and institutional support for graduating students and recent alumni of local educational programs through this special opportunity.
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Ocean Archive: CDCC in exchange with TBA21-Academy (Vienna)

September 28 - 29, 2019

CDCC, TORONTO x TBA21-ACADEMY, VIENNA at OCEAN SPACE, VENICE

SATURDAY, SEPTEMBER 28, 2019 from 11am—5pm EST

Critical Distance Centre for Curators is pleased to participate in an international exchange with TBA21-Academy in response to the release of the IPCC Special Report on the Oceans and Cryosphere in a Changing Climate (SROCC). Scheduled to be published on September 28th, the report and proceedings with be presented at the Climate Justice for a Living Ocean at Ocean Space in Venice as part of Phenomenal Ocean, a convening to be led by Chus Martinez, Director of Institut Kunst in Basel.

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PRESSING THE ISSUE pt.2: Critical Arts Publishing in Canada Continued

August 9, 2019

Join us AUGUST 9, 2019, starting at 7pm at Small World Music Centre, Suite 101 of Artscape Youngplace; reception to follow in gallery at Critical Distance, Suite 302.

We are excited to continue the conversation on the state of independent critical arts publishing across Canada with a panel involving Anthea Black and Jessica Lynn Whitbread from The HIV Howler, Adrienne Crossman from Off Centre, Lauren Lavery from Peripheral Review, and Niki Little from imagineNATIVE Film + Media Arts Festival, moderated by Maxine Proctor. Continue reading

WHO ARE WE WRITING FOR? A Workshop with Amy Fung for BIPOC Writers

July 7 - July 10, 2019

WHO ARE WE WRITING FOR? 
A Creative + Critical Art Writing Workshop with Amy Fung in gallery at Critical Distance.

Session 1: Sunday, July 7th, 2019 from 5-8 pm.
Session 2: Wednesday, July 10th, 2019 from 5:30–8:30 pm.

Geared for racialized arts writers and those thinking and writing about their place in the world. We will write through and alongside the things that move us (forward) and hold us (back).

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PRESSING THE ISSUE pt.1: On Critical Arts Publishing in Canada

July 8, 2019

Join us JULY 8th, 2019 starting at 7pm at Small World Music Centre, Suite 101 of Artscape Youngplace; reception to follow in gallery at Critical Distance, Suite 302.

We are thrilled to host a conversation with founders and co-founders of indie critical arts publishing projects in Canada including; Cecilia Berkovic (EMILIA-AMALIA), and Ben Donoghue (MICE Magazine), Merray Gerges (CRIT paper), Steffanie Ling (Charcuterie, Bartleby Review, STILLS), and Vanessa Runions (Carbon Paper). This panel will be moderated by Maxine Proctor.

Curating for the Future with AGYU Visiting Curator Tian Zhang

June 19, 2019

A FREE PUBLIC PRESENTATION BY AGYU VISITING CURATOR TIAN ZHANG

WEDNESDAY, JUNE 19, 2019 starting at 7PM at Small World Music Theatre, Suite 101 of Artscape Youngplace, 180 Shaw Street, Toronto, ON, M6J 2W5

AGYU and Critical Distance Centre For Curators (CDCC) are pleased to co-present a curatorial talk by AGYU Visiting Curator Tian Zhang (Sydney, Australia). A presentation of Tian’s work will be followed by a facilitated conversation hosted by Emelie Chhangur (AGYU), Myung-Sun Kim (Toronto Biennial of Art), and Shani K Parsons (Critical Distance).
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PUBLISHING AGAINST THE GRAIN at CRITICAL DISTANCE

July 4–August 17, 2019

PRESENTED IN PARTNERSHIP WITH INDEPENDENT CURATORS INTERNATIONAL, NY

OPENING SATURDAY, JULY 6TH from 11am–1pm

CRITICAL DISTANCE and INDEPENDENT CURATORS INTERNATIONAL (ICI) are pleased to present Publishing Against the Grain, a unique exhibition that provides visitors with a rare opportunity to engage in a variety of conversations from across the world. In the context of today’s corporatization and commodification of cultural institutions, and in many political situations where free speech becomes ever more precarious, independent publishing has shown extraordinary vitality and importance as a platform for disseminating alternative, progressive and autonomous positions.

