Vintage watch faces with missing hands take an infinite measure of passing time in veteran photographer William Eakin’s solo exhibition “Time,” opening on October 9 at Actual Gallery. Showing concurrently is “In the Sweet Pie and Pie,” the first in the gallery’s series of artists-curating-artists exhibitions. Organized by Michael Dumontier, the show features collages, paintings on newsprint and carbon-paper drawings—all inspired in one way or another by legendary “holy fools” Moe, Larry and Curly (a.k.a. the Three Stooges)—by Winnipeg artist Rob Wakshinski.
Swedish artist Gunilla Klingberg makes her Canadian exhibition debut on October 9 with “Brand New View (Vancouver),” a two-venue display of immersive, quasi-oriental/psychedelic window murals at the Contemporary Art Gallery and the Yaletown-Roundhouse Station. Meanwhile, Simon Fraser University’s Audain Gallery hosts Brazilian artist Ricardo Basbaum, whose ongoing interactive project Would you like to participate in an artistic experience? invites a collective consideration of “the material, social and spatial membrane between artist, contemporary art system, art object and participant.” An artist talk by Basbaum at the Djavad Mowafaghian World Art Centre is followed by his exhibition opening at the Audain Gallery on October 15.
“Can an exhibition be curated using Google search?” The answer to that question is likely something many exhibition makers might be reluctant to admit. But for Natasha Chaykowski and Alison Cooley—winners of the Elora Centre for the Arts’s 2014 Middlebrook Prize for Young Canadian Curators—the notion of a “Google gamble” opens fresh critical ground to examine the core dilemmas of contemporary art practices and, in turn, curating. Opening on October 11, their exhibition “I’m Feeling Lucky” gathers works by Zoë Heyn-Jones, Elizabeth MacKenzie, Leslie Pearson, Alana Riley and Jessica Wiebe.
The Museum of Contemporary Canadian Art’s current exhibition “TBD” has raised pointed questions about the future relevance of exhibition spaces and exhibition making in Toronto. The debate continues on October 9 with “The Innovators Panel,” featuring 8/11 Collective’s Xenia Benivolski, Kunstverein Toronto’s Kara Hamilton and Gallery TPW’s Kim Simon. At 8/11’s cubbyhole project space—itself a model of extra-institutional progress—on Spadina Avenue, artist Bridget Moser’s site-specific performance series Tender Offer Part 1 continues nightly from October 9 to 11. Stephen Andrews unveils new light-filled narrative paintings at Paul Petro Contemporary Art on October 11. A show promising “meditations on mortality and ephemerality expressed through a reduced vocabulary of colour” by veteran painter David Urban opens at Corkin Gallery on October 15. Fellow painter Amanda Reeves debuts a new suite of ethereal abstractions, also on October 15, at pm Gallery.
As Montreal waits with bated breath for the official launch of the Biennale de Montréal in a couple of weeks, exhibitions of Biennale artists are starting to show up in spaces across the city, including at the Darling Foundry, where seminal conceptual artist Lawrence Weiner’s 1969 arctic intervention An Abridgement of an Abutment to on Near or About the Arctic Circle is re-presented alongside video by Chinese artist Li Ran, starting October 9. Also on October 9, at Battat Contemporary, artist Beth Stuart premieres the third iteration of her stage-set installation WARM.WORN.UNIFORM., which revolves around a fictional encounter between Constructivist artist Varvara Stepanova; mystic, freethinker and pioneering sex educator Ida Craddock; and poet, painter and bohemian flâneuse Florine Stettheimer. On October 11, Japanese electronic-music composer and visual artist Ryoji Ikeda presents the North American premiere of superposition, “a unique sensory experience combining sound, visuals, physical phenomena, mathematical concepts, human behaviour and randomness,” at the Musée d’art contemporain de Montréal.
The blurred lines between craft and art have been the focus of much critical redressing in recent years, including in the touring exhibition “Making Otherwise: Craft and Material Fluency in Contemporary Art,” which gathers works by Richard Boulet, Marc Courtemanche, Ursula Johnson, Sarah Maloney, Paul Mathieu and Janet Morton at Mount Saint Vincent University Art Gallery. Courtemanche and exhibition curator Heather Anderson discuss the “permeability” of material and conceptual approaches in the exhibition at the opening on October 9. Also celebrating a new lease on life is the Khyber Centre for the Arts, which is currently hosting a partly reprised and updated version of the 1997 printed-matter exhibition “OUT: Queer Looking, Queer Acting Revisited.” Curator Robin Metcalfe leads a walk-through of the show on October 11.
Our must-sees, published each Thursday, are drawn from press material sent to email@example.com at least two days prior to publication. For listings of art exhibitions and events, visit canadianart.ca/exhibitions.