Home » Canada’s New Art Pioneers: One Year Later (Wedge, No.9, Goodwater, The Other Gallery, Clint Roenisch, Magenta, DHC/ART and CSA Space)

Canada’s New Art Pioneers: One Year Later (Wedge, No.9, Goodwater, The Other Gallery, Clint Roenisch, Magenta, DHC/ART and CSA Space)

It’s been almost a year, and we’re wondering where these out-of-the-box thinkers are now. Click HERE to see what they were up to last year.

Wedge Curatorial Projects, Toronto

BECOMING: Photographs from the Wedge Collection at the Museum of Contemporary Art, Detroit
September 12 – 28 December, 2008

Wayne Salmon, Mr. MacKenzie. Image: mocadetroit.org

Wedge’s Kenneth Montague has been busy. Aside from having curated a neat show-within-a-show at Toronto’s Museum of Contemporary Canadian Art that opened yesterday (More on that excellent exhibition coming soon), he’s got a show of photographs showing in Detroit. Featuring approximately 67 works by 38 artists, the show focuses on the portrait, and the reclaiming of identity through the photographic image.

Click HERE for more information.

No.9 Contemporary Art & the Environment, Toronto

T and T at TIAF
October 2 – 6, 2008

A drawing by T and T. Image: courtesy No.9

After the success of their boat installation by Quebec art collective BGL in Toronto’s ‘Dirty Don’ river, No. 9’s next project will open at the Toronto International Art Fair with the first full-scale version of one of Tyler Brett and Tony Romano’s post-apocalyptic, yet somehow utopian, habitats.

It will be constructed of re-purposed and reclaimed materials, and will be an extension of their “carchitecture” series, whose drawings and maquettes are projections of a new society built from the remnants of the current one.

Click HERE for more information.

Goodwater Gallery, Toronto

Jens Hanning
August – September 2008

Jens Hanning, Flag Production, TRAFFIC, CAPC, Bordeaux, France, 1996. Image: goodwatergallery.com

This mysterious Toronto gallery – actually more like a project space – has a history of showing puzzling yet awesome works where artists are encouraged to go all out. Danish Artist Jens Hanning has kept it simple, though no less mysterious, by applying six-foot-tall black letters across one wall of the gallery, spelling out CANADA. Make of that what you will, but we loved the invitation, which was simply a folded white poster with the word CANADA in black letters. No other information.

Click HERE for (slightly) more information.

The Other Gallery/Paul Butler, Winnipeg

The Keyhole Experiment

Guy Maddin’s Limited Edition Serigraph Artist Print. Image: akimbo.biz

It was only a matter of time before these two would collaborate on something or other. Guy Maddin, the world’s foremost “cineaste planant”, enlisted Paul Butler to assemble the Keyhole Experiment. Based on Butler’s famous Collage Party-an experimental nomadic studio functioning as an incubator for the development of ideas-the Keyhole Experiment emerged as six Winnipeg artists joined Maddin and Butler in a series of collective studio engagements with scissors and glue. With direction and the bud of a film script from Maddin, over 100 collages were produced.

Click HERE for more information.

Clint Roenisch Gallery, Toronto

T&T (Tony Romano and Tyler Brett)
17 September – 25 October 2008

T and T, Theatre. Image: courtesy Clint Roenisch Gallery.

Roenisch, arguably Canada’s most innovative commercial dealer, will show work by T and T and we wonder what the installation will look like. T&T’s melded vision is based on advanced engineering, ingenious upcycling, retrofitted architecture, sound ecological principles, rejigged technology and social harmony.

According to the gallery release, T&T seem to propose a post-apocalyptic situation that is both optimistic and pragmatically grounded.

You’ll find the gallery website HERE.

Magenta Publishing, Toronto

Flash Forward 2008
Launching October 9, 2008 at Lennox Contemporary, Toronto
7 – 10 pm

An image by young Canadian photographer Becky Comber. Image: beckycomber.com

With an introduction written by yours truly, we can attest to the quality of work in this year’s compendium of young photographers from the US, the UK and Canada.

