{"id":20689,"date":"2013-09-18T22:45:35","date_gmt":"2013-09-19T02:45:35","guid":{"rendered":"http:\/\/www.artoronto.ca\/?p=20689"},"modified":"2013-09-26T14:38:53","modified_gmt":"2013-09-26T18:38:53","slug":"pari-nadimi-gallery-opening-receptions","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=20689","title":{"rendered":"Pari Nadimi Gallery \/ Opening Receptions"},"content":{"rendered":"

Opening Reception: Thursday, September 12, 2013, 6 – 9 p.m.<\/strong>
\n Pari Nadimi Gallery<\/strong>
\n254 Niagara Street, Toronto<\/p>\n

\"\"<\/a>From left to right: Artists Elle Kurancid, Ash Moniz, Pari Nadimi Gallery owner Pari Nadimi and artist George Legrady<\/p>\n

GEORGE LEGRADY: On the Road<\/strong><\/p>\n

\"\"<\/a>George Legrady, Smoke & Fire<\/em>, 2013, Lenticular, 32 x 47 inches. Courtesy of Pari Nadimi Gallery<\/p>\n

The exhibition title, On the Road<\/em>, cannot escape reference to the defining work of the Beat Generation: Jack Kerouac\u2019s portrait of the search for personal meaning during the Cold War. But a referential title is just the beginning. Over forty-years ago Legrady embarked on a yearlong journey, searching for meaning himself, during the Vietnam War, October Crisis and hippie counterculture movement. He explains: \u201cI boarded a plane in Montreal on October 7, 1970 to Paris with $200 in my pocket, two jean shirts in my backpack, my Nikon F and Kerouac\u2019s On the Road in my hand. I lasted a year by quickly getting down to the Middle East, spending time in the Negev on the border of the Gaza, old Jerusalem, the Sultanahmet in Istanbul where I met a Turkish artist who took me to his town near the Syrian border. After running out of money, I took a train to Budapest to revisit the country where I was born.\u201d<\/p>\n

\"\"<\/a>Artist George Legrady<\/p>\n

On the Road<\/em> presents a series of eight panels, each consisting of multiple photographs interlaced together through the lenticular process. This process results in the illusion of movement between images: When the viewer changes the angle from which the panel is viewed, motion and a morphing effect seem to occur. This non-linear, multi-layered format is a transformative one and, furthermore, explores the cinematic narrative potential of the photographic image in non-electronic form.<\/p>\n

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

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

ELLE KURANCID & ASH MONIZ: Reputations \/ Project Space<\/strong><\/p>\n

\"\"<\/a>Artist\u00a0Elle\u00a0Kurancid<\/p>\n

\"\"<\/a>Artist Ash Moniz with his work<\/p>\n

If it takes x amount of years to build a reputation and y amount of minutes to ruin it, might it also take y amount of years to ruin a reputation and x amount of minutes to rebuild it? In Reputations<\/em>, Elle Kurancid and Ash Moniz respond to the aforesaid Warren-Buffet-derived and word-problem-inspired query with works that suggest “it sure might\u2014but that\u2019s only the beginning of the maze of reputations.” In other words, Kurancid and Moniz manipulate a selection of texts, devices and environments to underline the malleability of identity and opinion. For example, Kurancid muses on convenience and inconvenience in her redesign of the 7-Eleven logo, and Moniz uses plaster bandages to support and immobilize the ruins of condemned buildings throughout the city of Nanjing, China.<\/p>\n

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

\"\"<\/p>\n

\"\"<\/a>The crowd with Bonnie Rubinstein, Artistic Director of Scotiabank CONTACT Photography Festival\u00a0(in the middle)<\/p>\n

Exhibition dates: September 12 \u2013 October 29, 2013, Pari Nadimi at 254 Niagara Street, Toronto. Gallery hours: Wed – Sat 12 – 5 p.m.<\/p>\n

Photo: Celeste Ringrose<\/p>\n","protected":false},"excerpt":{"rendered":"

September 12, 2013, 6 – 9 p.m.<\/p>\n

Pari Nadimi Gallery<\/strong><\/p>\n

The crowd gathered for the opening of two exhibitions: George Legrady \/ On the road and Reputations by Elle Kurancid & Ash Moniz<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":1,"featured_media":20619,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41,1],"tags":[],"class_list":["post-20689","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/20689","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=20689"}],"version-history":[{"count":9,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/20689\/revisions"}],"predecessor-version":[{"id":20731,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/20689\/revisions\/20731"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/media\/20619"}],"wp:attachment":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=20689"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=20689"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=20689"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}