Publishing Against the Grain is a traveling exhibition that highlights the current state of publishing and art criticism as it exists in small journals, experimental publications, websites, and podcasts, as well as other innovative forms. It is organized around projects that connect theoretical, social, political, and aesthetic questions with a focus on community, whether understood in relation to a particular place, or defined in identitarian or diasporic terms. In bringing these projects together from around the world, Publishing Against the Grain reveals how their material and discursive activities respond to intersecting subjects such as contemporary aesthetics, diaspora, sex and gender, gentrification, race, language, and art history.

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Room For Shifting Expressions: Critical Distance at NUIT ROSE 2019

June 15-23, 2019

On view: June 15–23, 2019 | Opening: Saturday, June 15th from 5–9 pm

Critical Distance is pleased to participate in Nuit Rose 2019 with a presentation of new work by Eric Chengyang and Ebrin Bagheri curated by CDCC Curatorial Programs Coordinator Emily Peltier.

Nuit Rose is an annual festival that showcases national and international 2SLGBTQ+ identified artists in Toronto. In response to the 2019 festival theme ARCADE, Room For Shifting Expressions will exhibit new works by Chengyang and Bagheri that explore individual, historical, and culturally-specific experiences of gender identity and sexuality made visible through illustration, motifs, language translation, and interactive installation.

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An Archive, But Not An Atlas

April 27–June 2, 2019

Alex Jacobs-Blum, Curtiss Randolph, Camille Rojas, Eve Tagny
Curated by Liz Ikiriko

On view: April 27–June 2, 2019 / Opening reception: Saturday, April 27th, 1–3pm

“An archive, but not an atlas: the point here is not to take the world upon one’s shoulders, but to crouch down to the earth, and dig.”

— Allan Sekula

An Archive, But Not An Atlas is a group exhibition that explores personal and social histories as they are unearthed through movement, gesture, language, and land. Four emerging artists address unconscious memory as it is embodied across generations and geographies. Through photography, performance, and film, the artists’ knowledge is rooted in observing subtleties expressed in familial, domestic, or cultural locations. Continue reading

Nicole Kelly Westman: a slight space amidst

April 11–20, 2019

Curated by Steffanie Ling
An Off Screen presentation of the 2019 Images Festival

On view: April 11–20, 2019 | Opening reception: April 10th, 6 pm | Artist talk: April 14th, 1:30 pm

Critical Distance is pleased to co-present Nicole Kelly Westman: a slight space amidst in partnership with the 2019 Images Festival. a slight space amidst is a video installation that exists in the threshold between a screening and an exhibition. A secluded space just beyond sheer partitions, you determine the duration of your viewing as the film loops. Capturing arrested light and moments that meld and mesh, the film echoes the wavering movements proposed by the installation’s materiality: sheer silk curtains that partition here and there, before and after, daylight and nocturne.

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AMANDA BEECH: Constructing Time | Talk + Screening

April 1, 2019

Critical Distance Centre for Curators and SAW Video Media Art Centre, in partnership with Equitable Bank and Pleasure Dome, are pleased to present an artist talk and screening followed by a celebratory reception with LA-based artist, writer, and Dean of Critical Studies at CalArts, Amanda Beech.

Beech has presented her work at major international venues including Tate Britain, The Baltic Centre for Contemporary Art, and Remai Modern. For her talk, she will speak on the main themes that have mobilized her practice, focusing on how the relation between art and power is constructed in the choreographing of time. The machinations of time-based art have often led it to privilege ‘the open’ and to identify art with the future as an indeterminate potentiality. This means that it has often rejected any regulative principles that would provide a sense of determination for a future. But this rejection still formats a future that is present to us, and often this has proved unsatisfactory in meeting our political aspirations. Beech will also delve into how the ordering of time in sequence, assemblage, montage and abstraction can offer the construction of another sense-experience of time as well as craft the possibility for another, future, time and space.

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Performance documentation (still), Ivanie Aubin-Malo in response to work by naakita feldman-kiss at SAW Video (Ottawa), 2018.

PUBLIC SYNTAX: SAW Video at CRITICAL DISTANCE

February 7-March 31, 2019

Opening Reception: Saturday, February 9th from 2–4 pm

Curated by Neven Lochhead and presented in partnership with SAW Video Media Art Centre, Ottawa. Featuring work by naakita feldman-kiss, Ivanie Aubin-Malo, Henry Andersen, Mara Eagle, Phil Rose, Molly Teitelbaum, Anna Queen, and The Video in the Public Sphere Working Group.