VoCA will feature a selection of our favorites in the coming weeks.

Check out the Magenta Foundation website HERE.

DHC/ART Foundation, Montreal

Christian Marclay: REPLAY
November 30, 2008 – 29 March, 2009

A work by Christian Marclay. Image: kaganof.com

This major exhibition of work by the New York-based artist features spectacular large-scale projections and sound works including works Gestures, Crossfire and Mixed Reviews. The exhibition’s centerpiece is Video Quartet (2002), a large, four-screen projection featuring hundreds of clips from old Hollywood films, with actors and musicians making sounds or playing instruments.

Click HERE for more info.

CSA Space, Vancouver

Rebecca Belmore: MAKING ALWAYS WAR
11 September – 11 October, 2008

Rebecca Belmore, from her exhibition at the Vancouver Art Gallery. Image: artthreat.net

Belmore, an Anishinabe-Canadian artist based in Vancouver produces generally excellent work addressing history, place, and identity through the media of sculpture, installation, video and is perhaps best known for her performance work.
Belmore was Canada’s official representative at the 2005 Venice Biennale. Since the late 1980s, her work has appeared in numerous exhibitions both nationally and internationally including two solo touring exhibitions.

Visit the gallery website HERE.

11 Responses to “Canada’s New Art Pioneers: One Year Later (Wedge, No.9, Goodwater, The Other Gallery, Clint Roenisch, Magenta, DHC/ART and CSA Space)”

  1. L.M. says:

    As for us, we love Clint Roenisch’s innovative logo with the innovative misspelling of the word gallery and the innovative correct spelling of his own name, but most of all we love the innovative way he exhibits men 99% of the time.

  2. Murray Quinn says:

    As for me, I love the innovative way that Clint Roenisch presents a solid program of Canadian and International artists, regardless of their gender; but most of all I love the way he couldn’t care less what anyone else thinks.

  3. Phil Taylor says:

    I suppose VOCA could indeed argue that Clint Roenisch
    is arguably Canadas most innovative commercial art dealer, but if VOCA did that, then I would disagree.

  4. Andrea says:

    I agree with Murray – and I don’t know of many other galleries in Canada whose exhibitions are installed so creatively, except on occasion, Susan Hobbs. We’ve seen CR hang works diagonally across the wall of his gallery, even hang one work perpendicular to the wall. His booth at TIAF is usually equally well-conceived…

  5. Bill says:

    Ditto goes for me. It’s Roenisch’s gallery, so he’s allowed to show whatever he wants. Why should he try to make you or anyone else happy, L.M.? If you’re not happy with the amount of women being shown on gallery walls in Toronto (and I’m not saying that women aren’t under-represented), then get some gallery walls of your own.

    And when is VoCA going to do another under-rated Canadian artist feature? I’ve really liked those!

  6. Clint says:

    L.M. is a good (female) video and installation artist who has an ongoing issue with my logo and my programme. It’s funny how often she complains about my stupid window! But the gender thing is different. She seems to believe that because I have a gallery I must show a balance of gender first and good work that I believe in and can help bring to a wider audience, second. Otherwise I must be a sexist jerk instead of an upstanding culture-worker. She forgets that I’m not a publicly-funded gallery with a board to answer to. I pay thousands of dollars a month of my own money for my space and with that risk comes the privilege to show what I want. Does gender play a factor in that decision? No it doesn’t. For me, as with the collectors and museums who buy from my gallery, we seem to always concentrate on the work. So weird, I know, but that is the main concern. Of course it weighs on me that my roster is almost entirely male and I wish it wasn’t but it certainly isn’t on purpose. But it’s not as simple as just deciding to show someone and then everything works out. Perhaps it hasn’t dawned on Ms. Mills that many of the better artists, male and female, already have representation. That includes her, presumably. On top of that the work has to be a good fit for the gallery; the artist and the gallerist have to be able to work together – Ms. Mills sounds fun and positive! – and, most importantly, the gallerist must be able to place the work and make something happen for the artist, otherwise there’s not really much point. I would love to do something with Marina Abramovic, for instance, but she would turn me down and Sean Kelly Gallery in NYC would nix the idea anyway. Elizabeth McIntosh, good painter. Can she do better with me than with Ben Diaz? I don’t think so. Should Shary Boyle defect from Jessica? No. Jennifer Murphy from Petro? Why? Laurel Woodcock? Good artist, I collect her work personally and I will get to Susan Hobbs to see her in the current show there. Tacita Dean? Great but not going to happen. Eva Berendes? Strong, young German artist that said no because I wasn’t in the Nada Fair. Is that a short-sighted reply from her? I think so but I would still recommend collectors consider her work, despite my being spurned.

