Archive:Loose Ends | Mary Grisey, Faye Mullen, Jérôme Nadeau, Deborah WangJan 14 — Mar 6, 2016

Deborah Wang, Earth Plugs, 2014, white gypsum cement, dimensions variable, from Loose Ends, Critical Distance Centre for Curators 2016. Installation documentation by Toni Hafkenscheid.

Loose Ends | Mary Grisey, Faye Mullen, Jérôme Nadeau, Deborah Wang

Jan 14 — Mar 6, 2016

Each decay is a form of transformation into other living things, part of the great rampage of becoming that is also unbecoming. It is cruel, it is death, and it is also life, degeneration and regeneration, for nearly all living things live by the death of other things.

— Rebecca Solnit

TYPOLOGY is pleased to present Loose Ends, curated by Noa Bronstein and featuring sculpture, video, and photo-based works by Mary Grisey, Faye Mullen, Jérôme Nadeau, and Deborah Wang.

Exploring the spaces between states of being, the exhibition traces the cyclical and vernacular places between appearance and disappearance, presence and absence, construction and deconstruction. Each work questions the currency of permanence. Moving between and within, a new kind of relic is realized, one that is both past and present, confined only to the metamorphic. As ruin and entropy take hold of tectonic planes, matter ebbs within ephemerality.

Loose Ends will be accompanied by an exhibition catalogue with curatorial essay by Noa Bronstein and original writings by each artist, plus full documentation of the show.

Please join us for a public opening reception and exhibition tour with the curator and artists on
Thursday, January 14, from 5–8 pm

Refreshments will be served and all are welcome.

TYPOLOGY
No. 302, Artscape Youngplace, 180 Shaw Street, Toronto, ON M6J 2W5
See Google map of location

About the Artists:

Mary Grisey is an American sculptural installation artist currently based in Toronto, Ontario. She received an MFA in the Visual Arts program at York University, a BFA in Fiber and Material Studies from The School of the Art Institute of Chicago, and a BA in Painting and Drawing from Marist College. She has exhibited her work in solo and group exhibitions in New York, Chicago, Kentucky, San Francisco and Toronto, and was recently awarded the Windgate full fellowship to the Vermont Studio Center for the Spring of 2016.

Faye Mullen makes work which is informed by a sculptural sensibility combining elements of performance, site, sound, light and image — both moving and still. Mullen studied at l’École National Supérieure des Beaux-Arts of Paris, at the Ontario College of Art+Design, and at the University of Toronto where she received her master’s. She has participated in several international artist residencies and her work has been exhibited internationally in Australia, Canada, France, Germany, Poland, South Korea, Spain, the UK and the US. Mullen currently situates her practice between Toronto, Canada and Roubaix, France.

Jérôme Nadeau is a Montreal-based artist, curator and editor. He is an MFA candidate at Concordia University and also attended the Photography MA program at the Valand Academy in Sweden. Nadeau is the founder of soon.tw, a publishing platform dedicated to the production of artist books, monographs and multiples, and co-director of Galerie Éphémère, a nomadic initiative promoting the work of emerging artists in atypical environments. He has exhibited his photo-based works widely in Canada, as well as in Portland, Maine, Sweden, and Iceland.

Deborah Wang is an independent curator and designer. She holds a Master of Architecture from the University of Waterloo and a Master of Fine Arts from OCAD University. She has curated exhibitions widely in Toronto, and exhibited and spoken on her own work both locally and internationally. Currently Wang splits her time as Creative Director of the Toronto Design Offsite Festival, a senior designer for superkül, and as a scholar/maker.

About the Curator:

Noa Bronstein is a researcher and curator based in Toronto. Recent curatorial projects include Come Up to My Room at the Gladstone Hotel, where she was the Director of Exhibitions and Cultural Promotions, and Out of Sorts: Print Culture & Book Design at the Design Exchange, where she was the Director of Public Programs and Acting Curator. She is also the co-curator (with Katherine Dennis) of Memories of the Future, an ongoing project that invites contemporary artists to intervene in historic house museums. Bronstein has contributed to such publications as C Magazine, esse art + opinions, and Afterimage: The Journal of Media Arts and Cultural Criticism. She is currently the Executive Director of Gallery 44 Centre for Contemporary Photography.

