Our online galleries are live! View the ERRATIC ROOM

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We are pleased to launch our online web galleries for Exhibitions and Artist Profiles, just in time to document and archive Lyla Rye’s beautiful and poetic installation, ERRATIC ROOM.

Click any thumbnail in the exhibition gallery to view larger images and full captions for the installation and sculptural photo edition, as well as images of the exhibition catalogue and limited edition print. On Rye’s artist profile page, the portfolio gallery features selected images of previous works. Scroll down for the full portfolio; clicking any large image brings you back to the main Exhibition or Artist Profile page.

We hope you enjoy this new feature of our website and look forward to presenting the work of more artists and exhibitions as our 2014 program continues.

Fantastic Opening! Next up: Film Screening and Artist’s Talk (bring the kids!)


We’re still in recovery mode from an amazing opening night at Artscape Youngplace. After more than a decade laying empty, what a thrill it was to see the hallways and former Shaw Street School classrooms filled once again with people, including and especially all the enthusiastic kids. Artscape launched Youngplace in style, with resident artist and curator Heather Nicol’s two building-wide exhibitions, Unarchive and Stairmasters, gracing the passageways, plus food, drink, and music galore.

TYPOLOGY’s doors were open all day for tours by the kids from neighbouring Givins Shaw School, who unanimously loved the unpredictable projections of ERRATIC ROOM. Some even came back with their parents later in the day, joining the hundreds of visitors who attended the official ERRATIC ROOM opening and catalogue launch as part of the greater building’s festivities. The response was wonderful and we thank everyone who stopped by, introduced themselves, made comments, and/or signed up for the mailing list. Welcome to TYPOLOGY!

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Please join us on Tuesday, November 19th from 5–10 pm for our grand opening in conjunction with the wider Community Opening at Artscape Youngplace! You’ll find us in No. 302 on the third floor, where we’ll be debuting ERRATIC ROOM, a video installation and limited-edition photo series by Lyla Rye. The artist will be in attendance for most of the evening.

Signed copies of the ERRATIC ROOM exhibition catalogue, as well as the first in a series of low-priced limited edition prints produced by TYPOLOGY, will also be available (previews to be posted next week).

RSVPs are being accepted through Artscape for this event. See the invite below for details (click to enlarge and/or print), and visit the Exhibitions page for a full list of upcoming ERRATIC ROOM events, including a film screening, curator’s and artist’s talks, and a family-friendly holiday workshop.

We look forward to seeing you soon!

Erratic Room_invite

A PDF of the press release is available here; contact Shani K Parsons at info (at) typology (dot) ca for more information.

Not local? Stay tuned for pics from the show and opening celebration – and thanks for your continued interest and support!

The Future Perfect: cinema and obsolescence in contemporary art

Today’s post is a virtual exhibition featuring historic and contemporary film, video, installation, and performance works that utilize film and analogue technologies in a search for the cinematic, even as these materials and methods become obsolete and disappear.

Based in part on a reading of Matilde Nardelli’s essay, Moving Pictures: Cinema and Its Obsolescence, this exhibition addresses the widespread use of outmoded or obsolete technologies in recent art and questions the interpretation that artists are engaging in acts of fetishization, nostalgia or mourning for analogue in the wake of digital technology.

Taken together, these works from the past and recent history of contemporary art resonate visually and conceptually with each other and with the poetic potential for cinema in a digital future.


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Art Toronto 2012: Highlights from the Fair

Araya Rasdjarmrearnsook, Two Planets: Manet’s Luncheon on the Grass and the Thai Villagers, 2008,
digital pigment print, Tyler Rollins Fine Art, New York

The Toronto International Art Fair is bigger and better than ever, having eclipsed Art Chicago (which was canceled earlier this year) as Merchandise Mart’s only North American art fair north of the border and not on the coasts. (In case you’re wondering, Merchandise Mart, which also runs The Armory Show, Volta Basel and NY, and Art Platform Los Angeles, was itself recently bought and renamed by Swiss media conglomerate, Informa Plc.)

With over a hundred exhibitors from 23 continents, more than 20,000 visitors expected to attend, and projected sales in excess of $20 million, Art Toronto 2012 set itself apart this year with a rich program of panel discussions and curator’s tours co-developed with the Art Gallery of Ontario (AGO), the Power Plant, and the Museum of Canadian Contemporary Art (MoCCA), a diverse selection of artists and galleries highlighted within the Focus ASIA area and exhibition, the AGO’s ongoing and very visible acquisition program, a capsule exhibition of the RBC Canadian Painting Competition finalists for 2012, and a focus on the fresh perspectives offered by newer galleries in the Next section.

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Too much photography: The passions of Martin Parr

Martin Parr, Kleine Scheidegg, 1994

Martin Parr gave a great talk at the AGO last night — by turns witty, irreverent (why do photobook intro texts “always seem to mention Robert Frank, or Walker Evans, or Atget? It’s boring as fuck!”), serious, and sincere. For over 40 years, Parr has been obsessively documenting humanity’s obsessions, turning his camera on formerly overlooked aspects of modern life including consumer culture, the middle class, tourism, bad weather, the British, the bureaucratic, and the boring. In the process, he has forever changed how we look at and use photography — both to examine and understand ourselves as much as the other — generating through thousands of images an exhaustive yet strangely intimate anthropology of the absurd.

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Dreamland: a fitting farewell to summer

And… we’re back!

It’s officially September, and perhaps you’ve spent the last week getting back to business in a most eager and industrious way, relishing the smooth efficiency and predictability that the end of summer brings after months of working around everyone’s crazy vacations (lucky you). Or, perhaps the transition has been a bit (ahem) bumpier, and you find yourself trading productivity for daydreams, reliving your experiences getting off the grid, in the air to somewhere, or conversely, back to the land.

Either way, the Textile Museum’s current exhibition, Dreamland, is a worthwhile diversion and touchstone for your early Fall art viewing, a good way to ground yourself at summer’s end, so to speak. On view through September 30th, the show ranges widely in it’s interdisciplinary approach to textiles and the Canadian landscape. Featuring both fine and folk artworks that share an expressive and intimate relationship to a particular time and place, Dreamland’s curators juxtapose the traditional and historical (hooked rugs, handkerchiefs) with the contemporary and high-tech (video, installation), challenging the viewer to make connections between them.

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The air up there: Kimmirut Weather and Constructed Land

Summer travels always put us in mind of the weather and its extremes. Between sunny skies, stifling heat, and sudden storms, we become exquisitely aware of the weather, and how it may impact our precious few days of vacation. We check the five-day forecast, we debate packing the rainwear, and once we’ve left, we keep tabs on the weather back home, glad to be free from the heat of the city, or sad that we are missing out on some of the best metropolitan weather in weeks.

Perhaps with this in mind, Interaccess opened their summer season with an exhibition based in the documentation of weather from the far northern territory of Nunavut. We were lucky enough to have seen Constructed Land earlier in the month and had planned to write a review of it before leaving; that didn’t happen. Now we’re back, the exhibition is closed, and we’re offering up a brief après-view instead.

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Every 14 days a language dies: National Geographic’s Enduring Voices Project

Last fall we posted a brief review of The Last Silent Movie, Susan Hiller’s extraordinary audio artwork comprising some 24 extinct or endangered languages from across the planet. Featuring words, stories, entreaties and lullabies in Potawatomi, Klallam, and Ngarrindjeri among others, Hiller’s work effects a sense of wonder at the sheer diversity of human tongues, as well as the sobering realization that for many of these unseen speakers, their language, along with much of their wisdom, history and culture, will likely die with them.

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Channeling the ocean: David Bowen’s Tele-Present Water

click image to watch video on the artist’s website

Because we do have a thing for fluid dynamics—and robots—we’re sharing this link to David Bowen’s manifestly mechanical yet viscerally evocative installation, Tele-Present Water (WRO2011). Utilizing real-time data transmitted from a National Oceanic and Atmospheric Administration buoy in the Pacific Ocean, Bowen’s sculpture translates wave frequency and intensity into the eerily transcendant, flowing motion you see here.

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