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Entering the Landscape

September 30, 2017 to December 31, 2017

Pia Arke (1958-2007 Greenland and Denmark) • Laakkuluk Williamson Bathory (Iqaluit) • Jaime Black (Winnipeg) • Lori Blondeau (Saskatoon) • A.K. Burns (New York) • The Ephemerals (Winnipeg) • Melissa General (Toronto) • Rebecca Horn (Berlin) • Katherine Hubbard (New York, USA) • Maria Hupfield (New York) • Simone Jones (Toronto) •  Tau Lewis (Toronto) • Amy Malbeuf (Rich Lake Alberta) • Meryl McMaster (Ottawa) •  Ana Mendieta (Cuba) • Natalie Purschwitz (Vancouver) • Dominique Rey (Winnipeg), • Jamie Ross (Montreal) • Xaviera Simmons (New York) • Ming Wong (Berlin) • Alize Zorlutuna (Toronto)

Entering the Landscape
October 1 to December 31, 2017
Opening Reception: Saturday September 30 | 8pm to 1am

Plug In Institute of Contemporary Art is excited to announce the opening of our fall exhibition, Entering the Landscape, a contemplative group exhibition featuring twenty-one artists from Canada, the USA, Denmark, and Berlin. Working in film and video, photography, sculpture, and performance these artists represent a breadth of politicized contemporary and iconic historical works that place the female or queer body in the landscape. Bringing together artworks that conceptually and aesthetically overlap, this exhibition identifies and considers a persistent motif in contemporary art. (full text and list of works below)

– Curated by Jenifer Papararo and Sarah Nesbitt

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Jihee Min, Umma (Mother), 2017, screen print on fabric, music box parts, wood and beads, dimensions variable. Courtesy of the artist.

Mother Tongue

May 13 – September 4, 2017

Chun Hua Catherine Dong, Raafia Jessa, Jihee Min, Yvonne Singer, Shellie Zhang, Alize Zorlutuna

Language is a universal and abstract system of sounds and symbols. Yet, the social, political and cultural contexts in which a language is spoken greatly affects its development and usages. In ever increasingly globalized societies, our sociolinguistic identity is not often singular.  The language we speak at home, or learned as a child – our mother tongue – may not be the same one used in our everyday lives. Mother Tongue invites us to consider the complex relationships that exist between language and identity; how it defines who we are and how it can inform visual artistic practice.

Opening Reception

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THURSDAY JANUARY 26 7.30pm
Curated by Elisa Ferrari + Stacey HoThis program began as a consideration of affinities outside of the human realm, between plants and animals, objects and machines. However, this initial concept soon took on the shape of our conversations and shared interests—subjects such as walking, wandering, and listening. Writing on Margrethe Pettersen’s work, Britt Kramvig challenges the division of entities into nature and culture, rooting our need for holistic environmental awareness in Sami ontology. She writes “our ears have become dull to the sounds of the land speaking through our feet, it is now incumbent upon us to remember.” This has resonance not only in practices of deep listening but also in performance art practices that are invested in healing the fraught relationship between the land and the body.
~ Elisa Ferrari + Stacey Ho

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Image by Margrethe Petersen

Mice Magazine: 02

Healing Justice
Fall 2016

Edited by Radiodress

We begin with our bodies. Our bodies in grief and motion provide the nuance, the questions that offer a re-storying. Informed by healing justice activism, Issue 02 explores how the intersection of technologies and artfulness can create tools for collective resilience and resistance.

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Radiodress, Syrus Marcus Ware: we begin with our bodies:MICE Issue 02 Rebeka Tabobondung: A Story of Indigenous Birth Justice Barak adé Soleil: the “good” body/a query of queries Shanell Papp: Lab Alize Zorlutuna: Labour for the Horizon Leah Lakshmi Piepzna-Samarasinha: A Not-So-Brief Personal History of the Healing Justice Movement, 2010–2016 Tarah Hogue: #callresponse Sheena Hoszko: Of Birds, Ointments, and Care: How Peter Collins’ Artworks Kept Him in Prison Chris Kennedy, Samuel La France: Brûle la mer: A Welcome Returned

 

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There Should Be Gardens:
curated by Amber Christensen
September 2-26, 2015

There Should Be Gardens brings together five Canadian emerging and early career new media artists whose work addresses the interconnectedness of technologies, ecologies, botanies, gender and the cosmos. The exhibition explores the materiality and affectivity of matter, blurring the focus of feminism and queer feminism between the human and non-human. Featuring Alana Bartol (Calgary), Adrienne Crossman (Toronto), Anna Eyler (Ottawa/Montreal), Kara Stone(Montreal), and Alize Zorlutuna (Toronto).

IMG_8617Relief Support  curated by Amber Landgraff – xpace gallery

labour for the horizon
January 31 – February 21, 2015

The exhibition Relief Support considers collective support of workers as a means of resistance. More and more our working environments rely on exploiting the vulnerability of workers, including self-exploitation, emotional and unpaid labour as a matter of course. With works by Alize Zorlutuna, Anni Araujo Spadafora, and Hannah Enkel, Relief Support asks us to find moments of relief from the struggle of working to live and living to work. How might the value of labour change if we work together to carry the load?

3.AZ.2014.The Presence of Absence, Searching for Mendieta_1Restless Precinct Guildwood Park, Scarborough ON

The Presence of Absence: In Searching For Mendieta
May 17-June 14, 2014

visit restlessprecinct.ca for more detail

cropped-berlin-crawl-banff1.jpgWork it
SAVAC’s annual juried members’ exhibition showcases the range of contemporary art practices across SAVAC’s membership.
June 4 – 29

Crawling backwards up the steps of the Art Gallery of Ontario (AGO) and the Royal Ontario Museum (ROM), Alize Zorlutuna’s durational performance Crawl is part of a series of performances that take place at galleries and museums across the world. Choosing sites where historic artifacts from the non-Western world are housed, specifically the Islamic world, Zorlutuna performs this arduous feat as a comment on the effects of cultural collection, and the complication she encounters as an artist to be included in the very world she critiques.

 

 

 

 

 

 

 

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