MEET THE ARTISTS

MEET THE ARTISTS

GENRE: EXHIBITION

TOPIC: VISUAL ART

Participating artists in this year’s Being Scene will be on-site each and every Saturday and Sunday during the run of the exhibition from 12 – 6 PM to answer questions and share their artistic processes. Drop by to meet the artists and find out more about the artwork on display!

  • SUNDAY, MARCH 8, SATURDAY, MARCH 14, SUNDAY, MARCH 15, SATURDAY, MARCH 21, SUNDAY, MARCH 22, 10 AM - 6 PM
TMAC - Toronto Media Arts Centre

32 Lisgar Street
Toronto, Ontario

FREE
ACCESSIBILITY

Wheelchair Accessible Venue

ALSO OF INTEREST

Being Scene VIP Preview

6 MARCH 2020

EXHIBITIONFUNDRAISERRECEPTION

Debrief Circle 

18 MARCH 2020

DISCUSSION

Meet The Artists

8, 14, 15, 21, 22 MARCH, 2020

BEING SCENE OPENING RECEPTION

BEING SCENE OPENING RECEPTION

GENRE: EXHIBITION

TOPIC: VISUAL ART

TYPE: EXHIBITION, RECEPTION

Join us for the opening reception of Being Scene 2020. View over 100 artworks and get the chance to meet some of the 66 artists who created the work in the exhibition.

The reception is free to attend. The event will have an active listener on site. We do our best to accommodate any interpretation, transportation assistance, navigation assistance, or any other accessibility needs by request. If you require any accessibility supports in order to attend this event, please get in touch with Justina Zatzman at justina_zatzman@workmanarts.com or 416-583-4339, ext 9.

  • SATURDAY, MARCH 7, 2-5 PM
TMAC - Toronto Media Arts Centre

32 Lisgar Street
Toronto, Ontario

FREE

ACCESSIBILITY

Wheelchair Accessible Venue

ALSO OF INTEREST

Being Scene VIP Preview

6 MARCH 2020

EXHIBITIONFUNDRAISERRECEPTION

Being Scene Opening Reception

7 MARCH 2020

EXHIBITIONRECEPTION

BEING SCENE VIP PREVIEW

BEING SCENE VIP PREVIEW

GENRE: EXHIBITION

TOPIC: VISUAL ART

TYPE: EXHIBITION, FUNDRAISER, RECEPTION

Join us for an exclusive VIP preview of Being Scene 2020, featuring live entertainment, hors d’oeuvres and fabulous mocktails. Peruse over 100 artworks with the added bonus of purchasing before opening day. You’ll also get the chance to meet some of the artists who created the work in the exhibition, as well as other talented Workman Artists.

The VIP Preview is a fundraising event in benefit of Workman Arts. Workman Arts serves 425 artists who identify as having lived experience with mental health and/or addiction issues. Member artists have FREE access to 25+ weekly art classes, 14 studio spaces, materials and equipment, and exhibition and presentation opportunities. On average, 30 artists per month request to join our community. Proceeds from all tickets sold will go toward supporting member artists through the addition of more daily art classes, purchasing class materials and providing professional presentation opportunities like the Being Scene exhibition.

  • FRIDAY, MARCH 6, 6:30-8:30 PM
TMAC - Toronto Media Arts Centre

32 Lisgar Street
Toronto, Ontario

ACCESSIBILITY

Wheelchair Accessible Venue

ALSO OF INTEREST

Home Is A Place That Visits Me Book Launch + Discussion

12 MARCH 2020

BOOK LAUNCHDISCUSSION

Being Scene VIP Preview

6 MARCH 2020

EXHIBITIONFUNDRAISERRECEPTION

ARCHITECTURE AFTER THE ASYLUM

ARCHITECTURE AFTER THE ASYLUM

Mad Building Syndrome

GENRE: EXHIBITION

TYPE: EXHIBITION, MEDIA ART, VISUAL ART

With works by Hannah Hull, Agata Mrozowski, Maria-Saroja Ponnambalam and Rupali Mozaria, ariella tai, Joe Wood, and contributions by Kai Cheng Thom, Joshua Whitehead, and Kelly Schieder

Curated by Sajdeep Soomal
17 January – 22 February 2020
Opening Reception: Friday 17 January 6-8PM

Psychiatry is a modern religion and the asylum is its old church.

