ACC+CDCC Call for Proposals: Indigenous Curatorial Projects at Critical Distance

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

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CDCC FALL EXHIBITION: Fermenting Feminism | Sharlene Bamboat, Hazel Meyer, Leila Nadir and Cary Peppermint, Sarah Nasby, Kayla Polan, Walter Scott, Agustine Zegers, curated by Lauren Fournier

Critical Distance is thrilled to launch our landmark 5th year of programming with FERMENTING FEMINISM, curated by Lauren Fournier and featuring Sharlene Bamboat, Hazel Meyer, Leila Nadir and Cary Peppermint, Sarah Nasby, Kayla Polan, Walter Scott, and Agustine Zegers.

Kombucha, guts, bacteria, vessels, vitalism, effervescence, degradation, and decay. Fermenting Feminism brings together artists whose work fleshes out the intersections between fermentation and intersectional feminisms. As the process of microbial transformation, fermentation becomes both a metaphor and material practice through which to approach feminist practices in the contemporary. Continue reading

The Site Magazine presents Future Legacies: Design for Canada’s Next 150 Years

Future Legacies: Design for Canada’s Next 150 Years is an exhibition of The Site Magazine’s inaugural design competition, featuring the five winners: Ali Navidbakhsh, Evan Wakelin, Karan Manchanda, Sarah Gunawan, and Shelley Long; plus five runners-up: Anna Longrigg + Jason McMillan, Fionn Byrne, Kyung-Kuhn Lee + Mamata Guragain + Nubras SamayeenMitchell Gray, and Rob McIntosh; and five honourable mentions: Dominique Cheng, Émélie Desrochers-Turgeon, Emma Mendel, Stephanie Mauer, and Studio Ha-ha.

Critical Distance is pleased to facilitate this exhibition in the 3rd Floor Hallway Gallery just outside our door at Artscape Youngplace, on view September 8–23, 2017 during building hours, 8–8 pm daily.

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Join us for the opening of Moving Home | The Art and Embodiment of Transience Emerging from Canada’s Child Welfare System, Thursday, August 17 at 6pm

FEATURING: Zula, Xavier Binette, Wolfie, Starchild Dreaming Loud, Sophia Nahz, Singing Thunder, Rachel Macintosh, Oddane Taylor, Nicholas Ridiculous, M.T. Ness, Michelle Charlie, Jessie Stone, Gen Gagnon, Elijah M, Bethany Papadopolous, Anonymous, Amelia Merhar

Critical Distance is pleased to announce our 2017 Summer Sessions exhibition, Moving Home: The Art and Embodiment of Transience Emerging from Canada’s Child Welfare System. Presented by York University Human Geography master’s candidate Amelia Merhar, this project is the second to be hosted as part of our Summer Sessions initiative, a program through which we support emerging curators and artists by providing free space, mentorship, and installation support for their thesis exhibitions.

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Opening Thursday: SIGNALS & SENTIMENTS, A Featured Exhibition of the 2017 CONTACT Photography Festival

Critical Distance is pleased to present Signals & Sentiments, a two-part exhibition that examines how gesture functions as a mechanism for the production of identity. In CDCC’s third floor gallery, Signals & Sentiments takes the form of an intimate group show for which five Toronto-based artists, Sebastián BenítezPetar BoskovicShelby FenlonMaxwell Hyett, and Mickey Mackenna, consider the inner workings of the gestural urge. Placing a varied selection of sculpture and photo-based objects in context with each other, exhibition curator Katelyn Gallucci investigates how seemingly divergent artistic gestures might fundamentally derive from inadequacies of language, disposition, desire, and whim.

In Artscape Youngplace’s expansive stairwell spaces, three site-specific installations address the more exterior and transitory dynamics of gesture. Extending themes of self-discovery, the relationship between perception and memory, and the search for emotional connection through time, these encompassing spatial interventions by Maggie Groat and Jimmy Limit (working in collaboration), Karen Henderson, and Josée Pedneault condition the viewer’s bodily response as much as they embody gestural acts and intentions themselves.

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Spring 2017 Billboard on Shaw: Mountainburger by Aislinn Thomas

Critical Distance is pleased to announce the selected artwork for the Spring 2017 Billboard on Shaw, a partnership with Artscape Youngplace through which we are providing opportunities for curators and artists to present large format printed artworks for the freestanding mural/billboard outside our building on Shaw Street.

Mountainburger is an 8-foot image by Kitchener-based artist Aislinn Thomas to be unveiled this week in conjunction with our opening for Signals & Sentiments. (Note above image is placeholder. We will update this post with the actual image and a description after April 27th).

