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.
TYPOLOGY presents 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).
We’ve got so much good stuff coming up at the space and in the building that we have to share over multiple posts. Here’s our March update — stay tuned for more news and our April exhibition announcement coming soon. Make a note, mark your calendars, and COME!
(Note to our mailing list subscribers: sorry about that bait and switch from yesterday — but we hope you enjoyed the posts by our resident curator, Oana Tanase, and intern, Katelyn Gallucci. We’re now sending you the info on our upcoming screenings from CHINA NOW: Independent Visions, for reals! Read on for details, and if you’re as excited as we are, contact us at firstname.lastname@example.org to get your own personal discount code for 10% off advance tickets — a bit of special treatment for our long suffering subscribers. :)
TYPOLOGY is proud to announce our support for CHINA NOW: Independent Visions, in the form of two exciting film screenings we’ll host in Small World Music Centre’s theatre space at Artscape Youngplace this spring.
Organized by Toronto-based curator and critic Shelly Kraicer, LA-based producer Karin Chien, and Chicago-based filmmaker JP Sniadecki, CHINA NOW is the touring arm of Cinema on the Edge, a program of 29 experimental films representing the best of Chinese independent film festivals from 2012-14. Launched to wide acclaim in New York last summer, Cinema on the Edge will debut in Toronto this March with a monthlong program of eight documentaries hosted by TIFF Cinematheque, under the series title The Crisis of the Real: New Chinese Independent Documentaries.
Following fast on their heels, TYPOLOGY will present our own selection from the original series: three groundbreaking animations and one experimental feature which comprise an eye- and ear-opening program of independent contemporary cinema from across China. Featuring filmmakers from Shenyang in the north to Guangzhou in the south, and Tibet in the west to Taiwan in the east, this selection bespeaks volumes on the vastness of space, time scales, and cultural difference experienced by these artists, who must find their voices in a country where censorship remains the order of the day.
On October 28th, 2015 OCAD University’s Faculty of Liberal Arts & Sciences and School for Interdisciplinary Studies presented a public lecture by Dr. Claire Bishop, art historian, critic, author, and professor in the History of Art Department at CUNY Graduate Center, New York. Entitled “Déjà Vu: Contemporary Art and the Ghosts of Modernity,” Bishop’s lecture critiques themes of the failure and ruin of modernity and utopia that she believes have persisted in contemporary art since the 1990s.
If you’re in Toronto this summer and looking for an exhibition that is both visually pleasurable and technically astute, take a trip to Stephen Andrews’ Point of View, currently at the Art Gallery of Ontario until August 30th. The exhibition combines a decade and half of Andrews’ most recent work, which is born and bred in Toronto and reflects both the influence of the city and Andrews’ early development as a photography and collage artist, and his later movement into painting.
TYPOLOGY is thrilled to present a Featured Exhibition of the 2015 Scotiabank CONTACT Photography Festival, THE NEW GODS, a cross-continental collaboration between Canadian artist Josée Pedneault (Montreal) and Mexican artist Alejandro Garcia Contreras (Mexico City). Featuring an extraordinary series of large-scale photographs, THE NEW GODS examines fantastical rites of spring that have emerged spontaneously within Carrillo Puerto, an isolated village in the mountains of Chiapas in southern Mexico. The exhibition will also include a select grouping of smaller sculptures and paintings as an extension of the photographic subject matter into other media, an experimental approach which is integral to this multidisciplinary collaboration.
Just 13 miles up Route 9 from Hudson, in the village of Kinderhook, NY, is gallerist Jack Shainman’s latest venture, aptly named The School. Repurposed from a decommissioned Federal Revival public school built in 1929, this beautiful new exhibition venue has been thoughtfully redesigned by Spanish architect Antonio Jimenez Torrecillas into a multifaceted project space and gallery featuring work and projects by Shainman’s roster of internationally known artists.
Now that we are into the thick of summer, what better thing to do on break from exhibition-making than visit other wonderful exhibitions? Luckily our travels are bringing us through some good places to see shows, and we would like to share some of the best of what we come across while we are on the road.
Today’s post features an excellent exhibition at the Ruth and Elmer Wellin Museum of Art at Hamilton College in Clinton, NY. Titled In Context: The Portrait in Contemporary Photographic Practice, the show is curated by Robert Knight and features thirteen artists who blur the lines between conceptual and documentary photography.
The next couple weeks will see the closing of two great exhibitions in the Toronto area; go see them soon if you can. Land|Slide: Possible Futures (closing October 14) is an ambitious curatorial project which transforms the historical buildings of the Markham Museum into an engaging and interactive contemporary art park. While beautiful by day, we’d recommend an early evening visit to experience some of the more subtle installations’ full effects. Favourites include Deirdre Logue’s multisensory, multichannel video installation, Euphoria’s Hiccups, which activates the walls, floor, and countertops of the Honey House, and Frank Havermans’ Untitled high-tension intervention which parasitizes the Strickler Barn to unsettling effect (both pictured below). Above, Martindale, Myers, and MacKinnon’s “refined and enriched” intervention within the Burkholder carriage house is a thought-provoking commentary on high art consumption.