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THE NEXT 7 DAYS:     EVENTS (10)     +     OPENINGS (10)     +     DEADLINES (2)     +     CLOSINGS (14)
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Akimblog Staff
2011 CRITICS' PICKS 12/13/11
December 13, 2011

As the year stutters to an end, the diligent critics at Akimblog have been asked to direct their thoughts back to the countless galleries, artist-run centres, museums, window displays, temporary spaces and public events they visited in 2011 and somehow choose an achingly few to highlight in retrospect. If only we could include them all! To get the real picture of the amazing art produced within this country and without, we encourage you to continue reading our weekly reports on all that matters and we will continue to do our best to bring it to light.  

Happy New Year,
Terence Dick & Kim Fullerton

Aaron Peck - Vancouver

Roy Arden, UNDERTHESUN, 2011, installation view

1. My favorite exhibition of the year, by far, was Roy Arden’s UNDERTHESUN at The Contemporary Art Gallery. To put it simply: the exhibition was crazy. The ambition was crazy. The way he installed it, salon-style, was crazy. The sheer magnitude of non-photographic works, from prints to collages to sculptures, was crazy. The theme - the nostalgia for, and a critique of, modernity - was, again, crazy (example: a scale model of a museum exhibiting vintage jars of Vaseline). And, finally, the connection the exhibition had to a blog he keeps, also titled UNDERTHESUN, opened up his practice in surprisingly generative ways. Vox, his follow up show at Monte Clarke Gallery, continued this direction.

2. Also at The CAG, Corin Sworn presented a slideshow on loop with an accompanied recording of her voice narrating the images. The slides, mostly of unconventional clocks, were found in an alley a few blocks from her apartment in Glasgow. During her voice-over she meditates on her relationship to the images. The sources for her monologue, which is almost Sebald-like, range from poet Susan Howe to media theorist Villem Flusser. But contrary to the amount of name-dropping in that previous sentence, Endless Renovation is less referential than previous work and her best to date. 

3. There is something refreshing about Ken Lum’s cynicism. The chance to see his career retrospective at the Vancouver Art Gallery shed more light on his work than I expected. At times in the past, some of this work felt reductive, like a one-liner. However, when viewed as a whole, it expands into a sustained critique of, shall I say, the semiotics of identity, particularly the way we identify with and use language. Lum doesn’t beat you over the head with critical and aesthetic theory or make you feel like you’re not “getting it” if you don’t, but it’s there. Also, on a side note: I’m forever grateful to Lum. He has that rare ability to make memorable public art, which is an enviable skill, especially in a city cluttered with forgettable “monuments.”

4. Catriona Jeffries Gallery associate director Anne Low’s first curated show, People Things Enter Exit, set out to consider the similarities between gallery artists Geoffrey Farmer and Judy Radul. Particularly, it looked at the way both are concerned with theatricality and objecthood. The exhibition, then, established affinities with the like-minded work of Daria Martin, Guy de Coinet, Ulla von Brandenburg, and Janice Kerbel, the latter two being highlights for me. There was something surprising in the connections made so that the works never felt too literal (and yes, that’s a Michael Fried-inspired pun).

5. As the title of I CARRY A PILE OF STICKS indicates, Michael Drebert carried around a pile of sticks. He carried them in a knapsack for a number of months and then, just outside of CSA Space, between two dumpsters at the foot of Kingsway, he lit them on fire. He tended to the fire and the crowd that had gathered remained until it went out. I can’t quite explain why, but, in the middle of a rainy January, that experience is still one of the more memorable moments this year in Vancouver art.

Dick Averns - Calgary

1. & 2. Tied for first in 2011 is David Hoffos: Scenes From the House Dream, curated by Shirley Madill at the Illingworth Kerr Gallery, and Diabolique, curated by Amanda Cachia at The Founders’ Gallery. Respectively, there’s a fascinating and affecting solo project and a group show of international import. Hoffos’ exhibition transfixes audiences with dioramas depicting domestic and institutional conundrums, at once placing viewers as part of a sublime concert whilst also conjuring uncanny and disconcerting moments of suspense. This is the “auratic object” at the top of its game. House Dream took almost a month to install, as did the IKG’s previous epic, Wall Drawings by Iran do Espírito Santo: evidence of pushing limits and programming shows that other spaces might not consider. Meanwhile, Diabolique ensured The Founders’ continues to defy the stereotype for what many would expect at a military museum. Artists contributing toward multiple stakes in conflict and violence included Raymond Pettibon, Rebecca Belmore, Shrin Neshat, William Kentridge, and Douglas Coupland (who incidentally is now showing at Trepanier Baer). Looking ahead, watch out for a new curator at The Founders’ in 2012.

