Philip Scheffner
3 March–31 May

Havarie traces a complex network of political, geographic, and affective relations orbiting around a visible centre: a three-minute YouTube video of a tiny boat jammed full of refugees attempting passage to Europe. Stretched to feature length, each of its frames displayed as a discrete object, the visual material accumulates a density of meaning as the audio track becomes populated with a cast of voices, including passengers on both crafts—the refugee boat, and the luxury cruise ship from which the video was shot. An Algerian woman living in France speaks about her decade-long immigration and her imminent deportation; a Ukrainian cargo ship captain reflects on his separation from his family and the political tensions among the transnational crew; while other migrants speak about their desire for Europe, the things they are fleeing, and their repeated attempts at passage. (The extreme, near-geologic temporality of the image registers visual events as tectonic shifts, while what is visible becomes increasingly entangled in an ever-more expansive and open web of relations.) Havarie is both a document of Afro-European migration and a formal experiment in documentary aesthetics.

Gallery Hours:
Tue 1–6 PM
Wed–Thu 3–7:30 PM
Sat 9:30 AM–1:30 PM

Co-presented in partnership with

Saturday March 3rd , 2018 , 7:00pm - 9:00pm



Trisha Baga
15 March-21 April

With Biologue, American artist Trisha Baga extends her recent work into a new two-part video installation. Throughout the work, cells subdivide via mitosis, languages collapse into phonemes and misheard sounds, objects dissolve into detritus, and digital images shatter into pixels and artifacts. While preoccupied with these processes of fragmentation, Baga is equally invested in reassembling and recombining their elements into new narratives. Biologue collages video footage of the artist’s family road trip through the Philippines , audio from Hollywood soundtracks, and objects both readymade and hand-crafted. A circuitous journey that reflects how culture and its signs travel and shift, Baga’s work alludes to Philippine history and the layers of colonialism the country has endured, and considers the resulting cultural and aesthetic osmosis through repeated translations and mistranslations. Baga collapses disparate spaces and languages, creating an immersive 3D-video environment that playfully explores the promise of “immersion” across both physical and virtual spaces. Biologue invites viewers to become subsumed in itsflows , and to make meaning from simultaneous but diverging sensory and perceptual experiences.

Gallery Hours:
Tue–Sat 12–5 PM

Co-curated and co-presented by

Thursday March 15th , 2018 , 7:00pm - 9:00pm


Gallery TPW

170 St Helens Ave


Annie MacDonell and Maïder Fortuné
Curated by
Leila Timmins
23 March–28 April

Communicating Vessels is a newly commissioned work consisting of writing, video, and sculpture produced in collaboration between Annie MacDonell and Maïder Fortuné following the premise that water will always find its level, the term Communicating Vessels describes the way liquid moves between conjoined containers: gravity and pressure conspire to keep the surfaces aligned, pulling the shared liquid back and forth until the separate vessels come into balance. like the relationship between a mother and a child or fluid passed from mouth to mouth, meaning, intention, and understanding constantly flow back and forth between us. it is the fundamental connectedness of all things, how ideas migrate and shapes shift, and the possibility of individuation without individualism. Bringing together fictional narrative, personal anecdote, and private conversation, Communicating Vessels explores how we infect and influence each other in ways that are both positive and negative, yet always urgent and necessary.

–Leila Timmins

Gallery Hours:
Tue–Sat 11 Am–5 pm

Co-presented in partnership with

Friday March 23rd , 2018 , 6:00pm - 8:00pm

Communicating Vessels


Soft Turns
4 April-22 April

Designated as the “Critical Zone” by environmental scientists, the immediate area one metre above and below the surface of the Earth has become the focus of intense study in recent years. Recognition of its astonishing complexity has necessitated cross-disciplinary collaboration between previously isolated natural sciences in the field. In the lab, scientists maintain controlled environments, isolating all variables, shutting out interference. Similar controls are used in tests for managing future greenhouses remotely in outer space.

