Critical Distance Centre for Curators and SAW Video Media Art Centre, in partnership with Equitable Bank and Pleasure Dome, are pleased to present an artist talk and screening followed by a celebratory reception with LA-based artist, writer, and Dean of Critical Studies at CalArts, Amanda Beech.
Beech has presented her work at major international venues including Tate Britain, The Baltic Centre for Contemporary Art, and Remai Modern. For her talk, she will speak on the main themes that have mobilized her practice, focusing on how the relation between art and power is constructed in the choreographing of time. The machinations of time-based art have often led it to privilege ‘the open’ and to identify art with the future as an indeterminate potentiality. This means that it has often rejected any regulative principles that would provide a sense of determination for a future. But this rejection still formats a future that is present to us, and often this has proved unsatisfactory in meeting our political aspirations. Beech will also delve into how the ordering of time in sequence, assemblage, montage and abstraction can offer the construction of another sense-experience of time as well as craft the possibility for another, future, time and space.
Tickets to this special event are FREE UPON REQUEST thanks to our presenting partners, SAW Video Media Arts Centre (Ottawa), Equitable Bank, and Pleasure Dome. Please send your full name and number of tickets requested to rsvp (at) criticaldistance (dot) ca — seating is limited, so be sure to reserve early!Continue reading →
Critical Distance is pleased to participate in hosting Taboo Health’s interactive exhibition DIYing Free, a project by artist Justin Tyler Tate as part of the 2019 edition of DesignTO Festival. Tate’s open source cardboard coffin sits before rows of chairs within the gallery, welcoming visitor use. In this speculative piece, we ask: can we promote a process of death which uses design, technology, and recycled materials for a more ecological practice of grieving? We can’t avoid dying but we can be more ecologically conscious at the end of life – we can D-I-Y.
Opening Reception: Saturday, February 9th from 2–4 pm
Curated by Neven Lochhead and presented in partnership with SAW Video Media Art Centre, Ottawa. Featuring work by naakita feldman-kiss, Ivanie Aubin-Malo, Henry Andersen, Mara Eagle, Phil Rose, Molly Teitelbaum, Anna Queen, and The Video in the Public Sphere Working Group.
In partnership with SAW Video Media Art Centre (Ottawa), Critical Distance is pleased to present Public Syntax, an exhibition that highlights the distinct time-based practices and approaches of seven artists, as well as those participating in the Video in the Public Sphere Working Group, the majority of whom are either Ottawa-based or connected. Situated in-gallery at Critical Distance and across multiple public spaces at Artscape Youngplace, the works in the exhibition embody and expand upon the recent and ongoing programming initiatives of SAW Video and their Knot Project Space, launched in early 2018.
An exhibition of a do-it-yourself cardboard coffin seeks to turn death into a sustainable enterprise through design, technology, and open source methods while daring you to get comfortable with the uncomfortable. Come on in and stay a while, for this is a unique chance for the living to get cozy with one of life’s certainties…death.
Curated by Noa Bronstein and presented in partnership with the Koffler Gallery, Through Lines brings together the works of seven artists that challenge notions of redaction, tackling its typical devices of shredding, blacking out, editing and covering up. Lise Beaudry, Scott Benesiinaabandan, Michèle Pearson Clarke, Leila Fatemi, Maria Hupfield, Raafia Jessa, and Nadia Myre create works that engage a restorative gesture, speaking to the ways in which history and memory are conceptualized within a contemporary context. Continue reading →
Gallery 44 and Critical Distance presents Exposing Liminalities, an exhibition which brings together the work of five artists that expand, challenge, and question notions of the in-between. Employing elements of both analogue and digital photography practices, this exhibition considers the myriad intersections that can define oneself. Reflecting on liminality as a critical discourse, artists probe places and contexts that are immediate yet deeply personal – embodying and responding to conditions that approximate liminal space through investigative means.
