“Chronos/Synthesis,” a solo show by Canadian artist Oliver Pauk, opens at Toronto’s J Spot Gallery. For the window gallery show, Pauk presents an array of 3D printed, CNC milled, and hand carved sculptures alongside video and AR works. The selection underscores two driving interests: rendering pure digital form, and his efforts “to replicate the patterns and aesthetics of automated, computerized processes” in more traditional mediums (image: Object #90, 2017).
A project of Wm (Bill) Perry, “LOST & FOUND Telidon art of the early ’80s,” opens at Toronto’s Cameron House. Presenting limited edition prints of videotex art made on Telidon (1978-85, Canada’s precursor to the world wide web), Perry resurfaces both an overlooked early digital art movement—predating net.art by a decade—and the burgeoning creative networks that founded Canada’s first media and electronic art-focused artist run centres (image: Robin Collyer Cameraman, 1981).
“DO COMPUTERS WORRY YOU,” an exhibition of recent work by Canadian artist Matt Nish-Lapidus opens at Toronto’s Collision Gallery. Presented alongside “Greenlight: Carlaw,” a companion exhibition by Simon Fuh, Nish-Lapidus deploys assemblies of custom networks and Printed Circuit Boards (PCBs) combining “industrial and domestic materials, found texts, and bespoke algorithms” into a materialized polemic for more poetic (and personal) modes of computation.
“SIREN,” a solo exhibition by Canadian-German-Jamaican artist nichola feldman-kiss, opens at Toronto’s Koffler Gallery. Extending her ongoing critique of colonialism, it presents eponymous Siren III (2022, image), underwater video with ambisonic recordings of vocal ululations to capture the migratory flows across the “geo-cultural corridor that is the north Atlantic,” and Siren IV (2021, image left), glacial CGI forms rendered on digital tapestries.
“Terms & Expectations,” a group exhibition curated by Barbara Cueto & Bas Hendrikx, open’s at Toronto’s InterAccess. Focused on “distribution centres as agents within our natural environment,” the show hones in on critical infrastructure that underpins platform capitalism (e.g. the ubiquitous Amazon fulfilment centre). Featured are artists including Hiba Ali Simon Denny, Sophia Oppel, and Coralie Vogelaar, contributing works in mediums ranging from installation to performance.
“Dark and Perfect Memories,” a solo exhibition by Tia-Simone Gardner exploring the troubled legacy of the Mississippi River, opens in Toronto. Drawing on archival research and digital cartography, Gardner maps how the river extended the transatlantic slave trade inland, and drove economic production. Included works range from inkjet prints of salt water, to steamship models, to representations of Black geography (image: …when we had a smooth sea and moderate wind…, 2019).
Canadian curator Andrew Lochhead revisits the controversy around realities:united’ cancelled public artwork LightSpell (2017), installed at Toronto’s Pioneer Village subway station. The architectural light matrix was designed for visitor messages but never activated over fears of abuse. “We were commissioned to modify the installation’s software,” the artists reveal in the comments about extensive reworks, “but the Toronto Transit Commission stopped replying to us for unknown reasons.”
The Canadian curator discusses her new exhibition, glitch aesthetics, and the 2022 edition of Vector Festival
“Machine Bodies (Is Cyborg Good or Evil?),” the flagship exhibition for Vector Festival, opens in Toronto. Curated by Karina Iskandarsjah, the show considers the post-AI body. Featured are Xuan Ye’s What Lets Lethargy Dream Produces Lethargy’s Surplus Value (2020), which examines the datafication of sleep, and works by LA Birdwatchers and Madeleine Lychek that abstract predictive policing (image, background) and machine learning misinterpretation (bottom).
Ełexiìtǫ ; Ehts’ǫǫ̀ / Connected ; Apart From Each Other, Casey Koycan’s installation about cultural transmission and memory, opens at Toronto’s InterAccess. In the work, speaker-containing logs are suspended from trusses, and pipe a mix of Dene drum, electronic instruments, guitar, and chanting into the gallery. “The resonance of sound and song from within the logs emphasize the steps towards finding the connection to culture,” writes the Tlicho Dene artist.
“Sculpted in Our Image, Forged in Our Minds,” an exhibition curated by Tristan Sauer launches online. Part of the IA Current program, it features Mads Brimble, Benjamin Chang, Cezar Mocan, and other artists exploring “the erosion between digital and physical spaces.” Included works span animation and interactive embeds, with Sarah Boo’s Zoom Princess (2021) transforming video chat tedium into visual recursion, and an unruly subject escaping the grid.
Curated by Karie Liao, “Geofenced” opens at (and around) Toronto’s InterAccess. Presented on the artist-run centre’s steps, at a local parkette, microbrewery, and other sites, the show features AR works by Cat Bluemke & Jonathan Carroll, Scott Benesiinaabandan, Jenn E Norton, and Adrienne Matheuszik. The latter’s Proxima-B (2021, image) superimposes scenes from an “extraplanetary resort … free from the troubles of the earth” in the InterAccess gallery, at a nearby parking pad, and on a billboard.
Co-curated by Sean Sandusky and Dana Snow for Toronto’s InterAccess, “QUEERSPHERE” is an online exhibition inspired by Queer and Trans social media communities in the 2000s. A site where “worldbuilding is allowed to flourish outside of the pressures of corporatization and flat representation,” the show nostalgically yearns for pre-NSFW content ban Tumblr and other platforms, while looking forward via ruminations on Queer AI and campy caricature of Boston Dynamics’ robodog Spot. Featured artists include Keiko Hart, Maxwell Lander, and Lucas LaRochelle (image: QT.Bot, 2019).
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