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Toronto
Terence Dick
TERENCE DICK in Toronto 11/29/11
November 29, 2011

The big news in Toronto this week is the announcement of The Power Plant’s new director. This high profile position has always had a downside, being located, as it is, between a couple different rocks and various hard places. The first squeeze is between the gallery’s board of directors and the hovering mothership that is Harbourfront Centre. The second is between a local art community with high expectations for international caliber exhibitions and the tourist traffic who are more often than not looking for a bathroom when they stumble through the gallery’s south doors (having worked the PP floor for a portion of my late youth, I speak from experience). The location is also off the beaten path and holds its own challenges.

 


Gaëtane Verna

Breaking with the tradition of hiring white males in a field that seems to the naked eye to have a lot more women working behind the scenes, the gallery has hired Gaëtane Verna – a woman of colour who also happens to be a francophone with roots both national (she’s coming from the top position at the Musée d’art de Joliette in Quebec) and international (she was born in Kinshasa, Republic of Congo). With a new curator also in the house, it will be interesting to see how the new staff weathers the final PP tension: that between director and chief curator. Verna has an extensive exhibition CV but as director will have to forgo a significant part of that role. The question is whether her vision for the gallery will match and complement Melanie O’Brian’s. Time will tell.



Lisa Neighbour, Bite the Dust #1, graphite on mitsumata paper

As for the art elsewhere in the city, I started off my rounds with the grim reminder of mortality that was Lisa Neighbour’s recent exhibition at Katharine Mulherin. Expecting to see the lamp constructions I know her for, I was surprised by these stark drawings of forcefully disembodied heads floating aimlessly on blank fields of yellowed paper. There is an undeniable calmness to the expression of those that remain exposed (some are bundled) that belies the violence of their end. They more than suffice as a wry momento mori, and, with winter coming on, could be considered an appropriate seasonal gift.

 

Renzo Martens, Episode III: Enjoy Poverty, 2009, film

An intense array of politically-oriented documentary-style work is on display at the Justina M. Barnicke Gallery in the group show Models for Taking Part. Artur Zmijewski’s video onslaught in the ten-channel Democracies does more to highlight the underlying historical injustices that still remain of the global playing field than any one episode of Democracy Now. The resulting cacophony captures something of the overwhelming noise of truth. Renzo Martens' ninety-minute documentary, Episode III: Enjoy Poverty, is slightly more linear in its investigations and rewards the time spent watching it from beginning to end. Just be prepared to spend the afternoon in the dark and bring snacks.



Faith La Rocque

The new exhibition over at the Museum of Contemporary Canadian Art is called Ineffable Plasticity and on first glance seemed to be something for the whole family (must have been the fish tanks that inspired me), but by the time you get to Mat Brown’s NSFW illustrated history of the beginnings of life, you might want to think twice about bringing the young ‘uns. There’s a confusing mash-up of things here, from various torments of humanity to Sherri Hay’s eye-popping wire sculpture and Faith La Rocque’s impressive goldfish/salt slab combo thingy. The latter artist is one who has routinely fried my synapses with her difficult to figure out installations. This one merits a return visit.

 
Kristin Ledgett

Finally, off on its own up by Bathurst and Harbord in the Communication Art Gallery, one can find a delightful little exhibition by local crafty-person Kristin Ledgett called Bones and Bluster. I’m not so hot on the former – a knit bird skeleton perched in the window – but the latter, which I guess are supposed to be storm clouds but at the same time evoke intestines, machinery, cartoon feces, surreal thought balloons, and microbial life, are a wonder to behold. And it switches everything up to walk beneath an artwork, looking up into it while also catching glimpses of the value-added bonus of its slowly morphing shadow on the wall. It’s well worth the walk.


Terence Dick is a freelance writer living in Toronto. His art criticism has appeared in Canadian Art, BorderCrossings, Prefix Photo, Camera Austria, Fuse, Mix, C Magazine, Azure, and The Globe and Mail. He is the editor of Akimblog.


Katharine Mulherin Contemporary Art Projects: http://www.katharinemulherin.com/
See website for current exhibitions.

Justina M. Barnicke Gallery: http://www.jmbgallery.ca/index.html
Models for Taking Part continues until December 11.

MOCCA: http://www.mocca.ca/
Ineffable Plasticity continues until December 31.

Communication Art Gallery: http://www.communicationgallery.net/
Kristin Ledgett: Bones and Bluster continues until December 3.

 

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Just to clarify, Verna's "extensive exhibition CV" that I refer to is as a curator, not an artist.


Posted by Miklos Legrady, on 2011-11-29 12:36:00
 
I agree with the comment below which seems supported By Terrence's note on Gaëtane Verna â?? "Verna has an extensive exhibition CV but as director will have to forgo a significant part of that role". Both Camilla Singh and David Liss present themselves as artist-curators. Liss was showing with Spin Gallery and exhibiting Spin artists. Now that Spin is gone, Liss is allied with Clint Roenisch; it seems that Liss has always needed help in his quest for "cool" and "hip" art produced by "young", "cool" and "hip" artists, rather contrary to serious curatorial practice. As for Camilla, who was commissioned by Chevrolet for Nuit Blanche, it raises a question of why we need artists in the first place. Curator/artists can run a museum and show their own work.

The privileged position of curator in a major institution presents a conflict of interest, both financial and ethical, which if I remember was raised years ago in an email that circulated within the Toronto art community.

Meanwhile, on Camilla and Liss' curatorial practice, Walter Klepac, Toronto writer, pointed out that Derrida, searching for the conceptual contradiction within the statement, would have loved the notion that to be successful today, an artist has to be a member of the avant-garde as well as part of an "in crowd" which gathers around these curators.

It follows that where there's a territory (being avant-garde) there must be a script (a look, a style, brand, model, orthodoxy) which then subverts, negates and contradicts being ahead of our time and cultural practice.

Most fine art producers , artists, critics, curators graduate from similar schools and share similar values, which are reflected in their production, association, and the systems created thereby. Surely a cultural blindness results from such group judgements. Any community or culture that doesn't see beyond it's own parameters is stifling.



Posted by anonym, on 2011-11-29 12:20:23
 
I thought Ineffable Plasticity at MOCCA shows an inconsistent curatorial practice by someone who lacks the intellectual qualification to be a curator.