Starting in the late 19th century, psychiatrists routinely crafted new disease categories to understand the mad mind: anorexia, hysteria, schizophrenia, depression, gender dysphoria, anxiety. By the 1950s, the psychiatric establishment neatly assembled its shaky ideas about the human mind, diagnostic categories, legal and moral stature, and treatment plans in a holy book called The Diagnostic and Statistical Manual of Mental Disorders (DSM). The manual armed psychiatry’s willful adherents with a gospel to contain and control the insane.

Early psychiatry used both brutal and creative methods of treatment in that old church: incarceration, orgasm, forced labour, Freudian psychoanalysis, insulin shock therapy, meditation, invasive surgery, electroconvulsive therapy. In the 1960s, psychiatry found likely allies in pharmaceutical labs and corporate towers. Joining hands with burgeoning chemical corporations obsessed with maximizing profits like Bayer, Pfizer and Merck, psychiatry added pill-based treatment to its reformist program. Under this new rubric, madness was the product of chemically-imbalanced, malfunctioning brains. And biochemical psychiatry was the solution.

Healthy Responses to Patriarchy

As depression became the diagnosis of the day in the 1990s and diagnostic rates of anxiety sky-rocketed in the 2010s, BigPharma consolidated its hold over psychiatry. It is not incidental that the rise of biochemical psychiatry has paralleled the neoliberalization of the economy. If neoliberal governance in North America reduces the individual down to their productive mind, then contemporary psychiatry and neoliberal self-care functions to sedate that mind into submission. As our minds either shut off or go into overdrive in the face of capitalism, patriarchy, and settler colonialism, we are quickly drugged up with mind-numbing pharmaceuticals designed to pacify us.

Biochemical psychiatry ignores the social, political and architectural surround that drives us mad in the first place. Playing on the term Sick Building Syndrome (SBS)–a medical condition where a particular building’s occupants suffer from symptoms of physical illnesses–Mad Building Syndrome (MBS) is a psychic condition that invites us to consider how our environments make us go crazy.

Healthy Responses to Patriarchy

Mad Building Syndrome (MBS) proposes that madness is the product of a broken world, a normal biological reaction to unhealthy living conditions and toxic environments. The culprits are everywhere: psychiatric institutions run by settler governments, basement offices turned moldy from corporate negligence, family homes ruined by patriarchy. It is an indictment of the built environment that we have inherited and its defenders; an indictment of an Enlightened world designed with the objective to contain and control.

Architecture after the Asylum is a curatorial project about architecture, madness and freedom. Presenting an open dialogue about the architectural forms of asylums, psychiatric hospitals and mental health institutions that flows through sanity and insanity, the project assembles a new set of mad architectural grammars to build a free world. The exhibition features artists, writers and freedom fighters afflicted with Mad Building Syndrome (MBS) who are obsessed with building new, free worlds beyond this mad one.

The exhibition was inspired by the work of Hannah Hull and the vacuum cleaner (James Leadbitter), the UK-based duo behind Madlove: A Designer Asylum. The project imagines what a psychiatric ward would be like if patients designed it. Through interviews and workshops, the duo gathered data about “what good mental health looks like, feels like, tastes like and sounds like” in order to design extravagant, out-of-the-box safe spaces to go mad, and to create a robust guide to designing mental asylums that do not rely on carceral tactics.

As the Centre for Addiction and Mental Health (CAMH) in Toronto gears up to announce the opening of its redeveloped Queen Street location in Toronto and re-affirms its commitment to carceral psychiatry, Architecture after the Asylum builds on the energy of the Madlove project with artists self-diagnosed with Mad Building Syndrome (MBS).

In the exhibition, artist Joe Wood will be presenting their two-part project ᑯᐦᐹᑌᔨᑖᑯᓯᐃᐧᐣ | kohpâteyitâkosiwin – the act of being thought of as contemptible. For one element, Wood marks-up and displays medical documents about her “gender dysphoria” that she requisitioned from CAMH. The public signage can be read sitting from her sculptural installation of tree tops. Through architectural drawing in collaboration with Patrick Richmond and Richard Howard, landscape architect student and Parkdale Community Drop-In Worker Agata Mrozowski considers the relationship between homelessness and wellness against the housing crisis in Toronto. In a multimedia work, filmmaker Maria-Saroja Ponnambalam returns to her uncle Pandi’s story with collaborator Rupali Mozaria, developing an architectural schematic that maps out three key spaces in Pandi’s life: forced healing, natural healing and autonomy. Portland-based media artist ariella tai re-appropriates, glitches, and re-mixes scenes from Gothika against black vernacular queer and trans performances that subvert, interrupt or defy the diegetic cohesiveness of narrative performance that psychiatry demands. Making forays into and out of madness, the works collectively propose new bricks and mortar, new blueprints and new places for building a less-Enlightened world.

