Lots of great art exhibitions open across the country this week. Here are our recommendations. (And remember to visit our Exhibition Finder for worthwhile shows that are already open.)
Robert Taite employs the usual materials of interior design and home renovations—wood, canvas, vinyl and latex paint—to entirely different ends: large, painterly pieces that verge on installation. Titled “Interior Latex Eggshell,” the exhibition opens at AKA Artist-Run on March 13 at 8 p.m.
At the Khyber Centre for the Arts, Kyle Martell opens a solo show, “Seems Reasonable,” which pulls from digital culture and opens on March 13 at 7 p.m. The press materials note that Martell’s works contain a “pervasive sense of the underwhelming…created by a consciously applied lack of skill,” so adjust your expectations accordingly.
At Circa, Gabriel Morest’s sculptural painted objects go on view in “In the Pit of Idolatry,” which opens alongside Amélie Proulx’s organically shaped porcelain sculptures on March 14 at 3 p.m. At La Centrale Galerie Powerhouse, Gabrielle Lajoie-Bergeron takes up girlhood and femininity in a painting exhibition titled “Love Me, Love My Doll,” which opens with an artist talk on March 13 at 6 p.m., followed by a reception. Jocelyn Jean’s paintings, which push to create three-dimensional effects across the flat canvas plane, open at Galerie Graff on March 12 at 5 p.m. At Centre Clark, part two of Raymonde April’s photography exhibition, “Near You No Cold,” opens on March 12 at 8 p.m., alongside Libby Hague’s sculptural installation, “Walk With Me.”
The Turbines Curatorial Collective opens the terrifically exciting Utopias Performance Art Festival on March 13, and it runs through March 15. Focusing on art that offers “queer, feminist, trans*, and anti-racist perspectives,” the festival features Vaginal Davis, Hazel Meyer, Andrew Rabyiuk and Avery Everhart, and occurs at a range of sites, including Modern Fuel Artist Run Centre, the Grad Club and the Agnes Etherington Art Centre.
Two exhibitions, which are both broadly lens based, open at the Art Gallery of Southwestern Manitoba. Greg Staats works to achieve a Haudenosaunee (Iroquois) restorative aesthetic, and looks at issues of trauma and renewal in his exhibition “It dropped down their minds.” Velibor Božović uses a large-format camera (a slightly performative act itself), capturing landscape photographs that test boundaries between urban and wooded spaces. Both open with a reception featuring a performance by the Sweet Medicine Singers on March 12 at 7:30 p.m.
Hamilton Artists Inc. opens two exhibitions on March 14 at 2 p.m.: Chun Hua Catherine Dong’s “Visual Poetics of Embodied Shame,” a durational, participatory performance installation that delves into issues of gender and identity in traditional Chinese culture, and “Fail,” a group exhibition featuring Royston Maybery, Klaus Pinter, Lydia Santia and Timothy de Vries that looks at failure in art. Family serves as inspiration for a screening of works by Liss Platt at the McMaster Museum of Art, which begins on March 18 at 2:30 p.m.
An-My Lê, the Audain Distinguished Artist-in-Residence for spring 2015, gives a talk at the Emily Carr University Lecture Theatre on March 16 at 6 p.m., followed by a reception at Charles H. Scott Gallery. Art historian Jonathan D. Katz gives a lecture, Nude Ghosts, in conjunction with Presentation House Gallery’s current exhibition, “‘We Are Continually Exposed to the Flashbulb of Death’: The Photographs of Allen Ginsberg (1953-1996)” at the gallery on March 16 at 7:30 p.m. Continuing this program is an ambitious afternoon of discussion on March 15 at 2 p.m. at Satellite Gallery, titled Countercultures Forum. The afternoon of discussion and debate features presentations and talks by Jonathan D. Katz, Ignacio Adriasola, Robin Simpson, Terje Toomistu, KIWA, Michael Turner, Allison Collins, Andrew Berardini, Martha Kirszenbaum, Raymond Boisjoly and Isabelle Pauwels.
At Harcourt House Artist Run Centre, Linda Carreiro presents a series of text-based works that focus on the pleasures of language and wordplay in “The patina of consonants,” and photographer Darren Rigo opens “The Woods,” an exhibition of images that draw from his childhood experiences in the countryside. Both begin on March 12.
Jen Aitken’s series of concrete-covered sculptures and schematic drawings, which both focus on modelled, occasionally mottled, planes, open in “Lines + Planes” at Evans Contemporary on March 12 at 6 p.m.
Textiles are put under a contemporary lens in “P0P F0LK: T3XT1L3S,” a group exhibition that attempts to tease out connections between fabric-based works and popular culture. It opens at the Galerie du Nouvel-Ontario on March 13 at 5 p.m.
“One for the Road,” a survey of Kim Adams‘s sculpture and installation work, organized by Museum London, travels to Thunder Bay Art Gallery. A playful, colourful show, it features works at a range of scales that often repurpose toys and vehicles to whimsical ends, and opens on March 13 at 7:30 p.m.
Grace Schwindt’s “Only A Free Individual Can Create A Free Society,” a film installation that draws from German politics, choreography and the artist’s childhood memories, travels to Contemporary Calgary (having recently shown at the Contemporary Art Gallery in Vancouver). It opens on March 12 at 8 p.m. Men and minimalism make a playful pairing at Newzones starting on March 14 at 1 p.m., when Jonathan Forrest reinvestigates ideas of flatness in painting in “Open Source,” and Jeff Nachtigall’s “Wild Men” depicts his abstracted characters in colourful, pastiched paintings that combine a range of influences.
Woodpeckers are the unusual source of inspiration for a sound-based exhibition opening on March 13 at 7 p.m. at Gallery 101: Annie Dunning’s “Sapsucker Sounds.” With a series of installations and sound sculpture, Dunning blurs the boundaries between human and woodpecker culture, offering an interspecies experience.
Historic Canadian artist Jack Nichols’s lithographs go on view at Ingram Gallery on March 14 at 2 p.m. Prefix Institute of Contemporary Art continues their talk series with a session on urban interventions featuring Lucia Babina and Miguel Robles-Durán that begins on March 12 at 7:30 p.m. At Mercer Union on March 13 at 7 p.m., Krista Belle Stewart’s video installation merges archival footage and personal testimony to test the depths of the personal and the political, while Jacqueline Hoang Nguyen also redeploys found footage in Challenge for Change/Société Nouvelle: Documents in Participatory Democracy. At Typology Projects, Tamara Gayer, Christine Gedeon and Janine Miedzik take up the built environment in a show that opens on March 12 at 6 p.m. Margaret Glew’s paper-based paintings open at Edward Day Gallery on March 12 at 5 p.m.
The landscape paintings of Renée Duval and Melissa Doherty—which appear photographic until closer inspection—open at Renann Isaacs Contemporary Art on March 14 at 2 p.m.
Our weekly must-sees, published each Thursday, are chosen from opening and event announcements sent to firstname.lastname@example.org at least two days prior to publication. For listings of art openings, exhibitions and events, visit canadianart.ca/exhibitions.