In partnership with SAW Video Media Art Centre (Ottawa), Critical Distance is pleased to present ​Public Syntax, ​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, the majority of whom are either Ottawa-based or connected. Situated in-gallery at Critical Distance and across multiple public spaces at Artscape Youngplace, the works in the exhibition embody and expand upon the recent and ongoing programming initiatives of SAW Video and their Knot Project Space​, ​launched in early 2018​.​

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Taboo Health, DIYing Free, installation with Design TO Festival at Critical Distance Centre for Curators, 2019.

DIYing Free for DesignTO at Critical Distance

January 18–27, 2019

DIYing Free: Special Exhibition by Taboo Health
for DesignTO at Critical Distance

Critical Distance is pleased to participate in the 2019 edition of DesignTO Festival as host to Taboo Health’s interactive exhibition, DIYing Free, by artist Justin Tyler TateThis special exhibition is a part of the captivating DesignTO Festival event series, Dying Continue reading

CDCC Edition/3 featured book covers

Critical Distance at the 2018 Edition Art Book Fair

October 26–28, 2018

Critical Distance is pleased to participate in the 2018 Edition Art Book Fair, running concurrently with Art Toronto at Metro Toronto Convention Centre. For our third year at Edition, CDCC presents publications and editions from STUDIO MUSEUM IN HARLEM (NY), CONTEMPORARY& (Berlin), INDEPENDENT CURATORS INTERNATIONAL (NY), DOMINICA (LA), and HALF LETTER PRESS (Chicago); artist’s editions by KAYFA TA/MAHA MAAMOUN and ALA YOUNIS (Cairo), QIANA MESTRICH (Brooklyn), ED PANAR (Pittsburgh), and KHALED HOURANI (Palestine); plus two new catalogues produced in conjunction with recent exhibitions at Critical Distance. Continue reading

THROUGH LINES

September 13–November 25, 2018

Featuring LISE BEAUDRY, SCOTT BENESIINAABANDAN, MICHELE PEARSON CLARKE, LEILA FATEMI, MARIA HUPFIELD, RAAFIA JESSA, and NADIA MYRE
Curated by NOA BRONSTEIN

Opening Reception: Thursday, September 13, 2018 from 7–9 pm

Presented in partnership with the Koffler Gallery, 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.  Continue reading

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

EXPOSING LIMINALITIES

August 11-26, 2018

Featuring Azaeb Adane, Clayton Batson, Eli Carmona, Tahoy James, and Ebti Nabag. Curated by Emma German.

In partnership with Gallery 44, EXPOSING LIMINALITIES brings together the work of five artists that expand, challenge, and question notions of the in-between. Employing elements of both analogue and digital photography practices, this exhibition considers the myriad intersections that can define oneself. Presented as a part of Critical Distance’s Summer Sessions, a program through which we support emerging curators and artists by providing free space, mentorship, and installation support for their thesis exhibitions. Continue reading

Art Book Week at Critical Distance

July 7, 2018

Featuring Contemporary& (Berlin), Half Letter Press (Chicago), Kayfa-ta (Maha Maamoun and Ala Younis, Cairo), Independent Curators International (NY), Domenica (LA), and Maake (US); and Qiana Mestrich (Brooklyn), Khaled Hourani (Palestine), Ed Panar (Pittsburgh), Ciprian Muresan (Romania), Jeanette Ehlers (Denmark), Maggie Groat (Ontario), Sara Knox Hunter (Queens, NY), and Tings Chak (Toronto); plus a selection of catalogues and editions produced by TYPOLOGY Projects and Critical Distance Centre for Curators.

Critical Distance is pleased to participate in Art Book Week in conjunction with the 2018 Toronto Art Book Fair. For our third year of art book-related programming in support of TOABF, we will also be launching our newly stocked e-shop with a celebration and sale on Saturday, July 7th from 4–7 pm at Critical Distance. Continue reading

Nadège Grebmeier Forget, Rendering on View (Betty Rowland meets Angela Aames). Performed on May 27th 2017 as part of the installation Walls of Wind: The mirroring and rendering. Created in the context of the group exhibition I've Only Known My Own curated by Nicole Burisch and presented from April 21st to June 10th 2017 at OPTICA, Montréal. Photo: Paul Litherland.

