-- Advertisement --

-- Advertisement --

Canadian Art

See It

Matilda Aslizadeh: Child Soldiers, Born and Made

Pari Nadimi Gallery, Toronto May 3 to Jun 28 2008
Matilda Aslizadeh  <i>Imagined Still 13</i>  2008 Matilda Aslizadeh Imagined Still 13 2008

Matilda Aslizadeh <i>Imagined Still 13</i> 2008

Rarely a day goes by when war does not dominate national and international news headlines. Ironically, the leaden emotional weight of omnipresent conflicts, casualties and political maneuverings has the dangerous tendency for an overall numbing effect on an untouched public conscience. Too often, war stories remain abstracted to foreign events in faraway places easily forgotten with a turn of the page or a change of the channel.

This personal and physical distancing is exactly why it is crucial to reconsider the hard-hitting truths of war from other points of view. The exhibition “Hero of Our Time” by Vancouver artist Matilda Aslizadeh offers just such an opportunity. The title work is a 19-minute video projection that plays out the fictional rise and fall of a child soldier named Hero. On the one hand, it is a tragic coming of age story. As part of a child militia that operates in the familiar yet unfamiliar forests of an unnamed “other” country, Hero’s world quickly unravels as his paramilitary indoctrination gives way the eye-opening truths of rape, pillage and killing. In true existential form, Hero’s age of reason also marks the beginning of his demise. By breaking the narrative with trenchant accounts from actual child soldiers found on the Internet, Aslizadeh charges her fictional platform with the scarred intensity of real-life tragedies.

But Aslizadeh’s story also treads on the grounds of classical myth. The child soldiers are constantly reminded by their commanders that they have been chosen to inherit a “golden age” created by a benevolent god who raped a mortal woman. That female figure hovers in the background as the troubled mother figure to these children. With the interspersed addition of video footage showing God’s-eye views of “precision bombing,” Aslizadeh offers a telling reminder of the ongoing contradictions of human histories and belief systems founded in violent beginnings and ends. (254 Niagara St., Toronto, ON.)

This article was first published online on May 29, 2008.

RELATED STORIES

  • Kelly Mark: White Cube, White Couch

    If you have ever wondered what it might take to watch 170 films and television programs in one sitting, grab a couch seat and get ready for a 2-hour onslaught of condensed and commercial-free viewing in Kelly Mark’s video installation REM.

  • Full Opening and Event Listings

    Dozens of openings, talks and screenings to take in from coast to coast this week, May 22 to 28, 2008.

  • The Quebec Triennial: Altmejd, and Alternatives

    With David Altmejd creating one of the biggest Canada coups ever for the Venice Bienniale last summer and Michel de Broin winning the Sobey (as well as some court cases) this past year, Quebec artists are at the forefront of our national scene. Now the Quebec Triennial, opening in Montreal this weekend, offers viewers a survey of the scene’s strengths under one roof.

 

FOUNDATION NEWS

More Foundation news

ONLINE

  • Jon Rafman: Mapping Google

    Jon Rafman’s work enjoys a deservedly high profile at this year’s Contact Festival. As Saelan Twerdy observes in this review, Rafman’s stunning, and often funny, Google Street View scenes demonstrate how the Internet is making everything public, from information to intimacy.

  • Spring Auctions: Going Once, Going Twice…

    The auction record for contemporary Canadian art was broken earlier this month in New York with Christie’s $3.6 million sale of a Jeff Wall photograph. This week, Canada’s top houses head into their spring sales hoping to break more records.

  • Keren Cytter: Video Virtuoso

    “Based on a True Story” in Oakville boasts the largest North American survey to date of Keren Cytter, the Tel Aviv–born artist known as one of today’s most intriguing video practitioners. Mariam Nader reviews, finding greatest hits and unexpected delights.

  • Sovereign Acts: Painful Histories, Terrific Performances

    The history of indigenous people performing for colonial audiences inspires "Sovereign Acts,” a current Toronto group show. As Max Mosher writes, the show—featuring Lori Blondeau, Adrian Stimson and others—is both campy and contemplative.

  • Dil Hildebrand: In the Green Room

    Dil Hildebrand is one brave painter. In his new show “Back to the Drawing Board (Reprise),” he stares down the old adage that no one wants to look at a green painting, let alone buy one. There's not just one green painting here—there's a room of them.

More Online

- Advertisements -



- Advertisements -
Report a problem