art installation | as I walk Toronto

Posts Tagged ‘art installation’

on the waterfront

Posted: February 25, 2022 in public art, waterfront
Tags: art installation, Enter-Face, Introspection, Lake Ontario, One Canada, S'winter Station, waterfront, winter stations, Woodbine Beach

Winter Stations 2022

From late February through to the end of March is Winter Stations on Woodbine Beach along Toronto’s waterfront.

below: “The Hive” by Canadians, Kathleen Dogantzis & Will Cuthbert

below: Designed by a team from Daniels Faculty of Architecture, U of T, “Introspection”.

below: Designed by a Turkish pair, Cemre Önertürk and Ege Çakır is “Enter-Face”.

below: The structure on the left has circular openings on one side and a translucent panel on the other (lakeside) – you can through but the resulting view is slightly distorted. On the taller structure, there is a reflective material.

below: “S’winter Station” was designed by a team from Ryerson University’s Department of Architectural Science. The circular openings on the surface panels were made from beach towels, an object more associated with summer than with winter.

below: “One Canada” by a team from School of Environmental Design and Rural Development at the University of Guelph. The “One” in the title is for the combining of Indigenous and Non-Indigenous together as one. Seven rings representing wisdom, love, respect, bravery, honesty, humility, and truth. Orange (for National Day of Truth and Reconciliation) ropes weave the rings together in a pattern echoing those used to make drums.

humanity and a kraken

Posted: October 31, 2021 in locations, public art
Tags: art installation, ArtworxTO, Camal Pirbhal, Camille Turner, David Rokeby, Entire City Project, House of Baby, Humanity Movement, kraken, lights, Masai Ujiri, Michael Awad, Queens Quay, Sir John A Macdonald Plaza, slavery, street art, Union station, waterfront

The results of a walk on what was probably the last warm evening of the year….

below: In Sir John A. Macdonald Plaza (that’s the space in front of Union Station by Front Street) is an art installation by Masai Ujiri, “Humanity Movement”. There are 35 words that represent what humanity means to Ujiri – words such as compassion, love, selfless, collective that are repeated as they cover the eight foot high installation. A light in the center makes the words appear on the sidewalk and on the structures (and people) around it.

below: Inside the Great Hall at Union Station is an image titled “House of Baby” that is the result of a collaboration between Camille Turner and Camal Pirbhal. It is a image of people in the Great Hall that includes portraits of 18 Indigenous and Black people who were enslaved by the Baby family.

Francois Baby (1768 Detroit – 1852 Windsor Ont) and his brother James (1763 Detroit – 1833 Toronto) were politicians, businessmen and land owners. Francois stayed in what was then the Western District of Upper Canada (around Windsor). His biography is long and I’m not going to go into details here but he did have slaves. James moved to York in 1815 and was part of the establishment – between 1792 and 1830 he held more than 115 appointments or commissions of varying degrees of importance.

In 1793 John Graves Simcoe, then Lieutenant Governor, tried to abolish slavery in Upper Canada but many of the ruling class, including James Baby, were slave owners and outright abolishment failed. Instead there was a compromise made (how Canadian!) and restrictions were put on slave ownership such that by 1833 there were none left. A much more complete history of slavery in Upper Canada can be found in an article at Upper Canada History.

below: On the York Street side of Union Station

below: On the PATH system at 25 York Street there is a mural that is 25 metres long (or 100 feet long); it is “Entire City Project” by Michael Awad, 2009. It is a warped panorama of commuters outside Union Station.

below: The lights hanging from the ceiling are another art piece. “Pixel Matrix”, is a large cube of 30,000 individually controllable LED lights on strings, with constantly changing lighting effects. It was a collaboration between Michael Awad and David Rokeby

below: Making a kraken. One tentacle can be seen in the foreground.

below: The kraken’s eye is a video that plays on a screen bulging from the container that can barely hold its contents. Will the kraken escape? Is Queens Quay safe?

below: Lights in motion

below: The art installations at 10 York Street look much different at night!

below: Lights over the harbour, Queens Quay

more than a pile of skulls

Posted: October 14, 2021 in locations, public art
Tags: art installation, Built on Genocide, CHIPPEWAR, Harbourfront, indigenous, Jay Soule, Luminato Festival, Meryl McMaster, Ontario Square, photography, posters, skulls

There are two public art exhibits now on display at Harbourfront’s Ontario Square. The first is “Built on Genocide” by by Jay Soule aka CHIPPEWAR which is part of this year’s Luminato Festival …. “In the mid-19th century, an estimated 30 to 60 million buffalo roamed the prairies, by the late 1880s, fewer than 300 remained. As the buffalo were slaughtered and the prairie ecosystem decimated, Indigenous peoples were robbed of their foods, lands, and cultures. The buffalo genocide became a genocide of the people” (quote source: Luminato website)

below: The centerpiece is a pile of Buffalo skulls.

below: Surrounding the skulls are posters that highlight and criticize government policies towards First Nations including (Prime Minister) Sir John A. Macdonald and his “Magic Eraser”, i.e. the Indian Act of 1876.

below: The poster on the left references the adoption of First Nations children by non-Native families often referred to as the Sixties Scoop because it reached its peak (most adoptions) in the 1960s. The plight of Indigenous women is the subject of the other poster – the disproportionate number of whom have been murdered or went missing.

There is also a display of large photographs by Meryl McMaster.

below: What Will I Say to the Sky and the Earth II.

below: On the Edge of This Immensity

below: As Immense as the Sky

refugees outside the Italian Consulate

Posted: May 7, 2016 in events
Tags: art, art installation, black and white, cars, CONTACT, Dundas West, event, italian consulate, pedestrians, photogrphy festival, photos, photoshop, pubic art, refugees, Scotiabank CONTACT, sidewalk, state apartment

Refugees in a State Apartment, Jens Ullrich,
Photo exhibit, on a fence outside the Italian Consulate, Dundas West at Beverley.

Part of Scotiabank CONTACT Photography Festival

Ullrich has taken found black and white photographs of the interior of a large home near Bremen Germany. The photos were taken in the late 1920’s. Each photograph is of a different room in the villa and to each picture Ullrich has added one person. If you knew nothing about the series, you wouldn’t know that the subjects were refugees.

In each photomontage, singular individuals are depicted—usually with their faces hidden from the camera—within empty yet elaborately fashioned spaces that emphasize their solitude and unstable status. “

One of the concepts behind this series of images was the desire to

respectfully capture the disparate emotions of these individuals and their precarious situations.”

#CONTACT16

Aude Moreau, sky, city, and a bit of a rant.

Posted: April 29, 2016 in galleries, public art
Tags: art installation, Aude Moreau, conceptual, CONTACT, contemporary, gallery, helicopter, images, Los Angeles, night sky, outdoors, photography, power plant, Toronto, Toronto skyline, tree

I usually take a dim view of conceptual art largely because the importance given to the “words on the wall” has eclipsed the consideration given to the artwork itself. Mediocrity in technique or creativity hides behind big jargon words and convoluted language in the artist statement. Often the concept that the artist claims to be exploring is at odds with the end product.

When the art doesn’t live up to words that sound learned and meaningful then it degrades the work and makes the artist, and those curating the exhibit, seem pompous and out of touch.

For example, if you read that certain videos by an artist “cast a hitherto unexampled light on the conventional North American city”, what would you expect to see? Would you expect to see a video shot from a helicopter as it circled a city at night? A video that looks familiar to anyone who has flown over a city after dark. That’s what you get with Aude Moreau’s ‘The End in the Background of Hollywood 2015’ now showing at The Power Plant gallery. I don’t have a photo of it but I do have a picture of three of her other photographs also on display.

below: From left to right (discounting the small picture farthest from the camera): 1. ‘Untitled (Hollywood Sign)’ 2015, 2. ‘LAPD (Los Angeles Police Department)’ 2015. It’s a picture of a tiny helicopter in a large grey sky. and 3. ‘Waiting for Landing’, airplanes lined up as they approach LAX airport. Unfortunately, the words on the wall then go on to say, about these three images, “These demonstrate visual strategies that act upon the symbolic representation of the city and the spectacular dimension of the film industry.” Oh my.

And with that I left The Power Plant gallery. Growling silently to myself and shaking my head with a mix of disdain and and frustration. Imagine my surprise when once outside I encountered another of Moreau’s photographs. A very lovely one.

below: A picture of the Toronto skyline by Aude Moreau mounted on an exterior wall at The Power Plant Contemporary Art Gallery. A picture with visual impact.

below: You can play “spot the building” and test your knowledge of Toronto geography. You can line up the DBRS building, the Hilton Hotel and the Canada Life building on University Avenue along with the Sheraton Hotel on Queen street. The blue addition on the AGO is farther north on Dundas. Can you think of where the photo was taken? Apparently, it was taken from Toronto Fire Station 315 at College Street and Bellevue Avenue. It was taken just after sunset but when there was still enough light in the sky to reflect off the taller buildings. Moreau makes the city sparkle.

I must have seen this picture very shortly after it was installed. It is part of the CONTACT photography festival that starts this weekend but there was no accompanying sign, no words that attempted to a explain the image. Perhaps that was for the best. In fact, I now have the CONTACT catalogue with their description of the artwork but I think I won’t read them. I’d rather enjoy the picture just the way it is.

a community of wardrobes

Posted: April 1, 2016 in galleries
Tags: AGO, art, Art Gallery of Ontario, art installation, contemporary art, mirrors, reflections, Song Dong, Toronto, wardrobes

Wisdom of the Poor: Communal Courtyard,
an art installation by Chinese artist Song Dong,
Art Gallery of Ontario

This installation is made from parts of 100 old wardrobes collected from traditional Beijing neighbourhoods, or hutongs, like the one in which Song Dong grew up in. These neighbourhoods, and their communal way of life, are disappearing.

The pieces of the wardrobes are arranged with the backside towards the viewer. The arrangement is such that you can not see the front side of most of the wardrobes.

There are two circles of wardrobes that you can enter – where you can now stand in the courtyard so to speak. The wardrobes become stand-ins for the fronts of houses that once faced onto courtyards in the old hutongs of Beijing.

A wardrobe was one of the items that the Chinese government provide to all families. They are all similar yet different. All have mirrors. Most are made of the same colour wood and most have green curtains. They all have little legs and they are all about the same height.

Wardrobes are personal articles and former owners have left their marks on many of them…. a different fabric in the window or a picture glued onto the wood.
part of an art installation by Chinese artist Song Dong using vintage wooden wardrobe doors with mirrors and curtains, reflections, door handles, key holes and a curtain that is a blue and white plaid and has musical notes on it.

This installation also appeared in the Venice biennale in 2011 although the wardrobes were arranged differently. For the exhibit at the AGO, there are a number of items that appear within the ‘courtyards’ created by the wardrobes. For the viewer, these items can only be viewed through the windows of the wardrobes. One of the items, below, is a series of three paintings of the Canadian ballerina Karen Kain.

In another, bikes

part of an art installation by Chinese artist Song Dong using vintage wooden wardrobe doors with mirrors and curtains, reflections, through two of the windows there is a bike