YYZ OPENING RECEPTION | SALLY SPÄTH & NESTOR KRÜGER
Mallory Wilkinson
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OPENING RECEPTION SALLY SPÄTH & NESTOR KRÜGER | 9-10-0 STILL ON LAST WEDNESDAYS AT 401 RICHMOND GALLERY HOURS FOR INTERVIEWS
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| SALLY SPÄTH & NESTOR KRÜGER |9-10-0
Sally Späth & Nestor Krüger: animation still. Image courtesy of the artists. 9-10-0 is a 3-channel projection combining a synchronized program of drawn animation and sound. The program is projected onto three hand-built curved screens from projectors placed on a raised stack of shelves. The screens, positioned at 120-degree intervals, form a precise ring around the projector stand, which sits at the axial center of the ring. Closing the gaps between each screen is a set of three speakers on stands. This specific audiovisual equipment arrangement creates a semi-closed cylindrical space that forms a boundary for the viewer to the inside limiting the viewer to a more peripheral experience of the animation. The equipment is positioned, in one sense, to create and receive the experience forming a kind of closed loop since the optimal viewing position in terms of the more common central axis of viewer and screen is occupied by the projector stand and not by the viewer. The independent machine-like nature of this audiovisual setup reinforces the simple movement of spin that forms a central motif of the animation. Spin, in particular, revolution, has the unique characteristic of transforming one movement into another and in the case of many machines in the industrial and domestic sphere, one form into another. The animation composed of simple lines of varying weights moving in both a clockwise and counterclockwise direction from one screen to another originates from a redemptive moment in the fable The Three Maidens where three maidens, each with their own unique specialization, work together as a unit to spin flax into thread in order to save the main character from a potentially unfortunate end. The animation focuses and extends this precise moment or task in the narrative so that the property of movement becomes central and total as a property in the animation. This is Späth and Krüger’s first collaborative animation work that combines interests from both their practices. NESTOR KRÜGER is a visual artist living in Toronto. He completed his studies at the Ontario College of Art in 1989. He has participated in a number of local and international exhibitions including Emotion Eins at the Frankfurter Kunstverein, Sharjah Biennial 7, Sharjah, UAE, The Greenroom, CCS Bard, NY and has had solo exhibitions at the Art Gallery of Ontario, the National Gallery in Ottawa, The Contemporary Art Gallery in Vancouver and most recently at Katzman Kamen gallery in Toronto. He currently teaches sculpture in the School of Fine Art and Music at the University of Guelph. Krüger is represented by Katzman Kamen Gallery, Toronto. Krüger would like to thank the Ontario Arts Council. Technical Assistance: Eric Glavin, Lee Goreas, Carlo Cesta, Tiziana La Melia, Su Rynard, Stephen Murray, Bob Yoshioka, and John Goodwin. SALLY SPÄTH is a visual artist living in Toronto. She completed her studies at the Ontario College of Art in 1989. Späth has had solo exhibitions at the Art Gallery of York University, Wynick/Tuck Gallery, goodwater gallery, and most recently at Exercise Gallery in Vancouver. Späth has participated in a number of group exhibitions, including Working Title at Diaz Contemporary and 60 Painters in Etobicoke.
