Curated by Stuart Reid
October 14, 2014 to January 4, 2015
Opening reception and performance: Thursday, October 30, 8 pm
HOT TALK: Thursday, October 30, 7 pm
Brendan Fernandes, a Canadian artist of Kenyan and Indian descent, investigates the complexity of identity within an age of global migration, burgeoning diversity and the shifting politics of gender and sexuality via the notion of Queer. This exhibition encompasses three bodies of work that create an interdisciplinary conversation utilizing the artist’s talents as a dancer, choreographer, printmaker, filmmaker, and performer. In one video element, Fernandes uses a dialogue between two elephants, one Asian and the other African (a nod to his Indo/African roots), to explore the dynamics of a break up within a gay relationship, while also questioning post-colonial power struggles. The exhibition also includes a series of screen prints that play with imagery of elephants mirrored like Rorschach inkblots , and a live endurance performance based on Plato's The Symposium that features two male dancers executing performative directions written by the artist. The title work, They, is a video environment that uses gesture and shadow to convey the erotic and sensual dance between the hunter and the hunted in a gay cruising area on Fire Island, New York.
This exhibition will be documented in a forthcoming exhibition catalogue co-published by The Varley Art Gallery of Markham, Southern Alberta Art Gallery, Rodman Hall Art Centre and Kitchener-Waterloo Art Gallery.
Image: Brendan Fernandes, Encomium I, II, III, 2013, performance, poster multiples, Plexiglas plinths, HD videos, floor vinyl. Dancers: Sky Fairchild-Waller, Robert Kingsbury. Courtesy of the Artist and Diaz Contemporary, Toronto.
Curated by Marcie Bronson
Presented in collaboration with the Doris McCarthy Gallery at the University of Toronto Scarborough and the University of Waterloo Art Gallery
October 21, 2014 to January 18, 2015
Opening Reception: Thursday, October 30, 8 pm
HOT TALK: Thursday, November 13, 7 pm
relay is a survey of Lois Andison’s work that comprises three distinct exhibitions undertaken by curators at three university galleries. Each exhibition focuses on a particular aspect of Andison’s work during the last fifteen years, and taken together, they reveal the depth of her practice.
In the intimate domestic space of historic Rodman Hall, this exhibition presents Andison's figurative kinetic sculptures, illustrating how body language is a potent form of communication. Using casts and pre-fabricated forms, Andison animates simple human gestures, like a wave or a nod, through intricate and labour-intensive mechanical systems. Each work engages the viewer in a relationship—or conversation—that draws attention to conditioned or prescribed behaviours. In so doing, Andison addresses issues of gender and power structures, skillfully mitigating their gravity with wry humour and references to popular culture. Calling to mind futuristic notions of hybrid beings, Andison's works translate subtle actions that encompass complex layers of human experience, but paradoxically, can be replicated by a series of indifferent sensors, circuits, and relays. Alongside these sculptures, the exhibition premieres a new video work that furthers Andison’s exploration of the temporal and performative nature of the body in motion.
Concurrent exhibitions on view:
Doris McCarthy Gallery, University of Toronto Scarborough
Curated by Ann MacDonald
September 2 to November 8, 2014
University of Waterloo Art Gallery
Curated by Ivan Jurakic
September 11 to November 1, 2014
Image: Lois Andison, maid of the mist, 2001, bronze, misters, fans, custom electronics. Courtesy of the artist and Olga Korper Gallery. Photo: Isaac Applebaum.
MARY ANNE BARKHOUSE
Curated by Stuart Reid
Presented by Rodman Hall Art Centre with financial support of the Government of Canada through Cultural Capitals of Canada, a program of the Department of Canadian Heritage
Continues on the grounds of Rodman Hall through September 2015
In creating this new outdoor installation for Rodman Hall, Barkhouse examines issues of sovereignty and confederacy from an indigenous ecological vantage point. As an aboriginal woman, Barkhouse is mindful of the history of conflict imprinted on this region of Ontario, particularly during this bicentennial commemoration of the War of 1812. Many of the conflicts and alliances between First Nations and settling cultures that played out two hundred years ago are still unresolved today.
Settlement incorporates sculptural elements into an artist’s garden built in the shape of a frontier house (16 x 20 feet). Last spring, the artist planted a series of border gardens of indigenous plants including corn, squash, beans and quinoa. Situated in the interior spaces of the garden are life-size bronze sculptures of a coyote and a badger, alluding to the cooperative nature of the allies involved in the 1812 conflict. Badgers and coyotes are known to be cooperative hunters in their search for small burrowing animals in the wild. Barkhouse is interested in the contentious nature of territory as is relates to struggles over land, whether between humans, amongst animals or plants.
An illustrated catalogue featuring an essay by Stuart Reid and an interview with the artist by Michelle LaVallee, Associate Curator at the MacKenzie Art Gallery, Regina, will be forthcoming in 2013. This publication is generously supported by the Canada Council for the Arts.
Barkhouse was born in Vancouver and belongs to the Nimpkish band, Kwakiutl First Nation. She graduated from the Ontario College of Art and Design in Toronto and has exhibited her work widely. A member of the Royal Canadian Academy of Arts, her recent solo exhibition entitled Boreal Baroque toured Canada.
In this audiocast, Barkhouse discusses some of her intentions behind the work: