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A guide to the best exhibitions and events in the visual arts
A classic sidekick and psychological foil takes centre stage in Hurlbut’s “Shut Up,” a display of installation and photo works based on 1950s ventriloquists’ dummies. March 25 to Apr. 24. Georgia Scherman Projects, 133 Tecumseth St.
Themes of life, death and spiritual rebirth get epic treatment in an expanded version of the noted German artist’s Palmsonntag (Palm Sunday). To Aug. 1. Art Gallery of Ontario, 317 Dundas St. W.
The Bucharest-based artist stormed onto the international art scene in the late 1990s with graffiti-styled line drawings that made critical fodder out of everything from post–Cold War politics to local gossip. This spring, Perjovschi puts Toronto at the centre of his satirical world view in Late News, a new floor-to-ceiling installation that fills the ROM’s Institute for Contemporary Culture. Continues to Aug. 15. Royal Ontario Museum, 100 Queen’s Park.
The veteran conceptual artist transforms a biodiesel-powered delivery van into a mobile art/environmentaleducation lab for a collaborative project carried out with No.9: Contemporary Art & the Environment, the Toronto District School Board and the Art Gallery of Ontario. From Apr. 1 to May 31. Various locations.
Lee adds a painterly touch to his ongoing exploration of photographic processes and the authenticity of modern image-making in “Painting Photography,” a show of recent works created by printing found digital imagery on vintage photo paper, then manipulating the still-wet ink. Opens May 20. Clark & Faria, 55 Mill St.
Krista Buecking’s drawings of architectural icons in ruin formed the starting point for a 2007 group show at the gallery about the state of “seeming to be” something. LOVE SONG FOR A FUTURE GENERATION continues this theme of the relic with paired drawings of historical “fragments” that suggest a collapse of time, of progress and of the status of objects. Her work has a meticulous quality that reminds me of Colette Whiten or Robert Wiens, and her architectural references echo Robin Collyer, Didier Courbot and Scott Lyall.
Susan Hobbs is the director of Susan Hobbs Gallery. Krista Buecking’s solo exhibition runs Dec. 17 to Jan. 30, 137 Tecumseth St.
“Tut mania” swept across Canada in 1979 thanks to a monumental exhibition of objects and artifacts from the Egyptian pharaoh’s era that appeared at the Art Gallery of Ontario. The fever returns to Toronto this winter with an updated and expanded version of that show, featuring more than 100 ancient treasures dating from 2600 BC to 600 BC. Until Apr. 18. Art Gallery of Ontario, 317 Dundas St. W. Please note this article has been updated and corrected.
Lahde puts an ornate spin on the fragmented perspectives of headline news in a suite of kaleidoscopic collage works titled “Double Take.” On view Jan. 9 to Feb. 6. MKG127, 127 Ossington Ave.
diosyncratic sculptural constructions by the Hamilton artist test the boundaries of creative control and material manipulation. Continues to Dec. 20. Loop Gallery, 1273 Dundas St. W.
The art duo continue their conceptual study of mass-produced culture and architectural space with a size-as film projection concentrated on the empty glow of commercial light fixtures. From Jan. 22 to Feb. 27. Mercer Union, 1286 Bloor St. W.
A comparative survey of classic as well as new projection works by Michael Snow is on view alongside sculptural installations by Liz Magor, James Carl, Tricia Middleton, Gareth Moore, Luanne Martineau and Kara Uzelman. Continues through Feb. 28. The Power Plant, 231 Queens Quay W.
Unbridled optimism and imminent failure strike a precarious balance in feature exhibitions of Sasaki’s performance, video and sculptural works at Doris McCarthy Gallery and Jessica Bradley Art + Projects. Jan. 13 to Feb. 24/Jan. 9 to Feb. 6. 1265 Military Tr./1450 Dundas St. W.
Vintage Canada-themed photos from Stephen Bulger Gallery’s collection—including this repurposed shot of parade-dressed Mounties posing in London, England—reveal the enduring narrative power of the still image. Jan. 23 to Feb. 27. Stephen Bulger Gallery, 1026 Queen St. W.
In the exhibition “Hovering Proxies,” the German-born, Toronto-based artist creates a layered “social cabaret” with an installation and performance work (which is filmed and then screened as part of the show). Jan. 21 to March 14. Art Gallery of York University, 4700 Keele St.
“The premise of ‘The 1984 Miss General Idea Pavillion’ is the recreation of two General Idea exhibitions that took place in the 1970s at Carmen Lamanna Gallery. GI is incredibly important in our country’s art history. They were always concerned with developing a national art system, recognizing how this automatically made us part of the international art world. There is also a great interest in their work among younger artists. GI were often their own spokespeople and their statements become meta- commentaries, which then become performative fictions. I want to do some meta-meta commentary to articulate those concepts.”
Philip Monk is Director/Curator of the Art Gallery of York University. “The 1984 Miss General Idea Pavillion” is on view from Sept. 15 to Dec. 6, 4700 Keele St.
Full talks and tours schedule, Douglas Coupland conversation info, and magazine launch details posted for free day of activities
Applications due May 9 for $55,000 in prizes
Free art tours for high-school students to take place in April and May
New writers on contemporary art encouraged to apply by June 1
Dates already set for next year’s Toronto festival
Applications for this $7,000 student award are due April 6
Event to feature a conversation with Douglas Coupland, gallery tours, a magazine launch and more
Films on Shary Boyle, Elmgreen & Dragset, Michel de Broin and Jon Gnarr set to open the festival on March 22
Opening-night celebration and art-industry talks highlight fifth year of fair
Don’t miss the North American premieres of films on Candida Höfer and Thomas Struth, happening February 23
The 85-year-old artist Arnaud Maggs nudged out Fred Herzog and Alain Paiement as winner of the second annual Scotiabank Photography Award, announced last night in Toronto. This $50,000 win follows the opening of a major Maggs survey at the National Gallery of Canada.
As one of the primary exhibitions for Contact 2012, “Public: Collective Identity | Occupied Spaces” is ambitious. Charlene K. Lau observes that the two-venue show mirrors the fractures of contemporary life: public and private, visible and invisible, place and non-place.
In this review, writer and artist Joni Murphy considers Abbas Akhavan’s current solo show in Montreal, which activates a variety of themes—war and art, destruction and nation building, human and animal—with a distinctively light touch.
Melding William Morris-style ornamentation with more contemporary concerns, artist Luke Painter detours around dry academicism for something more vibrant and visceral. Mariam Nader reviews his current Toronto show at LE Gallery, finding depth in decoration.
Frieze opened its first New York edition last week with some surprising highlights: sculptures that were free for public viewing outside the big commercial tent. Canadian Art art director Barbara Solowan was there, and brought back this slideshow.