Curated by emerging curator Emma German, Exposing Liminalities features alumni from Gallery 44’s OUTREACH program, and winners and honourable mentions of the David Barker Maltby Award. Continue reading →
Critical Distance is pleased to present … move or be moved by some thing rather than oneself., an exhibition that considers curating and choreography as materials and subjects. Bringing together the work of Guillaume Adjutor Provost, Adam Basanta, Adrienne Crossman, and Nadège Grebmeier Forget, the exhibition is curated by Florence-Agathe Dubé-Moreau and Maude Johnson. The title, taken from a quote by choreographer Yvonne Rainer, echoes the curators’ desire to question the potentialities of artworks as well as presentation contexts from the position of transdisciplinary instability. Continue reading →
In partnership with Aboriginal Curatorial Collective–Collectif des commissaires autochtones, Critical Distance is pleased to present FORWARD FACING, a Featured Exhibition of the 2018 Scotiabank CONTACT Photography Festival. Curated by Cass Gardiner (Toronto/Brooklyn), FORWARD FACING is an exhibition that examines intersectionality within Indigenous identity through the photographic, video, craft, and installation practices of Dayna Danger (Montreal), Lacie Burning (Vancouver), and Jade Nasogaluak Carpenter (Calgary).
Opening Weekend Events
Saturday, April 21 from 2-4 pm
FORWARD FACING Reception with Curator’s Talk Please join us in the gallery (Suite 302 at Artscape Youngplace) for a very special reception with Toronto/Brooklyn-based curator Cass Gardiner, featuring a tour of the exhibition followed by beverages and bites courtesy of Pow Wow Cafe. Stay for artists’ performance at 5 pm.
Saturday, April 21 starting at 5 pm Performance featuring DAYNA DANGER, LACIE BURNING, and KANDACE PRICE
Three collaborators negotiate time, boundaries, and songs. Starting location to be announced at the opening.
Sunday, April 22 from 2-4 pm
Bike Tube Flogger-Making Workshop with DAYNA DANGER Make your own mini flogger from rubber bike tubes in this PWYC hands-on workshop with Dayna Danger. Materials will be provided. Space is limited so please contact us at rsvp (at) criticaldistance (dot) ca to inquire/register. Location to be confirmed upon registration.
WE LOOK AT ANIMALS BECAUSE January 25–March 25, 2018
Featuring Quratulain Butt, Khaled Hourani, Maha Maamoun, Smriti Mehra, Huma Mulji, Ed Panar, Alex Sheriff, and Andrea Luka Zimmerman | Curated by Toleen Touq and Nahed Mansour
In partnership with South Asian Visual Arts Centre (SAVAC), Critical Distance is pleased to present We Look At Animals Because, an exhibition that gazes on animality. Through the lens of spectatorship, the show explores the shifting ways in which animals are regarded, represented and accorded meaning in post-industrial landscapes. Exhibiting photographs, video, works on paper, and sculpture, the featured artists reveal the nuanced, complicated and unexpected paradoxes that mark our relationships with cosmopolitan animals.
Critical Distance Centre for Curators (CDCC) and Aboriginal Curatorial Collective–Collectif des commissaires autochtones (ACC-CCA) are pleased to announce this joint call for proposals for an exhibition or curatorial project to be mounted at CDCC in Spring 2018.
This opportunity is for Indigenous curators, artists, architects, collectives, writers, researchers, and others interested in engaging and expanding curatorial approaches to public programming and exhibition-making within a critical context. Projects that are conceptually experimental or innovative, introduce new artists to Toronto audiences, and deliver theoretical tools to think about contemporary Indigenous art in Canada are highly encouraged.
The selected applicant will receive a curatorial fee of $3000 for curation and writing in support of the project. Artist fees will be paid at 2018 CARCC rates. Further support in the form of a budget for exhibition materials and production (to be developed in collaboration with ACC-CCA/CDCC), installation assistance, design, promotion, and full documentation in an exhibition catalogue to be produced by CDCC will also be provided.
Submission Deadline Friday, October 27, 2017 at 5 pm EST