Thursday

REARVIEWS



 


As a way of extending critical privilege to artists, the Rearview will publish reviews of published reviews, in any creative discipline. What makes a good review? I guess we decide.
Submissions should be sent to to rearviewtoronto@gmail.com
Anonymous submissions are accepted. Please include a link to the original review.



BEGINNING NO END, a collection of rearviews was launched in a limited edition at W WTWO Montreal, Feb 2012, in Conjunction with Craig Leonard‘s exhibition, No Beginning No End.


Beginning No End is available at Art Metropole, TorontoPrinted Matter, NY, and Formats, Montreal.
Edited by Xenia Benivolski and Danielle St. Amour
Printing by Black Dot
Design by Kim Tsui and Danielle St. Amour

CRAIG LEONARD -WILLIE BRISCO-JACOB WREN-ADAM O’REILLY-BRAD TROEMEL-SCOTT INDRISEK-TESS EDMONSON-ZEESY POWERS-STACEY HO-ARIANNE DI NARDO-MICHAEL KEOUGH-LAURA MCCOY-MAGGIE FLYNN-NOEL MIDDLETON-JESSICA VALLENTIN-BILL CLARKE-and-L’ESCALIER (JON KNOWLES LORNA BAUER VINCENT BONIN YUKI HIGASHINO)



 



IN SEARCH OF RELIEF



W WTWO

August 2012AUG 4 - 9th7PM-MIDNIGHTVERNISSAGE AUG 4TH
Working, Working, Working, 

In the corner someone is always grumbling. Bound to its own construction, the work is deterministic in its attempt to couch theory into evaluable achievements. The necessity of pedagogical value binds limit to pre-determined work. The text projects boundaries in an attempt to reform its viewing subject. Academic redistributions. Courtly manner. The air conditioner hums along amid the din of casual laughter. 

An unhinged secret meanders through the room as a nod and a wink. These exchanges have no need for justification. There is no history tonight. Waves on blue paper, slightly crinkled. Evocative and sufficient. 

Later, sailing along the shore you wonder, is this how people leisure? Is this how one performs enjoyment? Ocean spray pummeling your senses. You are exhilarated by fear and nausea and the desire to be casual. This beach was built upon a long collapsed port. BBQ smoke now replaces the steam of industry. By our presence new structures of production develop. Let us capture this moment and smile to stabilize the catamaran. 

There is no being-on-a-boat like being on a boat. 


Text by Willie Brisco









MAKE A SICK PICTURE OR A SICK READYMADE


Works by: Karlie Marsh, Robert Raushenberg, Mark Florian, Mia Riley, Katue Furness, 

Curated by Xenia Benivolski

Make
a sick
painting
or a
sick
readymade.(1)

This Duchamp quote, taken from his collection of notes the Green Box refers to the piece Readymade malheureux (Unhappy Readymade, 1919), which implies that an artwork's physical condition is integral to its meaning. It was comprised of a geometry book that he instructed his sister, then living in France, to hang on her porch. Predictably, the weather gradually destroyed it. The inspiration for Unhappy Readymade, then, involved the notion of the physical vulnerability of artworks. The Unhappy Readymade is unhappy because it will not endure; it is gradually deteriorating. Insofar as real weather tears the work apart, the piece is a metaphor for the damaging effect of time on art.(2)

The exhibition make a Sick painting or a Sick readymade functions as a single assembly installation and a homage to modernist exhibition aesthetics. It includes works by students of Red Deer College, pieces from its permanent collection, and found objects, all of which function as vulnerable readymade objects. Obscured by flaws, the ceramic works are floating in a formatic limbo. Mia Riley's small clay maquettes, suggest a possibility of scale play and scale dynamics that ultimately leads to meditation on miniatures, the ambiguity of its organic forms a contributing factor, giving room to mystery of both scale and function. Katie Furness' fractured and unfinished ceramic bowls stacked on top of one another find a new agency as an aesthetic assembly. Carly Marsh's unfinished test tiles demonstrate an open material fragility. This exhibition is complete with the inclusion of five true readymades: Robert Rauschenberg's collage piece Ploy, which operates in a conceptual vacuum of its own creation, and two partially abstracted tone silver gelatin prints by Mark Florian, as well as two untitled found objects, marked by their lack of authorship.

