Centre for Artistic + Social Practice Presents:
September 10 – October 23, 2021
Curated by Nicole Burisch and Sally Frater
The second in a three-part series of exhibitions at Centre for Artistic + Social Practice that explore the connections between textiles and technology, Remediations brings together artists who use textiles – whether weaving, knitting, embroidery, or their representations – to reflect on communication technologies and their development over time. While some works draw upon current platforms for commercial and interpersonal exchange, such as Etsy, Ebay, or dating sites, others reference older methods for transmitting language and culture, such as television or word processing. Together, this selection comments on the ways in which technology itself is ‘constructed’ or ‘crafted’ by those that design, use, and implement its various functions. Elements of nostalgia and personal memory are interwoven with critical commentary on how cultural identity, gender, class, and sexuality can shape or be shaped by technological spaces.
About the artists:
Nathalie Bujold is an interdisciplinary artist, self-taught in video, trained in music, graduated in visual arts, who tinkers, assembles, weaves and invites different skills (savoir-faire) to intersect. Although her work takes many forms, the reference to textiles is a constant. She is interested in form, so as to translate through the construction to produce a singular narration. Her work has been shown in numerous solo and group exhibitions including the ELLEPHANT (Montreal), Art Gallery of Guelph, Stride Gallery (Calgary), Centre d’art et de diffusion Clark (Montreal), and Vidéochronique (Marseille).
Wednesday Lupypciw was born and raised near Mohkinstsis, the confluence of the Bow and Elbow Rivers on Treaty 7 Land. To make money she makes mattresses the olden way, and sort of does astronomy research about magnetism and eternity. Wednesday is a Fibre programme graduate from the Alberta College of Art + Design, and has worked and exhibited throughout Canada including the Textile Museum of Canada, The Art Gallery Of Alberta, The Banff Centre, The Klondike Institution for Arts and Culture, EMMEDIA, TRUCK and Stride in Calgary, the Feminist Art Gallery and FADO Performance Art, Centre Skol and La Centrale Galerie Powerhouse in Montréal. The aesthetic output from her works across performance, video, and textile can be quite different, but the politics are the same: queer, pluralistic, fairly compensated, critical.
Levente Sulyok was born and raised in Hungary and moved to the U.S. in 1991. His interest in philosophy – particularly the relationship between aesthetics, language, and the politics of resistance – can be seen throughout his work. Sulyok’s career boasts numerous solo exhibitions, as well as more than 30 group exhibitions in Kansas, Texas, California, Massachusetts, New York, New Jersey and Rhode Island including Documenta Detour in Kassel, Germany, Reynolds Gallery in Stockton, California, Wichita Art Museum in Wichita, KS, and Blue Star Contemporary Art Museum in San Antonio, Texas.
Shaheer Zazai is a Toronto based Afghan-Canadian artist with a current studio practice both in painting and digital media. Zazai’s practice focuses on exploring and attempting to investigate the development of cultural identity in the present geopolitical climate and diaspora. Zazai received a BFA from OCAD University in 2011 and was artist in residence at OCAD University as part of the Digital Painting Atelier in 2015. Zazai is a recipient of Ontario Arts Council grants and he was a finalist for EQ Bank’s Emerging Digital Artist Award in 2018. Since graduating, Zazai has had several solo and group exhibitions such as those at the Capacity 3 Gallery, CAFKA Biennial 2019, Art Gallery of Mississauga, Glenhyrst Art Gallery of Brant., Double Happiness Projects and Patel Brown Gallery.
About the curators:
Nicole Burisch is a curator, critic, and cultural worker. She is a settler of German/Scottish/Irish/English descent, born and raised in Treaty 6 territory (Edmonton, AB) and currently living and working in Tio’tia:ke / Mooniyaang (Montreal, QC). Her projects focus on craft, feminism, performance, publishing, labour, and materiality within contemporary art. Her research (with Anthea Black) into curatorial strategies for politically engaged craft practices is included in milestone publications The Craft Reader (Berg) and Extra/ordinary: Craft and Contemporary Art (Duke University Press) and together they co-edited The New Politics of the Handmade: Craft, Art and Design (Bloomsbury). She currently works as director of the FOFA Gallery at Concordia University.
Sally Frater is interested in issues of space and place, migration, photography, and the art of the everyday. She has curated for the Art Gallery of Guelph, Ulrich Museum of Art, McColl Center for Art and Innovation, Glassell School of Art at the Museum of Fine Arts, Houston, Justina M. Barnicke Gallery at the University of Toronto, Project Row Houses, and Centre for Artistic and Social Practice. A former resident in the Core Critical Studies fellowship at the Glassell School at the Museum of Fine Arts, Houston, Frater completed fellowships and residencies at the UT Dallas Centraltrak, Southern Methodist University, Project Row Houses and Art21. A recipient of grants from the Canada Council for the Arts, Ontario Arts Council, and the Toronto Arts Council, she is a member of the Association of Art Museum Curators and an alumna of Independent Curators International. She is currently the executive director of Oakville Galleries.
Our 173 James North location is partially physically accessible. We have a level entrance leading to our shop, information desk, galleries, washroom and traditional print studio. Unfortunately, we do not have automatic doors or an elevator. We are working toward becoming a physically accessible space in the future.
Media Contact: firstname.lastname@example.org
Centre for Artistic + Social Practice
173 James St. N
This exhibition is generously supported by the Canada Council for the Arts and the Ontario Arts Council.