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Monthly Archives: April 2009

On March 6th it was arranged that the artist named Swintak would come to Hart House at the University of Toronto to give a presentation on her past works for the possible consideration of a commission for the House. Swintak discussed her “Room Works” which were objects embedded on one wall with the artist in-situ.  This was viewed as a sculptural gesture of everyday items and also included “clump” photos of people’s possessions.



Wall Works saw the artist situated in residence into a gallery at the Art Gallery of Ontario where she mounted her possessions and other items donated from the passing public onto a wall encompassing a doorway.  The effect was that of a Beaux Arts frontispiece with her personal considerations and influence taken into effect. 


One Nuit Blanche evening saw her install a dumpster into an alleyway in the College and Spadina area that was turned into a hotel room replete with room service and a check-in desk. 




 Hairless Pet Picnic took the participant through a romp in Trinity Bellwoods Park to show off people’s pets that were….obviously hairless.  This was a strictly participatory affair and co-incided with the Nude Colored Clothing event right after which was a frolic in the park with buff colored garments.


Space Works brought out the “Self Aware Shed” which was installed and built in YYZ gallery.  This is a found wooden shed and is currently on a ten-year journey to different locales and which will hopefully end up in the National Gallery upon completion of the project. 


On the same day after Swintak’s visit, I had the opportunity to view some videos by Mark Lewis, the Canadian edition to this year’s Venice Biennale.  This artist and co-founder of Public magazine deals with public, geographical and city spaces and encompasses “what the modern constitutes”.  His videos for the most part involve spectator engagement and connect the viewer not passively but actively.  They are mostly silent films and are very highly choreographed.  He sometimes utilizes a rear projection technique and incorporates a dichotomy between the foreground and background.  The videos that I viewed were an eclectic mix of his previous work. 







On March 13th I was delighted to welcome Nestor Kruger to 1 Spadina Ave. to give a presentation concerning his past work, also for possible consideration for a commission for Hart House . /   He started off talking about his “Mailer” exhibition in which Goodwater gallery was transformed into a boarded up long wooden corridor in which the terminus featured a Cyclops speaker uttering the noises of a foghorn.  This was an initiative in which there was no interim space and the viewer was forced to deal with the art immediately.  The other exhibitions he conversed about was one  at the Power Plant featuring a teleprompter which displayed a text based on a dialogue between Cain and

Abel, “Oblivion” at Art Metropole which I viewed at the beginning of the season and “Geezus” again at Goodwater which dealt with the idea of perforation and the covering of open spaces.