… move or be moved by some ‘thing’ rather than oneself.

June 23 – August 5, 2018

Featuring Guillaume Adjutor Provost, Adam Basanta, Adrienne Crossman, and Nadège Grebmeier Forget
Curated by Florence-Agathe Dubé-Moreau and Maude Johnson

Critical Distance is pleased to present … move or be moved by some thing rather than oneself., an exhibition that considers curating and choreography as materials and subjects. Bringing together the work of Guillaume Adjutor Provost, Adam Basanta, Adrienne Crossman, and Nadège Grebmeier Forget, the exhibition is curated by Florence-Agathe Dubé-Moreau and Maude Johnson. The title, taken from a quote by choreographer Yvonne Rainer, echoes the curators’ desire to question the potentialities of artworks as well as presentation contexts from the position of transdisciplinary instability. 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

FORWARD FACING

April 21–June 3, 2018

Featuring Lacie Burning, Jade Nasogaluak Carpenter and Dayna Danger | Curated by Cass Gardiner and presented in partnership with Aboriginal Curatorial Collective

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 Gardiner (Toronto/Brooklyn), Forward Facing is an exhibition that examines intersectionality within Indigenous identity through the photographic, video, craft, and installation practices of Dayna Danger (Montreal), Lacie Burning (Vancouver), and Jade Nasogaluak Carpenter (Calgary). 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

WE LOOK AT ANIMALS BECAUSE

January 25–March 25, 2018

Featuring Quratulain Butt, Khaled Hourani, Maha Maamoun, Smriti Mehra, Huma Mulji, Ed Panar, Alex Sheriff, and Andrea Luka Zimmerman | Curated by Toleen Touq and Nahed Mansour

In partnership with South Asian Visual Arts Centre (SAVAC), Critical Distance is pleased to present We Look At Animals Because, an exhibition that gazes on animality. Through the lens of spectatorship, the show explores the shifting ways in which animals are regarded, represented and accorded meaning in post-industrial landscapes. Exhibiting photographs, video, works on paper, and sculpture, the featured artists reveal the nuanced, complicated and unexpected paradoxes that mark our relationships with cosmopolitan animals. Continue reading

Winter 2018 Billboard on Shaw, "Ego" by Quratulain Butt, from We Look at Animals Because, curated by Nahed Mansour and Toleen Touq, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid.

Billboard on Shaw: Quratulain Butt | Ego

January 25–March 25, 2018

In partnership with South Asian Visual Arts Centre (SAVAC), Critical Distance is pleased to present the Winter 2018 Billboard on Shaw, featuring work by Quratulain Butt curated by Toleen Touq and Nahed Mansour as part of the exhibition We Look At Animals Because.

Growing up with roosters as pets, this motif appears frequently in Butt’s paintings. Originally created using delicate watercolor strokes in the Gadrang (opaque) miniature painting technique, the artist presents figures of brawling roosters as stand-ins for human conflict. Butt also draws, perhaps comically, on the pressures of conformity that come with family and tradition. For this exhibition, an enlarged and digitized version of the original Ego painting was commissioned from the artist for the eight-foot square billboard structure. Continue reading

Critical Distance at the Edition Art Book Fair

October 26–30, 2017

Featuring Half Letter Press and works by Marc Fischer/Public Collectors and Temporary Services, Magali Duzant, Graphic History Collective with Paul Buhle, Project 40 Collective, Mark Mulroney, Brandon Dalmer & Erin Ornstein, Maggie Groat, and Tings Chak; plus selected publications from Independent Curators International and selected catalogues and editions produced by Typology Projects and Critical Distance Centre for Curators Continue reading

FERMENTING FEMINISM

September 14–November 26, 2017

Critical Distance is thrilled to launch our landmark 5th year of programming with FERMENTING FEMINISM, curated by Lauren Fournier and featuring Sharlene Bamboat, Hazel Meyer, Leila Nadir and Cary Peppermint, Sarah Nasby, Kayla Polan, Walter Scott, and Agustine Zegers.

