Event Category: Exhibition

Home Made Visible Tour

A photo illustration on a magenta background, with cutouts from vintage photos of a person wearing glasses, a person in a hat and plaid shirt, a hockey team, and a person leaning against a vintage car, all with pale yellow outliness and light blue squiggly lines behind them. "Home Made Visible" is in the centre in white lettering with a dark grey drop shadow.

Indigenous, Black and People of Colour communities are disproportionately underrepresented in all media. How do past images unearthed from personal and institutional archives come to shape new stories?

The Home Made Visible tour brings a personal lens to Indigenous and visible minority archives through FREE exhibitions, screenings, and workshops in libraries across Canada.

More information about Home Made Visible
Home Made Visible Tour – Thunder Bay on Facebook

Being Scene 2019

Artwork by tired bees, Untitled (Wading Table), 2018. A picnic table sitting in still water in subdued light with the reflection visible. The Workman Arts logo appears in white in the top left corner, with "Workman Arts Presents: Being Scene 18th Annual Juried Exhibition, Feb 28 - Mar 23, Toronto Media Arts Centre" in block white letters

Workman Arts presents BEING SCENE, a sweeping exhibition encompassing over 100 artworks by 60+ artists that examine all facets of mental health and addiction experiences. Being Scene covers a wide range of conceptual and material approaches, giving voice to unique life experiences.

Exclusive VIP Preview: Wednesday, February 27, 6:30 – 8:30 PM

Opening Reception: Thursday, February 28, 6-9 PM
With performance by James Buffin

Artist Activation – Kat Singer: Unravelling Stories
Saturday, March 9, 3-5 PM

Meet-The-Artist Talks & Acoustic Performance by Simone Schmidt (AKA Fiver)
Saturday, March 16, 1-5 PM

Resistance/Acceptance: works that live beyond the gallery walls
Saturday, March 23, 3-4 PM
Panellists: Claro Cosco, Paula John and claude wittmann
Moderator: Sean Lee

Art Cart Showcase
March 13 – 23
Reception: Wednesday, March 20, 6-8 PM
TMAC – Gamma Gallery Space

More information on the Workman Arts website
More information on Facebook

Featuring work by:
Ashmeed Ahamad, Stephanie Avery, Wendy Belcourt, Mel Bender, Cathy Bennett, Diana Bershadsky, Jenny Chen, Coley, Claro Cosco, Eve Crandall, Trinley Dorje, Jean Fode, Sylvia Frey, Gaetan Genesse, Genova, Kate Gorman, Eduardo Hatch, Hanan Hazime, Paula John, Robin Ashley Jones, Andrew Johnston, Naomi Hendrickje-Laufer, LAVEH, Esmond Lee, Fiona Legg, Jaqueline Lewis, Wendy Lu, Elaine Lum, Lorette C. Luzajic, Karine McDonald, Gregg Allan McGivern, Claire Mercer, Rick Miller, Michael Morbach, Brad Necyk, Amy Ness, Alan Parker, Neri Paul, John Perera, Ben Priede, Marisha Pula, Susana Rizzi, Kurt Rostek, Moshe Sakal, David Salazar, Jepherson Salazar, Chris Scott, Annette Seip, Simon Shimout, Laura Shintani, Kat Singer, Leslie-Anne Smith, Emily Sweet, Jan Swinburne, Monika Szopinska, Apanaki Temitayo, tired bees, Jace Traz, Toshio Ushiroguchi, Véronique Vallières, Lisa Walter, claude wittmann, TK Workman

Described Tours

A group of nearly two dozen people, some seated, some standing, and some with service dogs, in a brightly lit gallery, listening to a person who is speaking at a microphone.

Described tours by VocalEye on the first Saturday of the month. Each tour lasts approximately 1 hour. Sighted visitors are welcome to attend. Please meet in the Gallery Lobby.

More information on the Vancouver Art Gallery website

January 5: A Curator’s View: Ian Thom Selects
February 2: The Metamorphosis
March 2: A Curator’s View: Ian Thom Selects 2
April 6: French Moderns: Monet to Matisse
May 4: Mowry Baden
June 1: BC Access Awareness Day
July 7: Views of the Collection: The Street
August 3: Alberto Giacometti

Cripping the Arts

Cripping the Arts logo in black block letters, followed by a square yellow period, on a grey background

Cripping the Arts 2019 is three days of programming – panel discussions, co-creative workshops, exhibitions and performances – animating how Deaf, Mad, and Disability arts and activism changes how we experience art and culture as well as the ways our sector contributes, and leads to, the achievements of disability rights and justice movements.

More information and tickets

We invite you to join us as we explore, debate, and share emerging ideas and practices that relate to themes of representation and new models of leadership, disability culture in an increasingly digital world, and working in solidarity between disability rights, racial justice, decoloniality, and Indigenous sovereignty.

Panel discussions will be live streamed for those unable to attend in person.