    Ms. Mills is free to open her own gallery with her own programme. Two things will happen: it will flourish and be rewarded with sales and attention which will allow her to continue or it will not and have to close. If she did take the plunge I would hope to be invited to the opening and I would wish her nothing but success. I mean that. It’s a hard road in Canada, far from the glittery big numbers in London or New York. Of course her personality, vision and persistence will count just as much as who and what she chooses to show. But whether it will work out lays in the stars, not the crotch. That’s where I look anyway…


  7. L.M. says:

    Oh god yes, I hate that logo, twee and mannered.

    But as for being a public service, I’ll never argue that C.R. or any other gallerist has to be one. I’m not willing to be one myself. (or to start a gallery, why the hell would I want to do that?) However a gallerist does rely on a public face, that whole idea of ‘the stable’ that buyers and critics are attracted to, with the accompanying publicity and critical commentary that a gallerist needs to survive. Questioning the choices that a gallerist makes isn’t beyond the pale, and I am still mystified at the rarity of female artists represented there in spite of Clint’s generous (and I’m not being snarky) explanation. I say generous because it’s not my place to ask him or any other gallerist about who they have tried to represent, but couldn’t. We have to look at any gallery as what it is currently.

  8. Andrea says:

    For what it’s worth, we ran into Oakville Galleries director Francine Perinet the other day, and she mentioned her amazement that the (female)artist who they’re currently showing, Dierdre Logue, had never had a solo exhibition at a public gallery in Toronto (other than at YYZ artist-run centre, in 2000.)

    Check out the show here:

  9. Andrea says:

    Oops..Deirdre. Sorry!

  10. L.M. says:

    In all fairness to dealers and beyond gender politics, we can’t think of artists as little flowers waiting to be plucked. The artist-dealer relationship can be a minefield of misunderstanding and conflicting ambitions, plus it’s a business. Not every artist’s practise works within the confines of biannual shows in the same commercial retail space. (On the flipside, some brilliant artists I know always manage to make me forget that I am in the same commercial retail space I was in at a previous opening.)

    Deirdre had the advantage of a lot of other avenues with which to build her career, especially the international phase. I doubt that a dealer in Toronto could have gotten her that far with the resources or mandate of a commercial gallery. A lot of artists can and do pursue different career paths outside the commercial gallery system. Even that tradition of the solitary solo exhibition as a career benchmark is sadly out of date for cross-disciplinary and collaborative artists. Personally I’ve always hated the experience, (though I like getting a catalogue at the end of it). Group shows with artists I admire are an absolute joy to be in.

    That said, yeah, more public gallery shows HERE for Deirdre.

  11. Max says:

    Marina Abramovic! There must be a way to get her over here! But not to balance the orientation of genitalia on your roster (that’s funny, I just remembered that piece of hers where all the people expose their genitals).
    To remain on topic however, I think to consciously set out to balance the sexes of the artists in a gallery’s program is laughable. It’s also getting anachronistic to have a mandate of “Just female artists” (like La Centrale in Montreal). I can’t wait for the day when these kinds of resentments fade, and we can focus on the work instead of other factors.

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