This week Artspeak opens “Barn Swallows”, a group exhibition featuring Caroline Monnet, Devin Troy Strother and Lawrence Paul Yuxweluptun that will consider each artist’s use of modernist abstraction coupled with popular culture to explore race and gender in art history, among other concerns. Opening reception is February 7 at 8 p.m. The same evening, Catriona Jeffries debuts works by Geoffrey Farmer. “The Grass and the Banana go for a Walk” promises to bring in a full house, with the reception scheduled from 7 to 9 p.m. Niall McClelland, best known for his black monochromes of folded ink on paper, premieres works that reflect his personal history in Vancouver at Wil Aballe Art Projects on February 6 at 7 p.m.
The Art Gallery of Calgary and the Glenbow Museum have collaborated to present “Made in Calgary: The 1990s” curated by Canadian Art contributing editor Nancy Tousley. The exhibition featuring works by 55 artists will trace a significant period in the city’s art history when artists were exploring issues of identity, race and gender. Also looking back to look ahead, Herringer Kiss Gallery opens “Relics of the Future,” an exhibition of photographs by Toni Hafkenscheid that explore the rebuilding of Rotterdam after the Second World War. Opening reception is on February 8 from 2 to 5 p.m., and is part of the wider Exposure Festival of Photography. Also worth checking out on the photo front are works by Melvin Charney opening at Barbara Edwards Contemporary on February 7 from 6 to 9 p.m. and prints by Sarah Fuller opening at Christine Klassen Gallery on February 6 from 7 to 10 p.m.
Performance and video are highlighted this week in two presentations in Montreal. Daniel Barrow, known for his intricate live projections, performs his work The Thief of Mirrors at the Musée d’art contemporain on February 12 at 7 p.m. Meanwhile, the Leonard and Bina Ellen Art Gallery opens “Oscillations of the Visible,” a survey of artist Olivia Boudreau‘s works since 2004. Boudreau’s performances, often marked by repetition and duration, focus mainly on the body and human interaction. Opening reception is on February 12 from 5:30 to 7:30 p.m.
Video-game art gets a fresh spin in Joe McKay‘s “Light Wave,” which uses 24 old floor lamps in lieu of a screen. It opens at Pari Nadimi Gallery on February 6 at 6 p.m. The following night, the opening of Mercer Union‘s “Push and Pull” combines three artists whose practices slip between mediums: Bridget Moser, Michael Vickers and Nikki Woolsey. The reception takes place at 7 p.m. The National Gallery of Canada’s travelling exhibition “Misled by Nature: Contemporary Art and the Baroque” makes its way to MOCCA this week, debuting February 8 from 2 to 5 p.m. And at Prefix, a solo exhibition of Sylvia Safdie‘s video works opens February 6 at 7 p.m., while a lecture by Regina José Galindo, winner of the 2005 Venice Biennale Gold Lion Award, takes place February 7 at 7 p.m. as part of the Latin American Speakers Series.
On February 11 at 7 p.m., Agnes Etherington Art Centre presents a lecture by Lebanese artist Akram Zaatari entitled “Addressed, Folded, Opened, Performed, and Buried: Letters as a Form of Art.” This is followed by a screening of his acclaimed film “Letter to a Refusing Pilot,” premiered at the 2013 Venice Biennale and one of our 12 picks for TIFF 13. Finally, Zaatari will also be present on February 10 at the Screening Room for a screening and Q&A related to his 2003 work This Day.
Clint Neufeld‘s ceramic sculptures of engines and other mechanical devices have been winning increasing attention, and a new exhibition at Darrell Bell Gallery puts them in an intriguing context—namely, alongside works by Zachari Logan, whose drawings and paintings question notions of masculine representation, and pieces by Alison Norlen, the local artist acclaimed for her large-scale sculptures and drawings of amusement-park architecture. Opening is February 9 from 2 to 5 p.m.
On February 6 from 7 to 9 p.m., the Kitchener-Waterloo Art Gallery will demystify institutional collecting practices with a talk by executive director Shirley Madill, who plans to address the hows and whys of public art collections—including the hot topic of the role that collecting plays in the art market.
These picks, published each Thursday, are selected from press material sent to firstname.lastname@example.org at least two days prior to publication. For listings of exhibitions, openings and events, please visit canadianart.ca/calendar.