STILL ON
Daniel Hutchinson: Study for Paintings for Electric Light, 2013, graphie and coloured pencil on axonometric paper, 8 ½” x 11.” Image courtesy of the artist. For his solo exhibition at YYZ, Daniel Hutchinson has produced a series of site-sensitive paintings with coloured fluorescent light components under the title Paintings for Electric Light. Seeking contingency rather than autonomy and emphasizing the primacy of perceptual experience, these pictures are produced considering carefully composed external relations–the gallery's architecture and the relative positions of pictures and lights–and the moving spectator who perceives new conditions at every spatial location. The internal compositions of the paintings are geometric patterns that draw formal cues from the light fixtures, as well as the shapes of the supports, and the shapes of the cast light or shadows inside and outside of the picture plane. These paintings for electric light continue the artist’s interest in the métier of painting, the tradition of the monochrome, and the interactivity of retinal opticality, but depart from the critical relationship to pictorialism his paintings have always maintained. Representing a completely new approach to painting for the artist, these works embrace the necessity of total non-objective abstraction and sculptural relationships. DANIEL HUTCHINSON is a visual artist based in Toronto, Ontario. He received his BFA from the Emily Carr Institute, Vancouver in 2004 and his MFA from NSCAD University, Halifax in 2008. He has exhibited across Canada, in the U.S., Australia and Sweden. In 2009 he received Honourable Mention for the Halifax Mayor’s Award for Contemporary Visual Art and was twice named a semi-finalist in the RBC Canadian Painting Competition. In 2013, Hutchinson’s work will appear in The Painting Project, a survey of contemporary Canadian painting curated by Louise Déry and Julie Bélisle and organized by L’Université du Québec à Montréal as well as the group show Imaging Disaster, at Museum London. Hutchinson is represented by Angell Gallery, Toronto. The artist gratefully acknowledges the support of the Ontario Arts Council.
Technical assistance provided by Gallery 44, Toronto. LAST WEDNESDAYS AT 401 RICHMOND
Jimmy Limit, Green Liquid with Yellow Bag of Mandarins on Green (...) 2012. Image courtesy Clint Roenisch Gallery. C MAGAZINE "CRITICISM" ISSUE 118 Join Issue 118 contributor Charlene Lau in conversation with C Magazine Editor Amish Morrell, on the problem with the list as evaluation in contemporary art, from 7 - 7:30 pm. Lists play upon the sycophantic imaginary of contemporary art, where the publicity machine seeks to gain advantage in naming the stars of the culture industry whilst pitting its players against each other in competition. - Charlene Lau, C118 Issue 118 includes feature essays by Adam Lauder on "Sensitivity Information", Charlene Lau on "Problems in the Evaluation of Contemporary Art", Stephen Horne on the "Doing(s) of Art Criticism", Ben Davis on "Surviving the Crisis", and Peta Rake on "Private Acts: Note taking in the Margins of Art Criticism", as well as Sky Goodden in conversation with Dave Hickey. Artist Projects include Dave Dyment's Old Man Deciphering a Briefcase, and Charmaine Wheatley's The Painting is Better. Also, in this issue, reviews from across Canada and around the globe: Rose Bouthillier on Julia Dault, Jessica Bradley Annex, Toronto; Heather White on Jimmy Limit: Show Room, Clint Roenisch Gallery, Toronto; Shannon Anderson on Volume: Hear Here, Blackwood Gallery, Mississauga; Kyla Brown on Peter Dykhuis: Inventories & Micro-mapping, Red Head Gallery, Toronto; Vanessa Parent: Invisible Violence, Artspeak, Vancouver; Gloria Hickey on Philippa Jones: MIRIAD, The Rooms Provincial Art Gallery, St. John's; Jane Affleck on Position As Desired, Canadian Museum of Immigration at Pier 21, Halifax; Daniella E. Sanader on Manuela Lalic: Activisme timide, Optica, Montreal; Jill Gleesing This Will Have Been: Art, Love & Politics in the 1980's, Institute of Contemporary Art, Boston; Jen Hutton on Jordan Wolfson: Raspberry Poser, REDCAT, Los Angeles; and Michael Davidge on Robert Tombs: L'Occupation, ParisCONCRET, Paris. C118 also includes book reviews of The Last Art College: Nova Scotia College of Art and Design, 1968-1978, review by Leah Modigliani; West of Center: Art and the Counterculture Experiment in America, 1965-1977, review by Felicity Tayler; and Work Work Work: A Reader on Art and Labour, review by Amber Landgraff. C MAGAZINE is an international art quarterly that publishes critical essays, interviews, artist projects and reviews. Based in Toronto, with contributors from around the world, C keeps you informed of significant ideas and trends in art and culture. C Magazine is published by C The Visual Arts Foundation (charitable no 88643 1162). C The Visual Arts Foundation acknowledges the financial support of the Government of Canada through the Canadian Periodical Fund (CPF) for our publishing activities, the Canada Council for the Arts, and the Ontario Arts Council. The Ontario Arts Council is an agency of the Government of Ontario.
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