Artist Dayna Danger’s billboard Kandace is on view at 180 Shaw Street through January to March, 2018, as part of the group exhibition We Look At Animals Because, curated by Toleen Touq and Nahed Mansour and featuring photographs, works on paper, sculpture, and videos by Khaled Hourani, Maha Maamoun, Huma Mulji, Ed Panar, Alex Sheriff, and Andrea Luka Zimmerman.
Find out moreJoin us for an online panel discussion with the artists and curators of The Equivalence of Alloyed Gold on November 26th at 2pm EST.
Artists Ashna Jacob, Andy Slater, Dayna Danger, Tamyka Bullen, Stephanie E. Creaghan, Aislinn Thomas, Gillian Dykeman, Chandra Melting Tallow and Anne Macmillan will introduce their artworks in the exhibition, and curators Megan Gnanasihamany and Morgan Melenka will moderate a conversation around the structure of the exhibition, touching on themes of collaboration, trust, and access.
Find out moreDayna Danger is a 2Spirit/Queer, Metis/Saulteaux/Polish visual artist raised in so called Winnipeg, MB. Using photography, sculpture, performance and video, Dayna Danger‘s practice questions the line between empowerment and objectification by claiming space with her larger than life scale work.
Find out moreFeaturing works by Stephanie E Creaghan, Andy Slater, Gillian Dykeman, Chandra Melting Tallow, Ashna Jacob, Aislinn Thomas, Anne Macmillan, Tamyka Bullen, and Dayna Danger
Curated by Megan Gnanasihamany and Morgan Melenka
On view: October 6 – November 26, 2022
Opening Reception: Thursday, October 6th, 7 to 9 pm
The making of art history is a process of translation. It flattens and unfolds through digital interfaces and methodologies of internet conservation, allowing exhibitions to spread through a temporal daisy chain of image, text, catalog, and critique. This chain of distillation — from material art object or experience to description and flat image—disseminates cultural themes, concepts, and conclusions across artistic landscapes, allowing for particular figures, galleries, and publications to become authoritative texts on contemporary work. Taking the 2018 Art Gallery of Ontario exhibition Anthropocene as its starting point, The Equivalence of Alloyed Gold is a year-long experimental commissioning and exhibition process hosted by Critical Distance Centre for Curators (CDCC) incorporating ideas of communication and sensory translation.
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