Exhibition Public Programs:



Friday, January 17 – Opening Night Reception
Saturday, February 01 – The Visual Language of Psychiatry, workshop by Sajdeep Soomal
Thursday, February 13 – Performance by Joe Wood
Thursday, February 13 – Joshua Whitehead in conversation with Kai Cheng Thom
Thursday, February 20 – Pandi, reflections on the film by director Maria-Saroja Ponnambalam
February 10-21 – Artist Residency with Ariella Tai, hosted by VTape

For further information, including artist biographies, please see Trinity Square Video’s website.

Architecture after the Asylum is generously supported by the Ontario Arts Council.

  • January 17 - February 22
Trinity Square Video

401 Richmond Street West, Suite 121
Toronto, Ontario

ACCESSIBILITY

Wheelchair Accessible Venue

PRESENTED BY TRINITY SQUARE VIDEO IN PARTNERSHIP WITH WORKMAN ARTS
Trinity Square Video

BROWSE CURRENT EVENTS

No recommended events under this criteria

Artist Talk with Leala Hewak & Laura Shintani

Artist Talk with Leala Hewak & Laura Shintani

Left: Laura Shintani, Bodywashi!, 2019, installation view; Right: Leala Hewak, Clone, 2018, pigment print (detail)

GENRE: EXHIBITION

TYPE: ARTIST TALK, VISUAL ART

Join us for an artist talk with Leala Hewak and Laura Shintani, the artists in the Fault Lines exhibition.

About the Exhibition

Acceptance of change and change through acceptance—Fault Lines explores processes emblematic of observant insight and growth gained from conditions of challenge and disruption. It approaches disturbance with openness and optimism and challenges the problematic and commonly accepted ideas about disability and aesthetics. Using altered photographs, video, fabricated materials, and immersive installations, artists Leala Hewak and Laura Shintani mindfully embrace ambiguity through spirited works that speak to lived experiences of neurodiversity and embodied difference. Reclaiming trauma and uncertainty, the artists explore ways of constructively reframing notions of recovery, adjustment, and adaptation. Fault Lines honours how these nuanced investigations of brokenness reconcile in relation to the unique formation of identities, experiences, and ways of being.

Fault Lines is presented by two of the leaders in disability and mental health in the arts: Tangled Art + Disability operates Canada’s first disability art gallery, and Workman Arts is a multidisciplinary arts organization that promotes a greater understanding of mental health and addiction issues through creation and presentation.

Curated by Claudette Abrams and Sean Lee, Fault Lines is a CONTACT Photography Festival Featured Exhibition.

Directions:
Tangled Art Gallery is located in studio 122 on the main floor on the 401 Richmond Building. The closest accessible subway station is at Osgoode Station. The closest accessible streetcar stop is the 510 Spadina Queen Street West Stop (going south from Spadina Station), and the 510 Spadina Richmond Street Stop (going north from Union Station).

Images
Left: Laura Shintani, Bodywashi!, 2019, installation view; Right: Leala Hewak, Clone, 2018, pigment print (detail)

  • May 18, 2 – 4 pm

FREE

Tangled Art + Disability

401 Richmond St W., Ste 122
Toronto, Ontario

ACCESSIBILITY

Tangled Art Gallery is in a barrier-free location. Audio description will be available for the exhibit. We will have ASL interpreters and attendant care present during public engagements. Service animals are welcome. We request that you help us to make this a scent-free environment. The exhibition and related events are free to attend.

IN PARTNERSHIP WITH
Tangled Art + Disability
PART OF THE
Contact Photography Festival logo

BROWSE CURRENT EVENTS

No recommended events under this criteria

Fault Lines: Leala Hewak & Laura Shintani

Fault Lines: Leala Hewak & Laura Shintani

Left: Laura Shintani, Bodywashi!, 2019, installation view; Right: Leala Hewak, Clone, 2018, pigment print (detail)

GENRE: EXHIBITION

TYPE: VISUAL ART

A co-presentation by Tangled Art + Disability and Workman Arts

A Contact Photography Festival Featured Exhibition

Acceptance of change and change through acceptance—Fault Lines explores processes emblematic of observant insight and growth gained from conditions of challenge and disruption. It approaches disturbance with openness and optimism and challenges the problematic and commonly accepted ideas about disability and aesthetics. Using altered photographs, video, fabricated materials, and immersive installations, artists Leala Hewak and Laura Shintani mindfully embrace ambiguity through spirited works that speak to lived experiences of neurodiversity and embodied difference. Reclaiming trauma and uncertainty, the artists explore ways of constructively reframing notions of recovery, adjustment, and adaptation. Fault Lines honours how these nuanced investigations of brokenness reconcile in relation to the unique formation of identities, experiences, and ways of being.

