Review of Aganetha Dyck

 

 

Aganetha Dyck, An Inconvenient Proposal, 2007, Porcelain figure, beeswax, honeycomb, Courtesy of the artist and Michael Gibson Gallery, London, ON (image courtesy of apexart)

Aganetha Dyck, An Inconvenient Proposal, 2007, Porcelain figure, beeswax, honeycomb, Courtesy of the artist and Michael Gibson Gallery, London, ON (image courtesy of apexart)

"Aganetha Dyck has spent 20 years working with honeybees, placing found objects into their hives which will then become naturally coated in patches and layers of honeycomb. This transforms the look and feel of the objects into something new and strange. “Most of it is all their own decision, but she sometimes gives them hints about where she wants them to build using pheromones,” adds Falvey.

Interestingly and tragically, Dyck recently developed a “life-threatening allergy to bee stings.” She has not given up, enlisting the help of photographer William Eakin to replace her in the physical act of putting objects in the hives. Eakin then further adds to the collaboration by photographing the objects. It’s curious to consider that if anything were to happen to bees in this uncertain time for them, they will leave an artistic legacy behind."

Full Review

National Exhibitions

 

Jeanette Johns The Weight Of The Earth's Curve at Arprim, Montreal. 

from Jeannette Johns The Weight Of The Earth's Curve

from Jeannette Johns The Weight Of The Earth's Curve

Jeanette Johns The Weight Of The Earth's Curve at Arprim, Montreal. January 20th to February 25. 

Winnipeg-born, Montreal based artist Jeannette Johns presents a series of new works on paper that explore historical representations of the Earth's sphericity.  In various fields of knowledge - philosophy, topology, geography, astronomy - the three-dimensionality of the Earth is collapsed and distorted into two-dimensional representations of scale, dimension and distance.  However our lived experience is necessarily tied to the Earth's volume, gravity and movements through three-dimensional space.  Johns's works consider the complicated relations of optics, scale, abstraction in our desire to map truth.    

 

Suzie Smith at Centennial Hall, Winnipeg. 

from Suzie Smith at the Centennial Hall

from Suzie Smith at the Centennial Hall

Suzie Smith at Centennial Hall as part of a collaboration between Plug In ICA and the Winnipeg New Music Festival. January 20 to February 28. 

Winnipeg artist Suzie Smith show new site-specific print works as part of a collaboration between Plug In ICA and The Winnipeg New Music Festival.  Through repetition and intentional distortion of the five lined musical staff, Smith's work responds to the ephemerality of experiencing music.  The series will be installed on the Piano Nobile Wall of the Centennial Concert Hall (555 Main St. Winnipeg)

 

Robert Taite at EAGM, Saskatchewan

Robert Taite glowey petroleum space in Plastic Rhyme at EAGM

Robert Taite glowey petroleum space in Plastic Rhyme at EAGM

Robert Taite in Plastic Rhymes at EAGM, Estevan Saskatchewan, January 20 to February 24.

Winnipeg artist Robert Taite shows new work in the group show Plastic Rhymes at the Estevan Art Gallery and Museum, Estevan Saskatchewan.  Plastic Rhymes considers Picasso's assertion that painting produces geometrical rhymes in form, colour and space.  Extending Picasso's observation beyond the surface of the canvas through the use of various non-traditional media, alternative frames, and by occupying unconventional gallery space, Taite's work critically re-evaluates the language and assumptions of painting.   

 

 

Art Toronto

LISA KEHLER ART + PROJECTS
Booth V06 (VERGE)
October 28 - 31, 2016
VIP Opening: October 27 (Tickets)

We are proud to present the work of Erica Eyres, Krisjanis Kaktins-Gorsline, Guy Maddin, Jon Pylypchuk, and Robert Taite -  a diversity in medium including collage, sculpture, drawing, painting, and textiles. We will also have a limited selection of works by Aganetha Dyck, and Kristin Nelson

We are also honoured to have been chosen to present a special project featuring The Long Weekend, the collective of Winnipeg artists and filmmakers including Paul Butler, Galen Johnson, Julia Anne Leach, Guy Maddin, and Caelum Vatnsdal, with special guests Jonah Corne, Simon Hughes, and Alicia Smith. A series of 6 fantastical, faux movie posters mounted in light boxes will be on display in the cafe. Each work is available for purchase. We look forward to seeing you there.

Preview the works online now at Artsy. 