Kombucha, guts, bacteria, vessels, vitalism, effervescence, degradation, and decay. Fermenting Feminism brings together artists whose work fleshes out the intersections between fermentation and intersectional feminisms. As the process of microbial transformation, fermentation becomes both a metaphor and material practice through which to approach feminist practices in the contemporary. Is feminism a relic of the past, something that has soured? Or is feminism still a vital imperative? This exhibition positions fermentation as a vital and viable space to re-conceive feminisms’s pasts, presents, and futures. Continue reading

Fall 2017 Billboard on Shaw, "Living Things" (Eva Zeisel vessel, kombucha, lines pattern) by Sarah Nasby, from Fermenting Feminism, curated by Lauren Fournier, Critical Distance Centre for Curators, 2017. Installation documentation by Toni Hafkenscheid.

Billboard on Shaw: Sarah Nasby | Living Things

September–December 2017

In partnership with Artscape Youngplace, Critical Distance is pleased to present the Fall 2017 Billboard on Shaw, featuring an image by Sarah Nasby, curated by Lauren Fournier.

Fermentation requires vessels to hold and contain its transformative processes. In her Living Things series, Toronto-based artist Sarah Nasby takes vessels designed by women throughout history and re-stages them in light of fermentation as both a practice and a metaphor. Here, a vessel designed by Hungarian-born American designer Eva Zeisel is filled with kombucha, a fermented tea. Nasby graphically interprets the vitality of the kombucha tonic and the undulating design of Zeisel’s pot with her own squiggle pattern, creating a work that is both elegant and excessive in its form. The objects become living things in more than one sense: vessels that we live with, and vessels containing living, bubbling matter. Continue reading

FUTURE LEGACY | Design for Canada’s Next 150 Years

September 8–23, 2017

Featuring The Site Magazine competition winners: Ali Navidbakhsh, Evan Wakelin, Karan Manchanda, Sarah Gunawan, and Shelley Long; plus runners-up: Anna Longrigg + Jason McMillan, Fionn Byrne, Kyung-Kuhn Lee + Mamata Guragain + Nubras SamayeenMitchell Gray, and Rob McIntosh; and honourable mentions: Dominique Cheng, Émélie Desrochers-Turgeon, Emma Mendel, Stephanie Mauer, and Studio Ha-ha

Future Legacy: Design for Canada’s Next 150 Years is an exhibition featuring winners of The Site Magazine’s inaugural design competition. In the context of Canada’s sesquicentennial, entrants were challenged to develop proposals that considered the relationship between the nation’s history, current context, and possible future trajectories. Continue reading

MOVING HOME: The Art and Embodiment of Transience Emerging from Canada’s Child Welfare System

August 18–26, 2017

Featuring work by Zula, Xavier Binette, Wolfie, Starchild Dreaming Loud, Sophia Nahz, Singing Thunder, Rachel Macintosh, Oddane Taylor, Nicholas Ridiculous, M.T. Ness, Michelle Charlie, Jessie Stone, Gen Gagnon, Elijah M, Bethany Papadopolous, Anonymous, and Amelia Merhar. Curated by Amelia Merhar.

Critical Distance is pleased to announce our 2017 Summer Sessions exhibition, Moving Home: The Art and Embodiment of Transience Emerging from Canada’s Child Welfare System. Presented by York University Human Geography master’s candidate Amelia Merhar, this project is the second to be hosted as part of our Summer Sessions, a program through which we support emerging curators and artists by providing free space, mentorship, and installation support for their thesis exhibitions. Continue reading

Billboard on Shaw: Mountainburger | Aislinn Thomas

May–August 2017

Critical Distance is pleased to announce the selection of Mountainburger by Aislinn Thomas for the Spring 2017 Billboard on Shaw. Through this program and partnership with Artscape Youngplace, we are continuing to provide an exciting opportunity for curators and artists to present large format printed artworks for the freestanding mural/billboard on our building’s front lawn. Continue reading

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

Billboard on Shaw: Lost in Shape | Ruth Adler

on view January–April 2017

Critical Distance is pleased to present the second artist’s project in our newest initiative, the Billboard on Shaw, through which we are providing opportunities, in partnership with Artscape Youngplace, for curators and artists to propose large format printed artworks for the freestanding mural/billboard outside our building on Shaw Street. Lost in Shape is an 8-foot image by Toronto and Tel Aviv-based artist Ruth Adler, to be unveiled the week of January 18, 2017. Continue reading