The gesture of exhibiting a work's weakness points to metaphorical intent; in this we are inclined to look at the objects as entities, with a particular agency separate from function. There is a window of possibility that becomes available when an object has yet to reach its eventual form, or if it has passed that mark. According to Novalis, only the incomplete can be understood, can lead us further, and what is complete can only be enjoyed.(3) In this process crossroads, one may explore formalist reactions against content(4) and focus on the discursive function of the form. Form, is a possibility of reflection in the work. It grounds the work as a principle of existence. It is through the form that the living work of art is a centre of reflection.(5)



This work was created for and within the context of the artist in residency program in red deer College, Red Deer, Alberta.



1 Marcel Duchamp, Salt Seller: The Writings Of Marcel Duchamp, Da Capo Press; New edition edition , Mar 22 1989
2 Mark B. Pohlad, "Macaroni repaired is ready for Thursday...." Marcel Duchamp as Conservator, tout-fair articles, volume 1 issue 3. December 2000
3 Georg Philipp Friedrich Freiherr von Hardenberg (Novalis), Novalis: Philosophical Writings, State Univ of New York Pr. April 1997
4 Robert Smithson, Entropy and the new monuments, Robert Smithson: The Collected Writings, University of California Press, April 10 1996
5 Benjamin Walter, The work of art; The concept of criticism, Selected writings 1913-1934, Harvard University Press, June 15 2005




















Tuesday

Wednesday

Curtain show

A still from a project for Jon's curtain show where I extended their duct around the room
The Whitehouse Studio Project was featured in C magazine's Winter 2012 Issue and in this Toronto Standard article about collective spaces.

Mugs Fugging

For this project at the AGO curated by Sean Martindale and Pascal Paquette I made these

Mugs Fugging, 2011

CANADIAN MYSTIC

November 2011

Lisa Cristinzo, 2011






Mística canadiense. Arte contemporáneo de Canadá


November 11 2011- January 11 2012


Museo De La Ciudad
Gerrero 27 Norte
Centre Historico
Queretaro, QRO 76000
MEXICO


Performance, video, pintura, fotografía, instalación
Victoria Cheong, Lisa Cristinzo, Brette Gabel, Ulysses Castellanos Matt Crookshank, Jamie Ross, Seth Scriver, Tyler Clark Burke,Terrance Houle,
Curadora: Xenia Benivolski.


Mística canadiense

Verdad es que al llegar vengarás sus violencias: mas luego que a los fieros galanes des muerte en tus salas, ya sea por astucia, ya en lucha leal con el filo del bronce, toma al punto en tus manos un remo y emprende el camino hasta hallar unos hombres que ignoren el mar y no coman alimento alguno salado, ni sepan tampoco de las naves de flancos purpúreos ni entiendan los remos de expedito manejo que el barco convierte en sus alas.
Una clara señal te daré, bien habrás de entenderla: cuando un día te encuentres al paso con un caminante que te hable del bieldo que llevas al hombro robusto, clava al punto en la tierra tu remo ligero…