Substrates, moulds, and plants in outer space are only some of the elements that come together in PLANT/PIXEL—an exhibition by Soft Turns, the collaborative effort of artists Sarah Jane Gorlitz and Wojciech Olejnik. Their video-centric installations closely look at the small human gestures and intimacies that make up daily life. Thinking through the “Critical Zone” by centring elements that make it up, they access other contentious sites of human interaction—on Earth, in soil, in space, and in the ever-expanding digital and virtual realms. Taking over the basement space of 8eleven, Soft Turns will present an expansive installation where they create encounters between the material and the digital to better understand the world around us.

–Soft Turns

Soft Turns will have an artist talk on Sat 7 April.

Gallery Hours:
Thu–Sun 12–5 PM

Co-presented in partnership with

Wednesday April 4th , 2018 , 7:00pm - 11:00pm



Onyeka Igwe and Aliya Pabani
6 April-28 April

The Central East Correctional Centre in Lindsay, Ontario administers restrictions on materials that can be sent to detainees. Among the forbidden items are photographs of any correctional institution/facility—a restriction Igwe and Pabani chose to subvert.

Corrections originates from a series of lenticular postcards depicting correctional facilities that Igwe and Pabani sent to the Central East Correctional Centre. Correspondence that violated this policy was returned to the artists, accompanied by a form from the Ontario Ministry of Community Safety and Correctional Services and handwritten notes by the mailroom employee tasked with deciding what constitutes an admissible representation of a correctional facility. The services of a graphologist were employed by the artists to develop psychological profiles of this employee based on their handwriting.

The exhibition includes a multi-channel video installation that charts the correspondence of images and text from the year 2000 to the speculative 2025, reflecting adaptations to the function and purpose of incarceration over space and time while questioning the limits of visual representation.

–Onyeka Igwe and Aliya Pabani

Onyeka Igwe and Aliya Pabani will be in conversation on Tue 17 April

Gallery Hours:
Tue–Sat 12–6 PM

Co-presented in partnership with

Friday April 6th , 2018 , 6:00pm - 8:00pm



Sonia Beckwith-Cole, Dylan Glynn, Kai Lumbang, Asunee Kira Reau, and Nicole Ji Soo
Guest curated by Amanda Low and Philip Ocampo
6 April-5 May

As demonstrated by the fantastical worlds created by studio giants, animation is a powerful exploratory tool that allows viewers, for a brief moment, through their screens, to imagine worlds beyond their own. the ever-changing stylization of characters, objects, and environments continuously presents us with alternate realities. what happens when you take this grandeur and extend it beyond the single-channel screen and into three dimensions? what happens when the viewer becomes the explorer? Expedition: Elsewhere moves the viewing experience beyond the act of just gazing: spatial integration allows the animator to transport the body into the realities they create, and to inspire awe and wonder on a more expansive scale.

Expedition: Elsewhere aims to take advantage of animation’s ability to push the boundaries of reality with five artworks that reach beyond the perceived limitations of the medium.

–Amanda Low and Philip Ocampo

Gallery Hours:
Tue–Sat 12–6 pm

Co-presented in partnership with

Friday April 6th , 2018 , 7:00pm - 10:00pm

Expedition: Elsewhere


Erika Defreitas
7 April-29 April

This exhibition is about these objects and bodies. These objects of character and marrow and bodies of her. In multiples. Of finger tips and overgrown cuticles. I suppose. A draft of a draft of how to think about what is there and what is there and not. A language for translating a pause in gesture and what history punctures and movement punctuates.There is just so much space for these objects that sit and watch before directing. The slipping of peony petals between fingers and open wounds. All lining the mouth as a spectre. A spectre of gesture. A recital. A rewriting of scores inherited from the hands that tended gardens and those that fell limp upon rendering. Intrusions and auras. Perhaps this exhibition is about these objects and bodies.

