Gallery Girl

Took in a bit of art last week. I needed to recharge creatively after a pretty intense winter of work. You can call this my spring awakening. It started last week when I visited Lauchie Reid’s show Causerie at Articulations up on Dundas. It’s an amazing collection of small scale oil paintings. Now I’m a long time fan of his work and we have a piece by Team Macho, the art collective that Reid co-founded. But these wee pieces are less fantastic and more intimate and I love them all the more for it.

ECD0BE4F-4C5A-497C-9E07-5E752DDA6363.jpegOf course, I left going to the show to the last day. So you can’t see it. I also wish that I had gone the first day so that I might have been able to buy a piece.

BA839D66-5179-4895-B945-DA7C7B0FE9C7On Friday, Mr. Andrew and I played hooky and went to see Yoko Ono’s The Riverbed at the Gardiner Museum. Pictures were not permitted so I can only share that it was a contemplative experience. One entered the third floor gallery space and were great by a stream of large, smooth pebbles and the instruction to pick up a stone and meditate on it. Then one moved through a spam filled with an elaborate network of string, text and ceramic shards created by gallery goers. The last area was where visitors “repaired” broken bits of China.

It was the best kind of interactive art because it actually engaged viewers. It was kind of the complete opposite of the Yayoi Kusama Infinity Mirrors exhibition at the AGO because no one could take selfies but could take as much time as one wanted in each of the areas (one patron took a little more, shoplifting one of the rocks).

D9BE0702-B8B3-4CB8-AF25-4A82D270A648Next we went to see The Sunshine Eaters, a group exhibiton at the OCADU On-site Gallery. It was the most affecting show that I’ve seen since Ai Weiwei’s Laundromat at Jeffrey Deitch’s Wooster Street space back in 2016.

That show was about the refugee crisis, The Sunshine Eaters is about our relationship to “the land and its plants, flowers and trees as a means to imagine and conjure hope in the face of local and global crises.” It became bills itself as a multi-sensory experience and it certainly the first exhibition I’ve been to that included fragrances (by Nina Leo and Moez Surani).

There were textiles, like this tapestry by Ebony G. Patterson (above left) and soundsuits by Nick Cave (top and above right).

There was sculpture, such as ceramics by Shary Boyle (left) and Brian Jugens (right). And walls illustrated by Jim Holyoak.

There were moving pictures in the form of video by Alanis Obomsawin and Jessica Karuhanga.

And finally, there were lots of pretty flower arrangements, including this upside-down bouquet by Tony Matelli called Arrangment 6 (above left) or this delicately hand-cut and -coloured picture by Toronto’s own Winnie Troung (above right) this lush carpet by  Alexandra Kehayoglou (below). I just wanted to move into the gallery and live my remaining years living there.

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