Critical Distance Centre for Curators (CDCC) was founded in 2013 under our former name, TYPOLOGY. Established as a not-for-profit space devoted to curatorial and artistic experimentation, we devoted our first three years to providing opportunities for curators and artists to mount fully realized exhibitions within a critical framework. In 2016, we relaunched under our new name (CDCC) with a new Board of Directors and a commitment to meet the need, voiced by local and national curators, for a truly vital curatorial community—one that both supports emerging and underrepresented curators, and advances curatorial practice and inquiry. Loose Ends took place in CDCC’s exhibition space in 2016 under our former name, TYPOLOGY, and was curated by Noa Bronstein.

Loose Ends is a featured exhibition of the 2016 Toronto Design Offsite Festival.


images, left to right: Mary Grisey,
Remains of the Ephemeral III (detail), 2014, photo by Thomas Blanchard; Jérôme Nadeau, Untitled from the RUINS series, 2012–ongoing; Faye Mullen (top), à jamais (still), 2011; Deborah Wang (bottom), Drip (still), 2013

Images

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Loose Ends, 2016, curated by Noa Bronstein, installation view, Critical Distance Centre for Curators. Installation documentation by Toni Hafkenscheid. Loose Ends, 2016, curated by Noa Bronstein, installation view, Critical Distance Centre for Curators. Installation documentation by Toni Hafkenscheid. Faye Mullen, à jamais, 2011, three-channel HD video installation, from Loose Ends, Critical Distance Centre for Curators 2016. Installation documentation by Toni Hafkenscheid. Loose Ends, 2016, curated by Noa Bronstein, installation view with work by Jérôme Nadeau, Critical Distance Centre for Curators. Installation documentation by Toni Hafkenscheid.
Jérôme Nadeau, UNABELING INABILITIES, 2015, Epson Ultrachrome K3 ink on unprocessed Kodak Endura paper, 24 x 20 inches, from Loose Ends, Critical Distance Centre for Curators 2016. Installation documentation by Toni Hafkenscheid. Loose Ends, 2016, curated by Noa Bronstein, installation view with work by Jérôme Nadeau and Deborah Wang, Critical Distance Centre for Curators. Installation documentation by Toni Hafkenscheid. Deborah Wang, Earth Plugs, 2014, white gypsum cement, dimensions variable, from Loose Ends, Critical Distance Centre for Curators 2016. Installation documentation by Toni Hafkenscheid. Deborah Wang, Earth Plugs (detail), 2014, white gypsum cement, dimensions variable, from Loose Ends, Critical Distance Centre for Curators 2016. Installation documentation by Toni Hafkenscheid.
Loose Ends, 2016, curated by Noa Bronstein, installation view, Critical Distance Centre for Curators. Installation documentation by Toni Hafkenscheid. Deborah Wang, Drip (1–100), 2014, digital photographs on bond, 11 x 8.5 inches, from Loose Ends, Critical Distance Centre for Curators 2016. Installation documentation by Toni Hafkenscheid. Loose Ends, 2016, curated by Noa Bronstein, installation view with work by Mary Grisey, Critical Distance Centre for Curators. Installation documentation by Toni Hafkenscheid. Mary Grisey, Remains of the Ephemeral IV, 2014, horsehair, hand-dyed raw silk and cotton, rubber latex, and rusted steel, 32 x 6 inches, from Loose Ends, Critical Distance Centre for Curators 2016. Installation documentation by Toni Hafkenscheid.
Mary Grisey, Remains of the Ephemeral I, 2014, hand-dyed cheesecloth and sisal, coyote fur, and rubber latex, 24 x 6 inches from Loose Ends, Critical Distance Centre for Curators 2016. Installation documentation by Toni Hafkenscheid.