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You’re invited: Workshop with Ella Dawn McGeough, and Precious Commodity closing reception

Tools for Touching | Ella Dawn McGeough and Daniella Sanader
Sunday, March 26, 2017 | 2–4 pm

Join us for this free experiential workshop considering touch and the tools that extend it: the brush we paint, the hammer we wield, the spoon we stir. The things we handle, particularly when used in repetition, are things we forget. Artist Ella Dawn McGeough and writer Daniella Sanader will facilitate a conversation, a reading, a series of experimental gestures between subjects and objects, methods of (potential) care.

Comfortable clothing recommended; no advanced reading necessary. As space is limited, please email info (at) criticaldistance (dot) ca with RSVP in the subject line and include your name and number attending in the message to reserve your spot(s). Thank you!

Event Location

Studio 305 — Artscape Youngplace
180 Shaw Street, Toronto, ON M6J 2W5
See Google map of location

Tools for Touching will take place in just a few doors down from Critical Distance on the third floor of Artscape Youngplace. Precious Commodity, the exhibition featuring work by Ella Dawn McGeough as well as Biliana Velkova, Juan Ortiz-Apuy, and Eunice Luk, will be on view in Suite 302  from 12–5 pm for those who would like to see it before or after the workshop.

About the Artists

Working across disciplines, Ella Dawn McGeough‘s practice attempts to make things leak from research that often centres on a process of historicisation, myth-making and speculative feminism. This research responds to the relay between apprehension and representation. This is an aesthetic process. A metamorphic process. A process in which art and its exhibition play the important function of suspending events within a sphere of speculation – possibly a beautiful one where objects and images are stilled and their meaning gains weight or transforms completely through time. Caught mid-pose/static/frozen-in-time, their physicality acts as a manifestation of their poiesis. With artists Colin Miner and Liza Eurich, McGeough founded moire.ca in 2012, which produces online contemporary arts publications among other project-based activities. She is also the co-founder of Garden Avenue, a summer-time exhibition space; Ray~Ray, a project that produces limited edition jewelry and jewelry-like work by contemporary artists; and Friends of Ogden Park.

Daniella Sanader is a writer and arts worker who lives in Toronto. In her work, she regularly explores associative and speculative modes for thinking and writing about contemporary art, ones that emphasize queer/feminist frameworks, messy feelings, and embodied experience. She holds an MA from McGill University, and has written essays and reviews for arts publications and galleries across Canada. She has curated projects for Vtape and Oakville Galleries, and currently works at Gallery TPW in Toronto.

image: Ella Dawn McGeough, Ogden’s Tools, 2015. Found objects and wax. Dimensions variable.


Biliana Velkova, Untitled Spruce Tree, fluorescent light tubes, 2014.

Precious Commodity Closing Reception
Sunday, April 9, 2017 | 3–5 pm

Can’t make the workshop? Join us for the closing reception of Precious Commodity, curated by Alison Cooley. The curator will be in attendance and refreshments will be served. All are welcome.

Event Location

Critical Distance Centre for Curators
Suite 302 at Artscape Youngplace
180 Shaw Street, Toronto, ON M6J 2W5
See Google map of location

We hope you can join us for this Canadian Art Must-See show!

Call for Submissions: Spring 2017 Billboard on Shaw

In partnership with Artscape Youngplace, Critical Distance is pleased to issue this call for submissions for the 3rd in our series of Billboards on Shaw, an initiative through which we are providing opportunities for curators and artists to propose site-responsive, large-format, print-ready public artworks for the freestanding mural/billboard on our building’s front lawn.

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Opening Sunday: Precious Commodity | Eunice Luk, Ella Dawn McGeough, Juan Ortiz-Apuy, and Biliana Velkova, curated by Alison Cooley

Critical Distance is pleased to present Precious Commodity, a group exhibition of recent 
works by Eunice LukElla Dawn McGeoughJuan Ortiz-Apuy, and Biliana Velkova, curated by 
Alison Cooley.

Articulating a tension between objects and their ways of being—their forms, their significance, 
their social and economic circulation—Precious Commodity brings together artworks that 
examine the complicated sweetness of things. Unanchoring objects from their exchange 
within capitalism, the artists in the exhibition resignify them as vessels for fantasy, desire, 
and alternate possibility. Reflecting on the nature of a world populated by things with 
definitive practical uses and monetary values, each artist playfully contends with form, 
usurping existing representations in the service of building new meanings.  Continue reading