the future is in the land
Exhibition runs March 15 - April 20, 2018
Opening Reception Thursday March 15, 7 - 9PM
Essay by Cheryl L'Hirondelle
"the future is in the land is a multisensory solo exhibition of revelations about the extraordinary and life-affirming relationships we have for too long taken for granted. The title seems apparent, self-explanatory, suggesting a rational given, though an ominous haunting and paradox materializes therein. 'Future' suggests a promising forward gaze, and yet Julie sets the tone as if in a dream. This is not a static environment but is inhabited by animated forest creatures that appear periodically within the room. Aiming to draw attention to the destructive and complex relationship we have to the environment, she connects viewers to stories of the land through this experience." - Cheryl L'Hirondelle
As Julie Nagam states, “Our survival and our continuation as a people are tied to Indigenous knowledge of the land and a return or an extension of these land-based practices is what will bring us into the future."
Dr. Julie Nagam is the Chair of the History of Indigenous Art in North America, a joint appointment between the University of Winnipeg and the Winnipeg Art Gallery. She is an Associate Professor in the faculty of History. As a scholar and artist she is interested in revealing the ontology of land, which contains memory, knowledge and living histories. Her practice is investigating Indigenous stories of place to visually demonstrate alternative cartographies that can challenge myths of settlement situated in the colonial narratives of space and place.
Cheryl L'Hirondelle is an award winning interdisciplinary artist, singer/songwriter, and new media curator from the land now known as Canada. Her 35-year creative practice is an investigation of the intersections of a Cree worldview (nehiyawin) with contemporary time/place. She is a member of OCAD University's Indigenous Advisory Council and is currently a PhD candidate with SMARTlab at University College Dublin in Ireland.
For more information please visit www.aspacegallery.org
Nothing Is Ever Enough
Exhibition runs January 26 - March 10 2018
Opening Reception Friday January 26, 6 - 9 PM...
Performance at the Opening Reception at 6:30 Sharp
Essay by Christina Rousseau
"A woman’s body has never been political. A woman’s body has never been powerful. A woman’s body is a distraction. A woman’s body belongs to everyone. There is no value inherent in this work. It is invisible and it is expected. It isn’t work."
NOTHING IS EVER ENOUGH is an installation that references a domestic space and illuminates the ways it is inherently a work space. This compels us to think about the tenuous boundaries that exist between physical and emotional work as well as between our work lives and private lives. This solo exhibition at A Space Gallery is personal and emotional, and positions the gendered body as one poised for failure and scrutiny.
Camilla Singh’s new installation continues forth from her broader practice in which work is seen as a dominant force in people’s lives, playing a leading role in shaping modes of conduct and behavior. It extends into thinking about emotional and physical work as well as injury and recovery in both a work and home context. How are we defined by professionalism or its absence, and the historical exclusion of women’s intellect, experience and voices in devising the systems we inhabit?
Camilla Singh is a curator and multi-disciplinary artist whose practice includes installation, sculpture, drawing, photo and audio-based work, as well as performance, movement and collaboration. She is one half of the band MORTIFIED with dancer/choreographer Jenn Goodwin. Singh is the former Assistant Director/Curator of the Museum of Contemporary Art Toronto (2002 - 09) and holds an MFA in Contemporary Studio Practice from the Dutch Art Institute in the Netherlands. She serves on the External Advisory Committee for Nuit Blanche in Toronto. She currently lives in Abu Dhabi.
Christina Rousseau is a Toronto-based researcher and educator. Rousseau earned her doctorate in Humanities from York University, writing about social reproduction and emotional labour through a historical examination of the Wages for Housework movement. She has published texts on the gendered and racialized structure of social reproduction in the academic journals Gender, Work and Organization and Atlantis: Critical Studies in Gender, Culture, and Social Justice. In addition to her work as a researcher and educator, Rousseau is engaged in work and community activism aimed at addressing poverty from a social justice perspective.
Looking forward to the book launch of Diasporic Intimacies: Queer Filipinos and Canadian Imaginaries on Friday Nov 17. Thrilled that A Space is a community sponsor! We will be open late that evening so you can see the exhibition Unsettling Imaginaries curated by Marissa Largo, one of the co-editors of the book.
Kuh Del Rosario, Julius Poncelet Manapul, Marigold Santos, Leslie Supnet
Curated by Marissa Largo
Opening Reception November 3rd from 7 - 9 PM
Exhibition runs November 3 - December 16, 2017
Book Launch and Celebration November 17th from 6 - 10 PM for "Diasporic Intimacies: Queer Filipinos and Canadian Imaginaries" co-edited by Robert Diaz, Marissa Largo, and Fritz Pino
The exhibition is presented by A Space Gallery with support from the Liaison of Independent Filmmakers Toronto
Curated by Marissa Largo, Unsettling Imaginaries comprises of artists who imagine Filipinx subjectivity in excess to the dominant stereotypes that persist in the midst of racist and colonial discourses that are enmeshed in the political, social, and cultural dimensions of Canadian society. Their anti-essentialist expressions delve into the supernatural (Santos and Supnet), alternative forms of belonging beyond the nuclear family and nationalisms (Manapul and Supnet), past the limiting politics of visibility/invisibility and into abstraction and non-representational form (Del Rosario and Supnet), and into representations of gender and sexuality that are informed by decolonial recuperations, queer aesthetics and feminist self-representation (Manapul and Santos).
