{"id":14987,"date":"2012-09-27T12:59:12","date_gmt":"2012-09-27T16:59:12","guid":{"rendered":"http:\/\/www.artoronto.ca\/?p=14987"},"modified":"2014-09-19T10:09:11","modified_gmt":"2014-09-19T14:09:11","slug":"gallery-hop-2012","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=14987","title":{"rendered":"Gallery Hop, 2012"},"content":{"rendered":"

Saturday, September 22, 2012<\/strong><\/p>\n

Panel – Conversations with the \u2018Smart\u2019 artists (TIFF Bell Lightbox)<\/strong><\/p>\n

\"\"<\/a>(From left to right) Richard Rhodes, Alain Paiement, Micah Lexier and Laurel Woodcock.<\/p>\n

Richard Rhodes<\/em>, editor of Canadian Art, started off the Gallery Hop Tours and Talks with the theme \u2018smart.\u2019 The panelists included artists: Micah Lexier<\/em>, Alain Paiement<\/em> and Laurel<\/em> Woodcock<\/em>. While the artists\u2019 visual smarts could be the new register for contemporary art, they also dug deeper into the realm of astute reflection during the talk at TIFF Bell Lightbox<\/em> on September 22nd.<\/p>\n

\"\"<\/a>Micah Lexier.<\/p>\n

Lexier<\/strong>\u2019s interest in measurements and systems reflected, literally, in his 2010 piece \u2018I Am the Coin\u2019 where the materials convey multiple messages to the observer. 20,000 custom-made coins, individually minted, spells out a narrative by writer Derek McCormack<\/em>.<\/p>\n

\"\"<\/a>Micah Lexier, I Am a Coin, detail<\/p>\n

This collaboration proves to be a tribute of sorts, ironically taking home in the BMO meeting room. Not sure if it\u2019s the Kafkaesque lack of grammar or the shininess of new coins, but I am drawn to reflective things precisely placed upon atypical surfaces. Not to mention the interactive nature of this visual sculpture \u2013 a contest to be solved explained on the website iamthecoin.com.<\/p>\n

\"\"<\/a>Alain Paiement.<\/p>\n

Alain Paiement<\/strong> from Quebec focuses on photography, sculpture and montage. In Panth\u00e9on, 1987-97, he demonstrate photography as not being confined by solely the materials used in the photographic process.\u00a0 His take on multiply perspective felt open and sharp \u2013 the recreation of any point of view becomes the process and not a finite message.<\/p>\n

\"\"<\/a>Alain Paiement, Constellation (squat), 1998, C-print, a collage of multiple individual photos.<\/p>\n

The naturalness of the living habits and the seemingly unnaturalness of the way in which the piece was captured, reminds me of a confusion we often do not face in our lives. There is a lack of cohesiveness we may feel in our everyday mundane perspectives that we are accustomed to where we fail to see interrelations, multiple perspectives and the compartmentalization of personality. From this photomontage things seem more – infinite.<\/p>\n

\"\"<\/a>Laurel Woodcock<\/p>\n

Woodcock<\/strong>, like Lexier, carefully chooses her materials, objects and references. Focusing on language, quotations and quotes and typography, her inspiration is sourced from popular culture, familiar phrases with multiple possibilities, film and more. Woodcock also has a playfulness evident in her piece, Note to Self, that points out methods in which language is held or absent from \u2013 upon a seemingly everyday yellow post-it that is really a sheet of metal sprayed, shaped and made into the replica of a symbol of the written language.<\/p>\n

\"\"<\/a>Laurel Woodcock, AEEFLLSVY, 2011<\/p>\n

Woodcock\u2019s recent piece, AEEFLLSVY<\/em>, 2011, 11 flyleaves, stacked and framed, was phenomenal in its simplicity and reminds me of the artistic possibilities with minimal materials.\u00a0 11 flyleaves were taken from books with the word \u201cNothingness\u201d in the title. Several allusions to existential genres later, this piece reflects a larger need for understanding of a word layered in symbolism, a beginning \u2013 an unmarked surface. <\/strong><\/p>\n

Tours + Talks<\/strong><\/p>\n

The afternoon was dedicated to Gallery Tours and Talks, literally hopping from one place to another in six different areas.\u00a0I visited Area 6: Dundas Street West.<\/p>\n

\"\"<\/a><\/p>\n

A large group was meeting in front and inside Art Metropole<\/em> at 1490 Dundas Street West,\u00a0a place that\u00a0is a mixture\u00a0of an upscale\u00a0bookstore and art and craft gallery. We learned from our guide critic and Canadian Art<\/em> contributor Sholem Krishtalka\u00a0<\/em> that Art Metrole artists are now showing in Tokyo.<\/p>\n

\"\"<\/a>Art Metropole greeted the visitors with a srange birthday cake<\/p>\n

Then the crowd moved to Jessica Bradley Inc<\/em>. where Shary Boyle <\/strong>– who will represent\u00a0Canada at the 2013 Venice Biennale<\/em> – had the opening of her show, Stranger<\/em>. The gallery was packed to its capacity.\u00a0Toronto Star art critic and Canadian Art contributor Murray Whyte<\/em> engaged\u00a0Boyle into a very interesting conversation about her trip to West Baffin Eskimo Co-operative<\/em> in March 2011.<\/p>\n

\"\"<\/a>Shary Boyle is talking<\/p>\n

\u201cLike a lot of people, I\u2019ve always been interested in the north, it\u2019s solitude and the richness of its life and culture,\u201d said Boyle. She called the show Stranger<\/em> because\u00a0she was aware of being a foreigner there. Working\u00a0at Cape Dorset\u00a0<\/em>was like a 9 to 5 job,\u00a0 everyone sat around a common table, no one talked very much, but spent the whole day just drawing together, said Boyle\u00a0and added\u00a0many, mostly\u00a0funny stories about her stay. She worked there with Shuvinai Ashoona<\/em> and Ohotaq Mikkigak<\/em>, whose\u00a0drawings are on display now\u00a0at Justina M Barnicke Gallery<\/em>.<\/p>\n

\"\"<\/a>Shary Boyle, The Charmed<\/p>\n

Text and photo: Salomeh Ahmadi<\/p>\n","protected":false},"excerpt":{"rendered":"

Saturday, September 22, 2012<\/strong><\/p>\n

The whole day event included a Panel Conversations with the \u2018Smart\u2019 artists, gallery Tours + Talks in six different areas and the launching of Canadian Art’s Fall issue<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":1,"featured_media":15031,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41,74,1],"tags":[],"class_list":["post-14987","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events","category-salomeh-ahmadi","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/14987","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=14987"}],"version-history":[{"count":22,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/14987\/revisions"}],"predecessor-version":[{"id":14990,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/14987\/revisions\/14990"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/media\/15031"}],"wp:attachment":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=14987"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=14987"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=14987"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}