3. On a different scale, Pamela Norrish at Haight Gallery delivered a stunning show of beaded objects, helping establish a reputation for both her and the gallery. Meticulous fabrications of what seemed like sheets of paper, using tiny glass beads, were ideally scaled for Haight: a backyard gallery in a renovated double garage. As a conflation of artist-run culture and commercial ambition, Haight is a worthy Best of 2011, for which Norrish was a stand-out.

4. The Art Gallery of Alberta in Edmonton provided a staging ground for Traffic: Conceptual Art in Canada 1965-1980, a monumental project featuring 70+ artists and 500 artworks: too much to really write about here, so again I’ll highlight the institution. Since its expansion and memorandum of understanding with the National Gallery of Canada, the AGA has done much to elevate the level of programming in this part of the world. Brian Jungen, an international group show Up North, and support for a future incarnation of the Alberta Biennial (2013), all stand as evidence of merit in 2011.

Jeffrey Spalding, Gold Ribbon, 2011, spray paint over found junk store painting (courtesy Jarvis Hall Fine Art)

5.  A new addition in Calgary gets my last vote. Jarvis Hall Fine Art, a downtown commercial gallery, opened this fall with a group exhibition followed by Jeffrey Spalding and Mark Dicey. Spalding (back in town helming the Museum of Contemporary Art Calgary, a transitioning Triangle Gallery) provided a strong showing of his re-worked thrift store paintings, and Dicey presented his new River Tour. Formerly with Paul Kuhn, it’s telling that Dicey decamped the white cube to a basement gallery across the street. Hall, who makes high-end frames, has quite possibly seen millions of dollars of artworks pass through his hands, and, I figure, knows the collectors who own them. Sounds like a strategy to me. Here’s to more investment in art in 2012.


Milena Placentile – Winnipeg

1. Ming Hon's Private Dancer, a self-organized project performed at aceartinc. for one night only in April offered a glimmer into what is surely just the beginning of Hon's creative depth and range. The first piece, a duet choreographed by Hon, playfully satirized the fashion industry; the second was a violent, often dangerous, and always tantalizing reflection on the dark art of the butcher.

2. Glen Johnson's total installation Artistic License Bureau, hosted at PLATFORM in August, adroitly commented on the increased bureaucratization of not only the arts, but life at large. Poking good and well-needed fun at the professionalization of artistic practice, this intricate project was realized down to every last detail. Every city in every province needs this project to kick-start renewed thinking on what we're all doing and what we expect from it.

Ian Mozden as Monopoly Man (photo: Larry Glawson)

3. Ian Mozden and Doug Melnyk's Monopoly Man premiered at the Winnipeg Fringe Festival linking bouffon and endurance-based performance art with narrative, participatory, and improvisational theatre, plus printmaking and drawing. The dark and intensely challenging realization of the even darker reality of capitalism drew audiences into a rollercoaster of responses from uncertain disgust to uncomfortable empathy.

4. Close Encounters: The Next 500 Years was nothing short of a magnum opus orchestrated by Candice Hopkins, Steven Loft, Lee-Ann Martin, and Jenny Western at the invitation of Plug In ICA in partnership among numerous other venues as part of Winnipeg's Cultural Capital of Canada-related programming. Ambitiously imagining where we might go from here, working with, around and against a reality marked by colonization, the show featured the work of thirty Indigenous artists from across Canada, the United States, South America, Europe, Australia, and New Zealand to investigate notions of space, time, dys/utopia, history, identity and, most importantly, encounter.

5. A new wave of grassroots culture initiated with Golden City in 2009 and RAW: Gallery of Architecture and Design in 2010 has created the momentum to now include other exciting artist-run projects and spaces such as 318 Ross, Negative Space, and Central Canadian Centre for Performance. Also notable in 2011 was Jazz De Montigny's contribution of a four-month independent space: Boshoo Full Moon Fine Arts Gallery. There is surely more to come!


Terence Dick – Toronto

A puppet speaks at Toronto City Hall (photo:

1. It would have been great if it was some relational-performance-endurance event: participant after participant each given two minutes to explain how important the city is to them; each in their own way, over hours and hours of through-the-night testimony, showing how each and every one of them act as city-builders and through incredible effort contribute to the mass livability of a city that is the collective creation of all its citizens. It was inspirational except for the fact that it was a very different sort of theatre: our bullheaded mayor was conducting one of a handful of public deputations in response to a proposed budget that manufactured a financial crisis in order to justify cutting - among other things - a whole swathe of arts funding. That his team would preemptively dismiss the hundreds of speakers, many of whom were familiar members of the Toronto art community, as communists and not representative of the city’s true voice made it all the more absurd. I watched obsessively online for hours, finally giving up around 3:30am. It officially ended around 8 the next morning. (Given the fact that shelters are also among the items slated for funding cuts, Yuula Benivolski’s realistic sculpture of a homeless man in a sleeping bag that caught my eye last winter as I drove by the Roadside Attraction window gallery seems prescient indeed.)