 

REMINDER: THE GALLERY WILL BE CLOSED FROM WEDNESDAY, OCTOBER 26 UNTIL NOVEMBER 1. WE WILL REOPEN NOVEMBER 2 AND RESUME REGULAR HOURS.

 

Erica Eyres, Line Up, 2015. Pencil on paper, 14 x 11 inches.

 

 

Guy Maddin, Untitled (Jackie), 2016. Collage on paper, 10 x 8 inches

Krisjanis Kaktins-Gorline, Smithers, 2015. Oil on canvas, 60 x 48 inches

Jon Pylypchuk, untitled, 2015. Enamel on gessoed canvas, 40 x 40 inches

Robert Taite, deep stark easy, 2016. Latex paint on canvas, approx 24 x 24 inches

The Long Weekend, Space Wars, 2016. Digital Print in lightbox, 36 x 24 inches.

Gallery Summer Hours

The gallery will be open by appointment only this summer. You can reach us by email (info@LKAP.ca), or by phone at (204)510-0088. 

We will reopen September 2 with Neil Farber's solo exhibition, 9 Paintings. This exhibition marks the first Canadian solo for the artist in over a decade. This exhibition will be followed by a solo show of beloved outsider artist, Daniel Johnston- the inaugural solo exhibition of Johnston's work in Canada. Thank you for the support through our first year. We look forward to seeing you this fall!

To keep informed about upcoming projects, subscribe to the newsletter.

The Long Weekend at CONTACT Photography Festival (Toronto)

PUBLIC INSTALLATION at TIFF BELL LIGHTBOX

Coming Attractions

The Long Weekend: Paul Butler, Galen Johnson, Julia Anne Leach, Guy Maddin, Caelum Vatnsdal, with special guests Jonah Corne, Simon Hughes, Alicia Smith

April 27–May 31

The Long Weekend is a collective of Winnipeg artists, filmmakers,and designers who, working under the aegis of Paul Butler’s enduring Collage Party practice, have produced movie posters that imagine an alternate history of cinema. The Collage Party, started by Butler in 1998, is an experimental studio where artists are invited to work alongside each other in a social setting, often for days on end. The posters that comprise Coming Attractions depict a fanciful Hollywood realm, one presided over by movie moguls who never quite finalized their plans for global domination, never quite mastered their formulas for churning out blockbusters, never once dreamed of rewiring and homogenizing the public’s perception of itself.

Covering the street-level windows of TIFF Bell Lightbox—the epicentre of the Toronto International Film Festival—Coming Attractions creates the appearance of a welter of one-sheets plastered in the style of advertisements found on construction site hoarding. The montage of posters creates a direct confrontation between The Long Weekend’s specifically contrived film world and the corporate hegemonies of the real film world. These movie-industry détournements, fashioned from advertisements and illustrations cut and recontexualized from old books and magazines, were created in the convivial freedom of near-utopian Collage Party environments. But The Long Weekend has no utopian vision, no illusions about their political impact, no nostalgia for avant-garde movements of the past. The simple act of artmaking in the present is its way of engaging with questions that preoccupy its members, both individually and collectively.

Presented in partnership with TIFF 

 

Curated by Bonnie Rubenstein

Guy Maddin at CONTACT Photography Festival (Toronto)

FEATURED EXHIBITION at DRAKE HOTEL

Ransom Notes from the Lavender Underground

Guy Maddin

April 27–June 22

Reception
May 12, 6pm–8p

Filmmaking, like a lot of lens-based artwork, is frequently driven by new developments in the medium, where aesthetics evolve in step with new technologies. Guy Maddin challenges that notion, bringing the viewer back to a time when images were processed by hand with results that often included unpredictable effects. His celebrated films recurrently evoke dreamscapes from the past while addressing contemporary issues of identity and memory. The artist brings a similar approach to his collage practice, and it is this work that grounds his solo exhibition. Maddin brings a narrative approach to these works, and has written of his collage process: “I suppose the playroom of this gluey and scissory medium is where I find refuge whenever cinema’s laws feel too literal-minded, where I can secretly fashion the blueprints for the little visual collisions I hope will work on the big screen.”

Curated in partnership with TIFF, this exhibition brings together original work and mural-sized reproductions that invite the viewer to revel in the subtle details and layered imagery of Maddin’s vision. An installation of his 11-channel film Hauntings, commissioned on the occasion of the opening of TIFF Bell Lightbox in 2010, rounds out the exhibition.

Curated by Laurel MacMillan and Mia Nielsen