Cripping the Arts 2019 is co-hosted by British Council, Creative Users Projects, Tangled Art + Disability, Ryerson University, and Harbourfront Centre.

Generously funded by Canada Council for the Arts, Ontario Arts Council, Social Sciences and Humanities Research Council of Canada, TD, Canadian Heritage, Re-Vision: Centre for Art and Social Justice and Bodies in Translation.

Race Cards

A person sits at a desk lit by a desk lamp, writing on paper on the desk, against a backdrop of white cards pinned to a dark wall in rows and columns

“Why do people assume that racism will just passively die out if we wait long enough?” That’s number 307 of 1,000 questions that Selina Thompson has composed and put on cards; in this installation, visitors will enter the site and read as many of them as they wish. They are instructed to answer one card and copy one to take away with them.

As an art concept, Race Cards is ingenious in its simplicity; as an exercise, it’s powerfully generative; as political discourse, it’s at once direct and open-ended, confrontational and generous, demanding and liberating. Thompson gives us the freedom to choose and the obligation to think—two of the defining elements of any decent society. In this work, we are asked to face our own beliefs, our own hopes, our own prejudices—all in an atmosphere of calm and contemplation. This work is, quite literally, thought-provoking; it’s also deeply moving.

More information on the PuSh Festival website

An Intimate Moment with Maanii Oakes

A black and white sketch by Maanii Oakes

Join artist Maanii Oakes for an intimate community session and discussing topics including maintaining authenticity in creative practices, the works and arts practice involved in FLOURISHING: SOMEWHERE WE STAY AUTHENTIC, and the disability arts community as a whole. Taking place on December 3 to recognize International Day of Persons with Disabilities, Tangled Art Gallery will be open 12:00 – 5:00 pm.

More information on Facebook

About the Artist
Maanii Oakes is a working nineteen year old Swampy Cree Anishnabek and Kanienkehaka cultural tattoo practitioner and visual artist in the mediums of skin stitch, handpoke, pencil crayon and most recently rawhide sculpture. Her work is influenced by her home of Eeyou Istchee, as pressed by her late grandfather in enacting Cree ways of governance and being. She tattoos both traditional and contemporary designs pulling from her own archival research and the strong material culture of her ancestors including bulrush weaving patterns and the painted caribou blankets of James Bay. In contrast her figurative pieces address recent history and present day colonialism, not pandering to loss of what she never had but rather looking to engage the stark reality of living culture seeping through layers of assimilation. Her practice also includes a variety of public speaking engagements and mentorship in community arts centering environmental justice and indigenous stewardship demonstrating her commitment to community and cultural exchange.

About the Exhibition:
FLOURISHING: SOMEWHERE WE STAY AUTHENTIC is the second exhibition in the FLOURISHING series, featuring Maanii Oakes and Richard Harlow. Hailing from opposite sides of the country, these two artists converge to present work illustrating the inescapable impact of one’s environments, natural and human. SOMEWHERE WE STAY AUTHENTIC offers the audience glimpses into the artists’ efforts to navigate potentially overwhelming terrain, negotiating their own versions of landscapes in which they are able to thrive. We can never truly escape our past or the forces that have brought us to the here and now, but perhaps in looking honestly and unflinchingly at who and where we are, we open ourselves up to the potential of co-creating of what will be.

Elle Ardani: Stories Of Solitude

A photograph of people milling around a dimly lit upper mezzanine, with a large window in the background and a table with an assortment of models in the middle of the frame

Stories of Solitude is an emotional and visual exploration of the city of Toronto. It is grounded in creating intimacy and solace in what is otherwise considered a big city.

This is a series of ten photographs, each telling a story. Each story is fully dependent on the internal state of the viewer. Ardani often is in meditative contemplation when searching for images. She has attempted to bridge the space between the vastness of Toronto’s internal/external landscape with that of the imagination and the relative internal life of the viewer. The subjective state of the viewer creates the narrative surrounding each image. Each image becomes a canvas, space where one projects what one may feel and identify with at the time. A connection is made to the rich and mysteriously raw content of the city. This is a creative portal where the viewer may discover the immediacy of the particular landscape as a long-term guide and companion into his or her subjective interior. The city, with all its beautiful uncertainties, can simply become this reliable old friend. A relationship is established.

Mysterious as the concept may sound, it simply requires a step outside the comfort of our homes where the search itself becomes a pilgrimage. What we perceive and see in the outside world is simply a mirror to what is within. This encourages us to be open to the possibilities of an unconventional approach to wholeness.

Elle Ardani is originally from Tehran, Iran. She arrived in Canada from England in 1990.
Her work aims to explore the use of urban spaces as both transformational and inspirational tools. Images are used to express various subjective states that are often too challenging to articulate in any given verbal language. Elle’s photography creates moods that aim to address the emotional vulnerability of the viewer. The images are often atmospheric and introspective, inviting the viewer on an internal journey

Elle Ardani would like to thank the Ontario Arts Council (OAC) for funding this body of work with the Exhibition Assistance grant.

More information on the Workman Arts website