2. Also in the public eye, a couple artists from Nuit Blanche managed to pull off the handful of sublime moments I’ve come to expect from that most ungainly of events: notable Kevin Schmidt with his unassuming army of buskers, Jane Pollard and Iain Forsyth with their centreless space of terror, and Tibi Tibi Neuspiel and Geoffrey Pugen’s appropriated but appropriate tennis match deep in the heart of the business district. A better metaphor for our current state of affairs, however, was Lyla Rye’s Swing Stage at Olga Korper, the fragile balance of her suspended platform evoked an all-too-familiar uncertainty about the shifting ground beneath our feet.

3. What with Terrence Malick’s Tree of Life, Miranda July’s The Future, and Daniel Cockburn’s You Are Here all in theatres at some point, this was the year of the feature length art film and either represents a new openness to non-linear, non-naturalistic, highly ambiguous storytelling in the multi-plexes or a rare blip in the otherwise conservative world of higher budget (as in, there was a crew) filmmaking. Let’s just hope their sources of funding continue and take a moment to remember Ken Russell, who passed away this year and who created some wonderfully artful films in his time (Lisztomania topping my list).  

4. Without a clear winner in this year’s pack of local exhibitions, I’m once again picking singles instead of albums as I troll through my notes for the past twelve months: Renie Spoelstra at Nicholas Metivier, Sandy Plotnikoff at Paul Petro, Sojourner Truth Parsons at Katharine Mulherin, Lindsay Seers at Gallery TPW, Niall McClelland at Clint Roenisch, Lynne Cohen at Olga Korper, Jen Stark and Maya Hayuk at Show & Tell, Keith Cole at Paul Petro, David Trautrimas at LE Gallery, Elaine Stocki in the AGO Grange Prize show, and Clyfford Still in the AGO’s AbExNY. What a mix-CD these artists would make!

5. In a timely act of refusal, Atom Dequire vacuum-sealed the Blackwood Gallery and spoke of potential things to come, but despite the shuttering of longtime Queen West hold-out The Fly Gallery, there were more than a few reasons to be optimistic for 2012: new blood at The Power Plant and new galleries out Dundas West way (hello, Daniel Faria and Meredith Keith, among others) being but two.

Isa Tousignant - Montreal

1. Best new art space: Aside from the exciting revival of the École des Beaux-Arts for the Montreal Biennial, which, despite its faults, revealed a quirky and interesting space just waiting for its next art usage, the star of the season is definitely L’Arsenal. The cavernous space (think 41,000 square feet) in Griffintown has hosted banquets and vernissages since its opening in May, including this year’s Mois de la Photo, in its vast main space on the ground floor. Galerie René Blouin and Division Gallery have relocated here permanently, further making it a mandatory new stop on Montreal’s art map.

Maskull Lasserre, Coriolis, 2011, steel, boulder, hardware

2. Best monumental work: Maskull Lasserre’s is among Montreal’s most exciting new practices. In his exhibition at Pierre-François Ouellette Art Contemporain this November, visitors walked in on an incredible object: a full-sized iron piano seemingly felled by a massive boulder. Lasserre’s work walks a fascinating line between mechanical engineering and craftsmanship, and thematically blends musical instruments with objects of violence. The result is sophisticated and grandiose.

3. Best group show: This one’s a tie. After the splash made by the first edition, the Musée d’art contemporain de Montréal had a lot riding on the second edition of its Québec Triennial. It stood up to the challenge thanks to a few simple principles: an open-ended curatorial concept, a whole lot of field research, and an extremely enthusiastic creative class from which to pluck representatives. Meanwhile, at the Montreal Museum of Fine Arts, Big Bang! paired visual artists with other cultural producers - filmmaker Denys Arcand, musician Melissa Auf Der Mar, fashion designer Renata Morales, etc. - to create new works that draw inspiration from the museum’s permanent collection. The exhibition is extremely spotty from a critical perspective, but from a conceptual one, it’s been a resounding success, drawing attention from a wide-reaching and new-to-art public while spotlighting some of its own historical highlights. That makes is a curatorial coup in my books.