Day With(out) Art 2016: COMPULSIVE PRACTICE

Thursday, December 1, 2016 starting at 3pm

Critical Distance is pleased to support Day With(out) Art in partnership with Visual AIDS. As the Toronto host for a screening of COMPULSIVE PRACTICE, a 65-minute video compilation of compulsive, daily, and habitual practices by nine artists and activists who live with their cameras as a way to manage, reflect upon, and change how they are deeply affected by HIV/AIDS, CDCC joins 60 other international organizations and institutions in commemorating World AIDS Day. 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

Critical Distance at the Edition Art Book Fair

October 28–31, 2016

featuring Dominica Publishing and works by Martine Syms, Lauren Anderson, Hannah Black, Marco Braunschweiler, Erin Christovale & Amir George, David Hartt, Sara Knox Hunter, and Diamond Stingily; plus Eve Fowler; Claire Goodwin; and Leslie Hewitt, Matt Keegan, Michael Queenland & Lori Salmon; Kevin Haas; Sophie Calle; Tings ChakManar Moursi & David Puig; Jeannette Ehlers; and selected publications and editions produced by Typology Projects and Critical Distance Centre for Curators 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

Come to My Window | Steven Beckly, curated by Matthew Kyba

on view September 2016–January 2017

Critical Distance is pleased to present our newest initiative, Billboard on Shaw, through which we are providing opportunities, in partnership with Artscape Youngplace, for curators and artists to propose large format printed artworks for the freestanding mural/billboard outside our building on Shaw Street. Come to My Window is an 8-foot image by Toronto-based multidisciplinary artist Steven Beckly, curated by Matthew KybaContinue reading

Critical Distance presents SLIPSTREAMS in the Cinesphere

3 screenings: 9/17, 9/19, and 9/20, 2016

Critical Distance is thrilled to present SLIPSTREAMS, an original 30-min program of moving image works. Responding to the site and festival context, SLIPSTREAMS brings together five artists (Morehshin Allahyari, Maria Flawia Litwin, Manuel Saiz, Marianna Milhorat and Terence Nance), whose works envisage the slippage of time between past and future, and how humans seek to transcend the present moment. Continue reading

DRAIN: A Journal of Contemporary Art and Culture

Weds, Sept 7, 2016 from 6:30–9 pm

Critical Distance was pleased to host the launch event for AIDS and Memory, Issue 13.2 of Drain: A Journal of Contemporary Art and Culture, edited by CDCC advisory board member, Ricky Varghese. Complementing the magazine’s September 1 online launch, this event included a premiere of Vincent Chevalier’s film À Vancouver and a panel discussion with Chevalier, Varghese, and issue contributors Michele Pearson ClarkeLiz Gibson-DeGrooteFrancisco-Fernando GranadosTheodore Kerr, and Cait McKinney. Continue reading

Simon Benedict media still with figure in action painting

painter project – version 4 | Simon M Benedict

August 20–27, 2016

painter project – version 4 by Simon M Benedict is the first exhibition in our newest initiative in support of emerging artists and curators: Summer Sessions, a program through which we will support emerging curators and artists by providing free space, mentorship, and installation support for their thesis exhibitions. Continue reading

Working Title | TYPOLOGY at the Toronto Art Book Fair (TOABF)

June 16 – 19, 2016

TYPOLOGY is pleased to participate in the inaugural edition of the Toronto Art Book Fair with a pop-up exhibition in the project space, a vendor table in the third floor hallway, and an artist-led book arts workshop on the front lawn, hosted in partnership with Gallery 44 and generously supported by Japanese Paper Place. Our pop-up exhibition, WORKING TITLE, will feature a wide variety of unique and editioned artists’ books, publications, and multiples by local and international artists who have participated in our program over the past three years 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

Moving Images in Contemporary Culture

2015–16 Event Series

In Fall 2015, the Images Festival and TYPOLOGY launched Moving Images in Contemporary Culture, a new series of peer-led talks and workshops on the changes, challenges, and advances in curating and presenting the moving image. 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

Photograph from The New Gods series by Josée Pedneault and Alejandro Garcia Contreras

