Stephanie Creaghan
Stephanie E. Creaghan is an interdisciplinary artist who makes work about how violence presents itself in communication, combining different forms of language (visual/audio/spatial/temporal) to reveal latent forms of manipulation. Their first major solo exhibition, ‘Hideous Intimacies,’ was presented at Projet Pangée in 2019. Recent exhibitions and works include ‘Soleil-astre, soleil-arbre,’ a public sculpture installed at Outremont Park (Montreal), ‘There’s a Lot You Can Do With a Hammer’ with Michelle Furlong at TAP Art Space (Toronto), and ‘The Dailies,’ a solo show at Projet Pangée. They have exhibited and performed in Montreal, Quebec City, Toronto, Chicago, New York, LA, Paris, and Prague. and completed international residencies in Paris, France, Stolpe/Oder, Germany, and Wexford, Ireland, as well as at the Centre for Expanded Poetics in Montreal.
Artist Panel: The Equivalence of Alloyed Gold
November 26, 2022 - November 26, 2022Saturday, 26 Nov 2022, 2:00 PM EST
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A zoom link will be emailed to registrants closer to the event date.
Join 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.
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EXHIBITION: The Equivalence of Alloyed Gold
October 6, 2022 - November 26, 2022Featuring 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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