Together, these works present unruly expressions of Filipinx subjectivity in Canada that are unhinged from multiculturalist and neoliberal tropes. Through queer, feminist, racialized, and diasporic lenses, these artists engage in a decolonial diaspora aesthetic practice that confronts white supremacy, heteronomativity, and patriarchy in ways that reimagine Filipinx subjectivity beyond the dominant narrative of the settler colonial state.
For more information please go to www.aspacegallery.org
For more information about the Book Launch please go to https://www.facebook.com/Diasporic-Intimacies-Queer-Filipi…/
Tomorrow is the last to see Mourning and Mayhem: The work of Adrian Stimson!
Mourning and Mayhem is Ontario’s first solo show for Adrian Stimson and is curated by Wanda Nanibush. The Territ-Aur(i)al Imprints collaborative exchange soundtrack and soundscape is the sonic result of five Indigenous media artists coming together from North America and Latin America.
Drop by 401 Richmond Street West and check out both exhibits this weekend!
Toronto's first solo exhibition of multidisciplinary artist Adrian Stimson, featuring a new performance. Curated by Wanda Nanibush and proudly presented by imagineNATIVE Film + Media Arts Festival and A Space Gallery.
Exhibition runs September 26 2017 - October 28 2017
Reception Friday October 20 2017th, 6:00 PM - 7:00 PM
Curated by Wanda Nanibush
Mourning and Mayhem: The work of Adrian Stimson is a solo exhibition combining two streams of his multi-disciplinary practice: his experience in residential school and his commitment to the spirit of the buffalo. Buffalo Boy is the persona developed and lived by artist Adrian Stimson. Sporting fishnet stockings, a buffalo g-string, corsets, and pearls, Buffalo Boy's transformations and campy shenanigans challenge colonial history as a story of Indigenous disappearance and inferiority. Buffalo Boy's alter ego is Shaman Exterminator who inhabits the spirit of the Buffalo here and now as a form of healing and transcendence.
Stimson's installation, photography and performances often enact a reversal of the value system that supports colonialism and the value system that marginalized Indigenous people as uncivilized.Through processes of mourning and mayhem, Stimson's work destabilizes these value systems with wit, irony, and campy humour while at the same time creating symbols of mourning that mark the trauma of colonial history that we wear in our bodies and communities.
Stimson often uses real materials like buffalo hide or the remnants of the actual residential school that he attended in order to ground his camp aesthetic in an actual experience or material reality. It is in the performance of play and the creation of spaces of mourning, in the creation of fictions and the maintenance of alternative histories, in the letting go and holding on to colonial trauma, and the engagement with the sacred and sacrilegious that separates Stimson's from the rest as a radical agent of change and not simply a performer of postmodern puns.
Please sign the petition to save our building! The arts and cultural hub inside an old factory building at 401 Richmond St is in jeopardy because of its climbing tax bill.
Join us tonight at YYZ for this panel discussion on art and social change with Marisa Jahn, Kwentong Bayan, and Christine Shaw, presented by A Space and YYZ Artists' Outlet.
Malinda Francis, Rehab Nazzal
Exhibition runs May 26 - July 8, 2017
Opening Reception Friday May 26 from 6-8pm
Presented by A Space Gallery in partnership with Trinity Square Video
In Solidarity is a two person exhibition that features collaborative projects from Malinda Francis and Rehab Nazzal. Francis is a video artist that spent time in Haiti after the earthquake of 2010. She captured a grassroots international and multilingual community moving off of the grid and building an "Earthship." Using recycled materials to rebuild the community school of "Sa-k-la-k-wel"--which translates into "if you survive it you will see it"--and set in a picturesque but economically depressed location, the conical structure of the Earthship evokes spaceships that plan to leave earth for a more just future that we create and imagine together. Francis also includes video of Jane Finch Action Against Poverty as she follows them into the 2017 May Day march, an action that seeks greater justice right where we are. Nazzal's is a community engaged project of "Cross Stitching Solidarity" using Palestinian embroidery techniques to bring people together at the gallery to make something that is larger then the sum of its parts. Francis and Nazzal, although using disparate visual strategies, both propose a kind of transnational solidarity that implicates, resists, and creates new possibilities for Mikinaakominis/Canada.
For more information please visit: www.aspacegallery.org
Shared from Jim Miller:
"The Art Vs. Alt gathering coming up soon (May 27th) is modelled after the Creative Strategies gathering that happened last May at the Steelworkers Hall on Cecil Street. That event was part of Public Exposures: The art-activism of Condé + Beveridge 1976-2016 that opened —a year ago — at A Space Gallery, Yyz Artists' Outlet, Trinity Square, Prefix Institute of Contemporary Art, and Urbanspace Gallery. The broad emphasis of Public Exposures was on the activist role art can play in our communities today and tomorrow. That strategizing continues at the upcoming Art vs Alt gathering, fuelled and focused by the rise of the right."