Fault Lines is presented by two of the leaders in disability and mental health in the arts: Tangled Art + Disability operates Canada’s first disability art gallery, and Workman Arts is a multidisciplinary arts organization that promotes a greater understanding of mental health and addiction issues through creation and presentation.

Curated by Claudette Abrams and Sean Lee

Directions:
Tangled Art Gallery is located in studio 122 on the main floor on the 401 Richmond Building. The closest accessible subway station is at Osgoode Station. The closest accessible streetcar stop is the 510 Spadina Queen Street West Stop (going south from Spadina Station), and the 510 Spadina Richmond Street Stop (going north from Union Station).

  • May 3 – June 1, 2019
  • Opening Reception: May 3, 6 – 8pm
  • Artist Talk: May 18, 2 – 4 pm

FREE

Tangled Art + Disability

401 Richmond St W., Ste 122
Toronto, Ontario

ACCESSIBILITY

Tangled Art Gallery is in a barrier-free location. Audio description will be available for the exhibit. We will have ASL interpreters and attendant care present during public engagements. Service animals are welcome. We request that you help us to make this a scent-free environment. The exhibition and related events are free to attend.

IN PARTNERSHIP WITH
Tangled Art + Disability
PART OF THE
Contact Photography Festival logo

BROWSE CURRENT EVENTS

No recommended events under this criteria

Making Mad: How Expressions of Vulnerability Connect Us

Making Mad: How Expressions of Vulnerability Connect Us

GENRE: EXHIBITION

Featured Artists: Alison Crouse, Peter Dillman, Esmond Lee, Ben McCarthy & SpekWork, Sarah Trad and Véronique Vallières

Curated by Claudette Abrams

Through humour and pathos, the artists in Making Mad explore the ways in which depictions of vulnerability in their work resonate on a human scale. Deep-diving into personal touchstones that go beyond the individual, these works relate in poignant and absurd ways to our condition as a collective of fallible, temporal beings. 

Vulnerability is rarely associated with courage, yet it is central to survival. Happiness and contentment require little consideration—fitting well within our expectations and ideals—yet pain and uncertainty seem to demand justification in order to understand their purpose and meaning (especially in the absence of any explanation). 

The artists in Making Mad unapologetically take cues from their own misgivings to draw attention to our universal susceptibility to harm. They attempt to debunk stigma equated with weakness, shame and isolation, to embrace the compassion, intimacy and intensity of the ways in which vulnerability teaches us to live with an awareness of the likelihood of change.

  • OPENING RECEPTION
    THURSDAY, OCTOBER 10, 7-11 PM
  • October 11- October 20
    daily, 12 - 6 PM
    (closed Oct 14)
FREE
TMAC - Toronto Media Arts Centre

32 Lisgar St
Toronto

ARTIST TALK/PANEL

Saturday, October 12, 1-3 PM

Wheelchair Accessible Venue, Artist Talk/Panel is ASL Interpreted

ARTISTS

Alison Crouse

Devastation Portraits is a series of performative images, staged by the artist, who deliberately collapses face down in public spaces. These overt re-enactments give visibility to the often-invisible weight of anxiety and depression and challenge societal norms of what is considered “appropriate” emotional expression. Alison continues to produce these scenarios for sharing on social media, and they have been featured in BuzzFeed, Metro.uk and on the NPR Picture Show.

Alison Crouse is a Philadelphia-based artist, filmmaker, photographer and instructor. She received her MFA in Film and Media Arts from Temple University and her BFA in Photography from the Nova Scotia College of Art and Design and University of Vermont. Her award-winning film and videos have been broadcast, screened and distributed internationally. Alison Crouse’s photographic work has been published and shown in galleries across North America.