–Erika Defreitas

to prepare for a longing, an itch is a solo exhibition of new work by the multidisciplinary conceptual artist erika Defreitas. Comprised of collage, video, and photography, the exhibition explores the artist’s interests in collecting and archiving as a means of understanding post-memory, hauntology, and the enduring presence of loss. in conjunction with the exhibition, the artist will be in residence at Y+ contemporary from January through March 2018.

Gallery Hours:
Fri–Sat 12–5 pm

Co-presented in partnership with

Saturday April 7th , 2018 , 7:00pm - 10:00pm

to prepare for a longing, an itch


8 April 8–3 June

In her first museum exhibition in Canada, Vancouver-born artist Sara Cwynar presents her acclaimed works Soft Film (2016) and Rose Gold (2017) alongside the debut of her newest film. Through her canny use of voice-over, fast-moving collage, and footage of the artist herself working in the studio, Cwynar’s densely layered films sift through a range of subjects of unmistakable relevance to our current image saturated moment, including the circulation and value of objects over time, the potent emotional and aspirational charge of material consumption, our relationship to technology and advertising culture, and colour as an object of desire. Cwynar’s photographic works, also on view here, expand on these themes, asking critical questions about the power politics at play in the distribution and consumption of images and things.

Gallery Hours:
Tue–Thu 11 AM–9 PM
Fri 12 PM–5 PM
Sat 10 AM–5 PM
Sun 1 PM–5 PM

Co-presented in partnership with

Sunday April 8th , 2018 , 2:30pm - 5:00pm

Sara Cwynar

Oakville Galleries

120 Navy Street, Oakville


Sophia Al-Maria
13 April—2 June

Sophia Al-Maria’s exhibition Black Friday foregrounds the artist’s ongoing investigation into the accelerated development of the Gulf Nations and the sobering signs of a hyper-capitalist future to come. The large-scale single-channel video installation Black Friday (2016) features hypnotic renderings of Qatari shopping malls that are often distorted and refracted, creating a dizzying disorientation of space. Through its vertical projection, booming soundtrack, and ominous voice-over, the work offers a distinctly apocalyptic take on the mall as a consumer sanctuary. Al-Maria’s likening of the mall to a sacred temple is linked to her decade-long examination of Gulf culture with its ideological mistrust of Western values and simultaneous embrace of American-style consumerism. In 2007, Al-Maria coined the phrase “Gulf Futurism” to describe the coexistence of these cultural extremes and the dystopic future that they profess.

Black Friday will be paired with The Future was Desert, Parts 1 & 2 (2016), a two-channel video that pays homage to the desert as a harsh fictional landscape, serving as an impending site for human civilization. By pairing the two works, the exhibition depicts Al-Maria’s imagined Gulf future—one that is punctuated by prophetic isolation.

Gallery Hours:
Tue–Sat 11 AM–6 PM

Co-curated and co-presented by

Thursday April 12th , 2018 , 7:00pm - 11:00pm

Black Friday


Steve Reinke (with Jessie Mott)
12 April–11 May

In his 30 years as a maker of moving images, Steve Reinke has never hesitated to show all and tell all. Reinke speaks to the body, to death, and to this certainty about the end that gives shape to our lives. Rib Gets in the Way is Reinke at his most epic—his irreverence so monumental it almost reads as normal. Reinke presents us with an animated version of Friedrich Nietzsche’s Thus Spoke Zarathustra, a parable on the death of god. He also illuminates Kanye West’s “Blood on the Leaves”, which leads with Nina Simone’s cover of “Strange Fruit”, and combines it with a text that reads like a stream of consciousness from a linguist performing an autopsy. The video is a mixture of appropriated clips—a lecture by Jacques Lacan from YouTube, a George Kuchar video, macro close-up flowers in super slow motion—and his own footage, all accompanied by Reinke’s signature voice-over, combined with precisely chosen pop music clips whose lyrics command the viewer to “Come outta your body” and “Go missing.”