4. Best happening: For the annual all-night art event of Nuit Blanche à Montréal, Galerie Les Territoires created a photography event called Flash, which examined the nature of portraiture and the line dividing fine and vernacular photos. But really it was a party. While munching on free popcorn and swilling beer, the visiting masses waited for their turn to get shot by a pro - like a massive, jollier grade school photo day. The resulting pics joined a pastiche of portraits of happy hipsters on a wall in the gallery.

5. Best community building initiative: The year’s tip of the hat goes to the folks at the Association des galeries d’art contemporain for their initiative in establishing the inaugural annual visual arts gala, whereby not only artists but curators, art producers, art writers, and more are awarded shiny trophies for their hard work. In this time of hyper-Harper Conservatism, we arty freaks need all the love we can get - might as well give it to ourselves!

Lizzy Hill - Halifax

1. Urban video screens somehow managed to withstand Halifax’s strong coastal winds this October during 3x3x3, one of the year’s most exciting, collaborative exhibitions. The month-long exhibition curated by Eyelevel Gallery, the Centre For Art Tapes, and directing manager of France’s Videospread Céline Jouenne explored themes ranging from the degradation of the moving image to our relationship with our built environment: Halifax’s city streets became pop-up cinemas for Michel Klöfkorn’s apocalyptic imagery of a mob of robotic plastic and metal insects, the glitch art of David Frankovich, and the projection of Julie Louise Bacon’s contemporary spin on an ancient water clock.

2. In Dirt, Detritus and Vermin at Mount Saint Vincent University artists skillfully question the art world status of fine craft and its assumed association with the feminine sphere, approaching sullied, derelict materials and subject matters. They created a scene of unkempt domesticity, rich in fleeting illusions: Cal Lane’s intricate “carpet” actually consists of lace-sifted garden soil; Janice Wright Cheney’s onion-skin and horsehair cockroaches are deceitfully realistic, appearing to have colonized a old metal pail; While Sarah Saunders litters the floor with discarded and soiled hankies, which a second glimpse reveals are made of slip-cast porcelain.

3. The seminal Mi’kmaq basket weaver Caroline Gould died in October, shortly after her thirty-year retrospective. Artist and great granddaughter Ursula Johnson curated Kloqowej (Star) at the Mary E Black Gallery, showcasing artwork ranging from Gould’s tiny, intricately-woven stars and cradles to her baskets with spiraling, colourful patterns. The exhibition reflects Johnson’s fear that indigenous knowledge of how to create baskets from sweet grass, black ash, and maple will pass away with the elders that possess that knowledge.

4. Though people may be turning their eyes to Sobey Art Award winners Daniel Young and Christian Giroux, the work of short list nominee Sarah Anne Johnson at the Art Gallery of Nova Scotia's Sobey group exhibition shouldn’t go overlooked. I was particularly taken with her Arctic Wonderland. Struck by the chasm between vivid recollections of a 21-day trek around the Arctic Circle and the static photographs she took of a frigid landscape, Johnson altered her chromogenic prints with ink and paint. The result? A glimpse inside the mental terrain of the artist while up north, casting her imaginative, emotional memory over snapshots of her trip.

Gillian Dykeman, Grande Opening, 2011

5. Each year, Halifax artists, musicians, culture junkies and nature lovers have a unique chance to get out of town and enjoy art in the open for the White Rabbit Festival at Red Clay, an organic farm in Upper Economy, Nova Scotia. Fourteen resident artists teamed up with mentors Michael Waterman, Linda Rae Dornan, WhiteFeather Hunter, and Michael Fernandes to create site-specific wilderness art installations using natural materials. I’m not sure where else one could make such surprising discoveries in the woods, such as Gillian Dykeman’s faux Starbucks stand and Matt Carswell’s dangerously high tree-top fort.



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However to unearth the actual granular and revealing tales about how government works and does not work and to discover scandals requires natural, inlayed beat confirming which breaks and prospects this news, rather than chasing after this. If I had been The Posté?¥æª? new executive publisher, Marty Baron, and I had to reduce in size the actual newsroom as well as reallocate assets, Ié?¥æª? take a look at cutting back on the actual national politics to add to the government group. What political figures promise as well as state within selection strategies is important, however more essential is exactly what they are doing after they enter office. Since the divisions of federal government exhibits the results of the decisions, that serves visitors and also the reason for democracy.Meat W. Pexton can be reached at 202-334-7582 or even at More in the ombudsman:Patrick B. Pexton: A new period é?¥?and editor é?¥?for that PostPatrick B. Pexton: The actual Publish forgets to become localPatrick B. Pexton: The way the Post came up short upon LibyaPatrick W. Pexton: Unconfident journalists need to stiffen their own backbones

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