Peter Dillman

45 Homes is a body of work which chronicles the forty-five different homes that he moved in and out of throughout his life with a changing constellation of family members, house mates and partners.  Through the compilation of documentary materials, such as census data and photographs the artist reconstructs and recounts a history of domestic instability from an early age, moving to a more stable environment as he achieved autonomy.

Peter Dillman is a Toronto-based multi-disciplinary artist, curator, theatre professional and instructor. He studied Fine Art at the University of Waterloo, Theatre Design at the National Theatre School, and Culture and Heritage Management at Centennial College. His multi-media work explores themes of home and environment. Peter Dillman’s work has been exhibited across Canada and is held in corporate and private collections.

Esmond Lee

Ancestral Veneration is a photo-based series depicting the inter-generational realities of migration. As a second-generation Chinese Canadian, Lee’s work examines the nuances and ambiguities of suburban cultural evolutions. His layering of familial and familiar motifs on vinyl mesh banner material echo the clash and assimilation of ancestral values with contemporary identities and experiences.

Esmond Lee is a Toronto-based artist and architect. He holds a Master of Architecture (University of Toronto) and Bachelor of Architectural Studies (Carleton University). He has received Toronto and Ontario Art Council grants and is recognized by the Ontario Association of Architects. His work has been exhibited at Gallery 44, Koffler Centre for the Arts, Toronto Media Arts Centre and Artscape Youngplace. Recent projects include participation in the Ontario Heritage Trust’s Doris McCarthy Artist-in-Residence program and Nuit Blanche 2019.

SpekWork

resourced is a VR documentary about the precarious labour of frontline workers. The user progresses through a series of interactive levels, each built to reflect the lived experience of street nurses, social workers, sex workers, and activists; people serving those at the margins of society who are often marginalized themselves through associated stigma and poverty.

SpekWork is a studio exploring new political narratives through game design with a focus on the dynamic relationship between work and play. The studio is a collaborative effort of Cat Bluemke, Ben McCarthy and Jonathan Carroll, post-secondary instructors teaching from the intersections of art, labour and emerging technologies. Members of the collective have been recognized through awards, grants and commissions for their individual and collective work, and supported by Rhizome, the Canada Council for the Arts and the Art Gallery of Ontario.

Sarah Trad

In Sickness and in Health (but mostly, Just in Sickness) is a multi-channel video projection installation which visually shows unnoticed moments between couples and explores the difficulties of seeking companionship while faced with mental illness, codependent tendencies and metaphysical crisis. The title, partly taken from traditional marriage vows, highlights the optimistic decision to bond.

Sarah Trad is a Philadelphia-based artist. She graduated with a BFA in Art Film from Syracuse University, where she subsequently became an Engagement Fellow. She is the recipient of the 77Art Artist Residency (Rutland Vermont Art Center) and Carol N. Schmuckler Award for Outstanding Achievement in Film. Sarah has shown at The Warehouse Gallery (Syracuse, NY), Kitchen Table Gallery (Philadelphia, PA), Gravy Studio and Gallery (Philadelphia, PA) and the Everson Museum of Art (Syracuse, NY).

Véronique Vallières

I Extend my Arms/Je Tends les Bras is a multi-media installation involving a methodically storied assemblage of forms that playfully hinge on spectrums of human experience, spirited dualities and intensity of feeling. Physical interaction with material is signified as curative. Craft functions as a survival tool, patterns as armour, and scale that transforms larger-than-life, gender-fluid, soft-sculptures into delightfully embracing recliners.

Véronique Vallières is a Toronto-based, multi-media artist, working primarily in ceramics, textiles and printmaking. They hold a BFA from Concordia University and have attended residencies in Montréal, Moncton and Winnipeg. As a film curator, they co-programmed monthly film and performance events for the Revue Cinema. Véronique Vallières has received multiple grants for their work, which has been exhibited widely, and most recently, acquired for the CAMH permanent art collection.

MEDIA PARTNER

#GETMAD: JOIN THE CONVERSATION

ARTIST TALK/PANEL
Saturday, October 12, 1-3 PM
Toronto Media Arts Centre

Join the exhibiting artists in conversation with Curator Claudette Abrams as they discuss how their work explores and navigates issues of mental health and pushes back against stigmas.

For Information Contact
Paulina Wiszowata
Visual Arts Coordinator
416.583.4339, ext 6
paulina_wiszowata@workmanarts.com

ALSO OF INTEREST

PSYCHOSIS

11, 12, 17, 18, 20 OCTOBER 2019

Chaos

15 OCTOBER 2019