Announcing 2022 Exhibitions & Programs at Gallery TPW
And verse (혼잣말의 언어 그리고 cosmos)
Gallery exhibition and billboards at Dufferin and Dupont St, NW corner
Jesse Chun’s work addresses language and its politics to uncover new translations toward poetry, opacity and the untranslatable. Working with found documents, linguistic histories and apparatus, Chun’s interdisciplinary practice reimagines the hegemonic narrative to consider one’s own lexicon.
At Gallery TPW, Chun presents an ongoing body of work that looks to the moon as a conceptual site for “unlanguaging,” a process the artist describes for unfixing language itself. Chun’s multi-channel video installations, video sculptures, and drawn scores decenter the colonial narrative about the moon by deconstructing the English language and its imperialist legacies. In this process, Chun employs methods of visual and sonic abstraction, mistranslation, and erasure of found texts; also woven together are lesser known linguistic traces, such as the precolonial Korean women’s moon dance (강강술래) and the artist’s inner monologue. In doing so, the celestial and earthly are brought together to present language as a constellation of semiotics and sounds, incomplete but whole.
In the artists’ words:
I am interested in the act of unlanguaging – opening up the world’s global “lingua franca”, the English language and its pre-existing systems, ideologies, western hegemony, and wounds to arrive at new poetics rooted in untranslatability. Can my unlanguaging get me to a place where language feels interior and safe – like an utterance to self?
I’ve known rivers
Oluseye Ogunlesi with photography by Fraser Collins
Curated by Anique Jordan
Blackness in Canada is always in flux. It is as much a series of arrivals, migrations, and interruptions as it is of futurities, new grammars and possibility. It is unfixed and tidal. Through the use of vernacular photography, film and sculpture, I’ve known rivers juxtaposes images of the everyday life of Black communities across Canada with incantations of the spaces in-between: histories and futures unrecorded or out of reach.
Working collaboratively, Oluseye Ogunlesi and Fraser Collins travelled across Canada on a community map-making project that centres people, relationships and stories as living landmarks. I’ve known rivers is a shared diary, a physical journey and a space to wrestle with the intangible question of how we live and imagine Blackness in Canada.
Piña, why is the sky blue?
Stephanie Comilang and Simon Speiser
Piña, why is the Sky Blue? is a collaborative exhibition by Stephanie Comilang and Simon Speiser. Through video, VR and textiles, the artists present Piña, an AI assistant that has gained consciousness through an upload of customary Filipina and Ecuadorian worldviews. Taking cues from pre-colonial matriarchal lineages, Piña evokes links between ancestral knowledge and imagined futures.
*All exhibition dates are forthcoming and will be determined as per COVID-19 conditions and public health recommendations.
A three-part online speaker series with: Casey Mecija, Simon Fuh and Scott Benesiinaabandan
This online speaker series explores language, sound and music. Using the thematics found in Jesse Chun’s exhibition And verse (혼잣말의 언어 그리고 cosmos) as a starting point, Casey Mecija, Simon Fuh and Scott Benesiinaabandan will present audio, research and ideas that transgress notions of listening and hearing.
Casey Mecija: Thursday, March 3rd, 12pm-1pm (Zoom registration link will be available as of February 3rd)
Simon Fuh: Spring/Summer
Scott Benesiinaabandan: Autumn
Shaya Ishaq will apply her weaving practice to form a textual relationship with the writings of Black Toronto poets. Meditating on the tactility of text, this commission imagines a dialogue between the written and woven as two narrative systems with kindred poetics. The publication will be followed by a program in the fall of 2022.
Curatorial Research Fellow
Gallery TPW is excited to announce Arielle Twist as the Curatorial Research Fellow. The fellowship is dedicated to supporting a full year of research exploring contemporary image-making and lens-based practices led by an emerging Indigenous curator based on Turtle Island. Arielle Twist is a Nehiyaw, Two-Spirit, author, multidisciplinary artist and emerging curator originally from George Gordon First Nation, Saskatchewan, now based in Halifax, Nova Scotia. Her project T4T4E (Trans 4 Trans 4 Ever) is a research project exploring the archive model and interrogating the relationship between archivist and archive from a Trans*-Indigenous viewpoint. The 2022 fellow was nominated by Jas M. Morgan, who will provide mentorship to the fellow.
Doomsday Supper Club’s Roaring Water Tiger Hour
Doomsday Supper Club
February 5th, 8pm – 9pm EST, online
The Doomsday Supper Club invites you to a night of rambunctious reflection. To inaugurate the Lunar New Year, in a land of water tigers, to bravely face the doom that has come and the doom that is to be, we briefly open the doors of our Club to the public. RSVP ASAP BYOBBQ.
Friday February 18th, 12pm-1pm EST, online.
Starting a new year in another lockdown, Annie (Curator of Programming and Public Engagement) and Heather (Curatorial Resident) wanted to start a bookclub, as a way to come together in a fun, low-key (online) manner, akin to hanging out in a cozy living room, pre-pandemic style. Our first get-together will be to talk about Souvankham Thammavongsa’s collection of short stories, How to Pronounce Knife. Join us having read one, all, or none of the stories!
We are also excited about upcoming projects with Alvin Luong, jes sachse TPW’s inaugural Poet-in-Residence. Updates and further information can be found on our website and social media.
For more information, contact:
Heather Rigg (she/her)
Annie Wong (she/her)
Curator of Programming and Public Engagement
170 St Helens Ave, Toronto, ON, M6H 4A1
Gallery hours: Wednesday – Saturday, 11am – 5pm (The gallery is currently closed)
Before visiting, please review our COVID 19 guidelines.
Gallery TPW is an accessible venue with ramp access, an accessible ground-floor washroom, and clear, unobstructed pathways within the gallery. Please note that there are no automatic doors at the entrance and no designated accessible parking nearby.
The Curatorial Research Fellowship, Poet-in-Residence and Audibility are all made possible with the generous support of TD Bank Group.