We are pleased to launch our newest initiative in support of emerging artists and curators: Summer Sessions, a program through which we are making free space and staffing support available to graduates of local and regional colleges and universities to present their thesis exhibitions in downtown Toronto.
Opening May 7th: On The Surface | Susana Reisman, a CONTACT Featured Exhibition
TYPOLOGY is pleased to present On The Surface | Susana Reisman, featuring the Toronto-based artist’s latest 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.
Moving Images in Contemporary Culture
This past fall, the Images Festival and TYPOLOGY launched Moving Images in Contemporary Culture, a new series of talks and workshops on the changes, challenges, and advances in curating and presenting the moving image. Our pilot event, Beyond the Projection, took place on October 17 with the participation of many local curators and programmers. Our second event, The Space of Production: Notes on Technical Support, took place January 23 and featured a presentation by Victoria Brooks, EMPAC Curator of Time-based Visual Art (more information on this page under Events).
Presenting: Loose Ends | Mary Grisey, Faye Mullen, Jérôme Nadeau, Deborah Wang
LOOSE ENDS | MARY GRISEY, FAYE MULLEN, JÉRÔME NADEAU, DEBORAH WANG
January 14 — March 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
TYPOLOGY is pleased to present Loose Ends, curated by Noa Bronstein and featuring sculpture, video, and photo-based works by Mary Grisey, Faye Mullen, Jérôme Nadeau, and Deborah Wang.