The exhibition at Vtape will also include a number of Reinke’s recent text drawings.

—Lisa Steele

Steve Reinke will give an artist talk on Fri 13 April

Gallery Hours:
Mon–Fri 11 AM–5 PM
Sat 11 AM–5 PM

Co-curated and co-presented by

Friday April 13th , 2018 , 5:00pm - 7:00pm

Rib Gets in the Way


Jon Wang, Dani Restack, and Sheilah Restack

Public Intimacies is an exhibition of moving image installations taking place in hotel rooms at the Super 8 Hotel in Toronto’s Chinatown. Speaking to the boundaries between public and private space, the works challenge our notions of domesticity and contemplate themes of intimacy, expressions of sexuality, desire, and identity.

From Its Mouth Came a River of High End Residential Appliances
Jon Wang

At the edge of Hong Kong, high rise buildings stand as gates to the city’s frontiers. A series of rectangular voids are designed to allow for the passage of dragons. This contemporary architectural manifestation of “feng shui” prioritizes the flow of energy between the natural and built environments. A buoyant camera takes the audience on a passage through these holes as a disembodied voice meditates on the desire for queer futures.

A Hand in Two Ways (Fisted)
Dani Restack and Sheilah Restack

A two-way portrait composed from a series of intimate and banal excerpts from the artists’ lives together, we are sent through a looping meditation of bodily encounters. Guided by a collective intuition, a fluid movement begins through opaque landscapes of flesh, into nocturnal mystery, and erotic expressions.


Co-presented in partnership with

Saturday April 14th , 2018 , 12:00pm - 5:00pm

Public Intimacies

Super 8 Hotel

222 Spadina Ave


Oraib Toukan
17 March-28 April

When Things Occur is based on Skype conversations with Gaza-based photographers, fixers, and drivers who were behind specific images that were transmitted from screen to screen in the summer of 2014. The film probes the face of mourning and grief—its digital embodiment, transmission, and representation. It asks how the gaze is channelled within the digital realm, and how empathy travels digitally. Equally, how the documentary signifier—and its abstraction—operates when viewing suffering. what exactly is viewing suffering “at a distance”? How many metres or kilometres is that? what is the behaviour and political economy of war imagery? who is the “local” in the representation of war? what is the daily routine of those who represent war?

–Oraib Toukan

Oraib Toukan will have an artist talk on sat 14 April

Co-curated and co-presented by

Saturday April 14th , 2018 , 2:00pm - 3:00pm

When Things Occur


Curated by Emelie Chhangur
Barbara Wagner and Benjamin de Burca’s works simultaneously celebrate and reframevernacular cultural forms as they have manifested through time. Their practice looks to how performative forms of colonial cultural resistance in Brazil’s northeast— such as capoeira—continue today in revised expression, which is the subject of their video Faz que vai (Set to Go). Popular genres persist through cultural mixing, diasporic re-fashioning, and translation—geographically, formally, and linguistically. For the protagonists, self-fashioning becomes a means of cultural, economic, and social survival. In the film Estás vendo coisas (You Are Seeing Things), the protagonists are part of Recife’s burgeoning Brega scene, a once regional musical genre that has since broken into the global music industry via social media.

Wagner and de Burca’s practice implicitly navigates a space between documentary and fiction. Concerned with the contradictions and conundrums of the “what, how, and for whom,” the artists have developed a subtle system of pointing that reveals rather than classifies: it is in the slippery spaces between the staged and the actual that the gendered, racialized, and socioeconomic contexts of their subjects emerge. And it is precisely here that the self-generated strategies of visibility and subversion within and between the fields of pop culture, high art, and tradition is performed anew.

—Emelie Chhangur

Co-presented in partnership with

Wednesday April 18th , 2018 , 6:00pm - 9:00pm

Bárbara Wagner & Benjamin de Burca

Art Gallery of York University

Accolade East Building, 4700 Keele Street