Homero, Odisea, Canto XI, 116-129

Un bieldo es un instrumento usado para separar granos y por tanto sólo aquéllos que viven lejos del mar podrían confundir un remo con éste. Así es como Ulises sabrá que está suficientemente lejos del hogar. Sin embargo para llegar a este conocimiento debe cargar el remo hasta que alguien le cuestione su propósito. La pregunta se convierte en una confirmación de su estado de expatriado y en motivo de alivio. –una vez que es preguntada, puede abandonar la prueba. En la exposición “Mística canadiense” queremos huir también.
La identidad canadiense se caracteriza por tradiciones místicas y relatos folklóricos que no serían entendidos en otro lado, vivimos en un mundo de tradiciones mágicas y místicas, insular y frágil, cuyo balance se sostiene por la autoconciencia. El fenómeno está atado a una cultura de preservación de nuestro legado y de la mezcla de hábitos, tradiciones, arte y escasez. Nuestras identidades comprenden elementos heterogéneos confeccionados por generaciones de prácticas rechazadas, recuperadas y malentendidas.
Cuando vamos a un lugar nuevo, esto se convierte en un motivo de lucha: ¿se sostienen nuestros esfuerzos en lugares formados por tradiciones menos difusas, somos capaces de plantarnos ahí? Cuando Ulises llega suficientemente lejos tiene que abandonar el remo, encajándolo en el suelo, a un tiempo recuperando la tierra y abandonando su virtud. Fuera de nuestro contexto nacional canadiense podemos ver algo que nos reúne. Algo de lo que podemos sentirnos bien por haber dejado atrás. Esta es una exposición colectiva diversa que reúne una variedad de identidades y prácticas culturales.
Esta exposición viajará a México, un lugar que comparte un continente con nuestro país y sin embargo diferente. En esta exposición queremos llevarnos a nosotros mismos ahí, para sentirnos suficientemente diferentes, suficientemente lejos de nuestro hogar para saber quiénes somos, para abandonar nuestro remo.

Xenia Benivolski







Ulysses Castellanos, 2011


Jamie Ross, 2011


"After you have killed these suitors in your own palace,
either by treachery, or openly with the sharp bronze,
then you must take up your well-shaped oar and go on a journey until you come where there are men living who know nothing
of the sea, and who eat food that is not mixed with salt, who never
have known well-shaped oars, which act for ships as wings do.

And I will tell you a very clear proof, and you cannot miss it.
When, as you walk, some other wayfarer happens to meet you,
and says you carry a winnow-fan on your bright shoulder,
then you must plant your well-shaped oar in the ground"
 (The Odyssey, book XI, 11.119-137)

A winnowing fan is a device used to separate grains, and so only those living far from the sea would mistake an oar for one, thus this is how Odysseus knows that he is far enough from home. However to come to that realization, he must carry the Oar until someone questions its purpose. The question becomes a confirmation of expat status and a source of relief - once it is asked, he may abandon the proof. In the exhibition "Canadian Mystic", we want to get away too.

Canadian identity is characterized by mystical traditions and folktales that would not be understood elsewhere, we live in an insular, fragile world of magic and mystic traditions the balance of which is held up by self-awareness. The phenomena is tied to a culture of heritage preservation and the mixture of habit, tradition, art and sparsity. Our identities comprise a heterogeneous verse, concocted from generations of rejected, reclaimed and misunderstood practices.
When we go somewhere new, this becomes a point of struggle: do our efforts hold up in places shaped by traditions less diffused, are we able to plant ourselves there? When Odysseus got far enough, he had to abandon the oar, by sticking it in the ground, both claiming the earth and abandoning its virtue. Out of our National Canadian context, we might see something that brings us together. Something we could feel good about leaving behind.
This is a diverse group show bringing together a variety of identity and culture based practices.

This exhibition will travel to Mexico, a place that shares a continent with our country, however different. In this exhibition we want to bring ourselves there, to feel different enough, far enough from home to know who we are, to abandon our Oar.


Artists:
Terrance Houle
Matt Crookshank
Brette Gabel
Tyler Clarke Burke
Seth Scriver
Lisa Cristinzo
Jamie Ross
Ulysses Castellanos
Victoria Cheong
Curated by Xenia Benivolski


http://museodelaciudadqro.org







Seth Scriver, 2010








Friday

Thursday

Awesome news

The Aleksandra Mir piece we commissioned at Mercer has gotten picked up by the Whitney Museum for this winter.

This film I was working on in 2009 is finally finished! So excited!


Going to Don Blanche residency This summer to work on a project.

ok thats it for now