THE NEW GODS | Alejandro Garcia Contreras + Josée Pedneault

May 7–June 14, 2015

An cross-continental collaboration between Canadian artist Josée Pedneault (Montreal) and Mexican artist Alejandro Garcia Contreras (Mexico City), THE NEW GODS is a Featured Exhibition of the 2015 Scotiabank CONTACT Photography Festival and the first exhibition to feature the collaborative work of Alejandro Garcia Contreras and Josée Pedneault in Canada.  Continue reading

FLIGHTS & LANDINGS | Tamara Gayer, Christine Gedeon, Janine Miedzik

March 12–April 19, 2015 (stairwells extended thru May 2016)

TYPOLOGY is pleased to present FLIGHTS & LANDINGS, a two-part exhibition of work by three multidisciplinary artists from three different cities: Brooklyn-based Tamara Gayer, Berlin-based Christine Gedeon, and Toronto-based Janine Miedzik. Known for their visually engaging, site-responsive approaches to installation, each artist will debut a large-scale project in one of the stairwell galleries at Artscape Youngplace (the Flights), complemented by a selection of smaller artworks representing object-oriented aspects of their practices in the project space (the Landings). Continue reading

A Riveder le Stelle | Mary Hambleton and Sara MacLean

January 22 – February 22, 2015

TYPOLOGY Projects is thrilled to announce the launch of our guest curating program with the two person exhibition, A Riveder le Stelle. Featuring a selection of rarely seen works on paper by the late New York painter Mary Hambleton, and a video installation by Toronto artist Sara MacLean, the exhibition is curated by interdisciplinary artist and independent curator Heather Nicol Continue reading

Installation view of "Language Barrier Too" from Elemental: Book Works by Cathryn Miller, 2014, TYPOLOGY Projects.

Elemental | Book Works by Cathryn Miller

November 7 – December 14, 2014

TYPOLOGY is pleased to present Elemental, a solo exhibition featuring unique and editioned book works by Saskatchewan artist Cathryn Miller. Ranging from tiny folded paper projects to a new wall-sized composition, the thoughtfully conceived and often laboriously crafted works in the show represent a sustained investigation of manifold worlds, encompassing both the inner/outer, micro/macro, and meta/physical dimensions. In distilling her findings into the personal, poetic, and often playful objects on view, Miller’s observations and life experiences are made exquisitely manifest in the tactile materials, sequential structures, and storied logic of both traditional and invented or altered book forms. Continue reading

Victoria Fu, Self-Portrait in Sweden, (still), 2005, video installation, in Of Other Faces, curated by Shani K Parsons, TYPOLOGY Projects, 2014.

Of Other Faces

September 18 – October 25, 2014

TYPOLOGY is pleased to present OF OTHER FACES, a group exhibition featuring five artists whose works employ strategies of mirroring and doubling to investigate the paradoxical nature of our dualistic world. Through the representation or evocation of reflections, echoes, or iterations, the photographs, sounds, and videos of Andrea Cohen and Wiska Radkiewicz (Paris, New York), Victoria Fu (Los Angeles), Marta Ryczko(Toronto), and Manuel Saiz (Berlin) interrogate, express, or reveal hidden contradictions within contemporary social systems as they relate to dualities of self and Other. Continue reading

The Order of Things or, The Second Conference of the International Network of Personal Relationships (INPR), curated by Shani K Parsons, installation view with work by Leif Low-Beer, TYPOLOGY Projects, 2014.

The Order of Things | Leif Low-Beer

April 24 – May 31, 2014 and by appt thru June 14th

TYPOLOGY presents our spring exhibition, THE ORDER OF THINGS or, The Second Conference of the International Network of Personal Relationships (INPR). This exhibition features new and recent work by Leif Low-Beer (Toronto/Brooklyn), an artist who engages in a playful reordering of ideas, images, and expectations through the use of constructed, multi-part, and/or recombined compositions of drawings, collages, assemblages, and sculptural tableaux. The Order of Things is Low-Beer’s first solo exhibition in Canada. Continue reading

Erratic Room | Lyla Rye

November 19 – December 19, 2013 and by appt thru March 13th

One wants a room with no view, so imagination and memory can meet in the dark.
— Annie Dillard

TYPOLOGY is pleased to present our inaugural exhibition, ERRATIC ROOM. Featuring an immersive video installation and new limited edition photo series by Lyla Rye, Erratic Room is an exploration into spatial perception and its often hidden physical and psychological effects. Continue reading