Impermanent Collections, Temporary Occupations, and Other Gatherings


Saturday, 09 May 2015
Rodman Hall Art Centre
2 PM

Maggie Groat in attendance.

As part of Impermanent Collections, Temporary Occupations, and Other Gatherings, a solo exhibition of the work of Maggie Groat at the Rodman Hall Arts Centre, she will be selecting texts from the Rodman Hall library, working with the material of the institution itself to engender a critical reflection on the shifting terrain of its existence.

Groat’s interdisciplinary practice often challenges assumptions, standards and routines to propose new ways of thinking. In this exhibition, she reflects on the shifting territory of Rodman Hall and the surrounding area by researching the geographic, natural, and art histories of the site. Treating the exhibition period as a self-directed residency, Groat will work on site, inserting her presence into the day-to-day and exerting her systems of classification on the existing order of the gallery. Working to integrate indigenous practices, she will cull objects from the grounds, permanent collection, archives, and offices for a series of temporary installations in the Project Space, bringing into focus things that have previously existed on the margins. Both playful and hopeful, Groat’s work insightfully addresses issues of power and displacement.

Maggie Groat is a visual artist working in a variety of media including collage, sculpture, artists’ books, site-specific interventions, and field studies. Forming an ongoing research-based practice, Groat’s work explores studies for possible futures, salvage practices, and relationships and reconnections to place and ancient knowledge systems, from an Indigenous perspective. Through reconfiguring and recontextualizing found materials, she assembles collages, sculptures and tools that enable moments of envisioning and the potential for action. Maggie studied visual art and philosophy at York University before attending The University of Guelph, where she received an MFA degree in 2010. She is represented by Erin Stump Projects in Toronto.

Special thanks to the Rodman Hall Arts Centre for hosting this salon.

Is 1 hr 1 hr?


Monday, 19 January 2015
Union Station

As part of VILLA Toronto, this salon will feature selections from the writings of Karen Barad as well as a performance of Is 1 hr 1 hr?, a script by Tiziana La Melia produced in collaboration with Laurie Kang.

Performance by Christine Atkinson and Laurie Kang.

As part of VILLA, 8-11 is presenting deferring diffractions, an installation-cum-mutating-dance-studio by Laurie Kang. On view will be metaphoric images, objects and synthetic materials replete with knots, intersexed flatworms and reflections. The performance of Is 1 hr 1 hr?, which was written by Vancouver-based writer and painter Tiziana La Melia and produced in collaboration with Kang, will serve as a diffraction of the installation works through embodiment. Drawing from the texts of feminist theorist Karen Barad, we will explore how the installation work, the script and the salon discussion make a mutually constituting phenomena.

Karan Barad’s essay Nature’s Queer Performativity can be accessed here.

LAURIE KANG works in image-based sculpture and installation. Recent exhibition and project sites include Art Gallery of Ontario, Art Metropole, Erin Stump Projects, Soi Fischer (all Toronto), Gallery 295 (Vancouver), Camera Austria (Graz), Feldbuschwiesner (Berlin) and a book publication and launch with Mossless at The New York Art Book Fair. Upcoming projects include a collaborative exhibition at The Power Plant Gallery (Toronto) with Nadia Belerique and Lili Huston-Herterich in June 2015. She is an MFA candidate at Bard College.

8-11 is an arts organization in Toronto helmed by Simon Schlesinger, Cameron Lee, Sarah KilpacK, Xenia Benivolski, Stephanie Fielding, Christine Atkinson, Sona Safaei-Sooreh, Robin MacDonald, Sean Procyk, Felix Kalmenson and Adrienne Kammerer.

Special thanks to the Liaison of Independent Filmmakers of Toronto for their ongoing support of this project and the VILLA Toronto for hosting this salon.

Laurie + Christine

Event documentation courtesy of Corinn Gerber.

Albert Camus’s “The First Man” and W. G. Sebald’s “The Rings of Saturn” as selected by Iris Häussler


Iris Häussler, “Archivist’s Desk,” 2012.

Sunday, 18 January 2015
Union Station

In collaboration with VILLA Toronto, this salon will feature excerpts from Albert Camus’s The First Man and W. G. Sebald’s The Rings of Saturn as selected by Iris Häussler.

Iris Häussler in attendance.

As part of VILLA Toronto, Iris Häussler will be presenting the Foundation Joseph Wagenbach. On display will be a selection of his sculptures cast in bronze. Wagenbach (b. 1929), was a German immigrant who moved to Canada in 1962. His oeuvre became publicly known in 2006 when Häussler organized guided tours through the house had occupied since arriving in Canada, where his obsessive sculptural production was under assessment. Wagenbach, recovering from a major stroke, lived afterwards in various retirement homes and finally became a tenant in Häussler’s basement apartment. He disappeared traceless in 2009.

As selected by Häussler, the readings for this salon explore transition and migration as a study of an artist’s mind.

Iris Häussler was born in Germany and trained at the Academy of Fine Arts in Munich, Häussler’s work has been shown at exhibitions internationally. Häussler was a stipendiary of the Kunstfonds (Bonn) and won the Karl Hofer Prize 1999 (Berlin). Since her immigration to Canada she received grants from the Toronto Arts Council, the Ontario Arts Council, and the Canada Council for the Arts. She is represented by Daniel Faria Gallery.

Special thanks to the Liaison of Independent Filmmakers of Toronto for their ongoing support of this project and the VILLA Toronto for hosting this salon.

Event documentation courtesy of Corinn Gerber.

Event documentation courtesy of Corinn Gerber.

Brew Pub #3

Photo credit: Gina Badger.

Photo credit: Gina Badger.

Friday, 03 October 2014
MOCCA (952 Queen Street West, Toronto)

Due to the nature of the event, only those over the age of 19 are permitted. Those present must be members of The Brewtality of Fact homebrew beer club ($5), and there is a $5 venue/food fee. Please contact for more information.

In collaboration with the Museum of Contemporary Canadian Art (MOCCA) and The Brewtality of Fact homebrew beer club, this salon will feature engagements with and conversations around the journal Brew Pub #3: Relanding from Mugwort.

Gina Badger, Aja Rose Bond, Gabriel Saloman and Eric Emery in attendance.

The STAG Library (artists Aja Rose Bond & Gabriel Saloman, Vancouver) in collaboration with artist and writer Gina Badger (Toronto) and brewmaster Eric Emery will be launching the 3rd edition of Brew Pub, a journal in the form of a beer whose contents, labelling and other printed and online material constitute the contents of the publication.

This edition explores a relationship with Artemisia vulgaris, commonly known as mugwort, an invasive species which has spread from Eurasia across Canada, flourishing in urban spaces that have been altered by human intervention such as abandoned lots, rail-yards and roadsides. Mugwort has deep roots in indigenous European medicine, relieving fatigue, promoting lucid dreams and acting as an abortifacient. Mugwort also has been used in gruit beers as a substitute for hops in traditional brewing processes.

Through the development of a beer using wild-crafted mugwort from the city of Toronto, land with which the Huron, Haudenosaunee and Anishinaabe people have a long, historic and profound relationship, these artists consider what and how mugwort can teach those exploring the conflictual complexity of settlement. Mugwort can talk to us about taking root in place, connecting with traditions across distances and back in time, and how to cultivate these teachings in the present, renewing our relationship to place and that which grows here.

This conversation is being presented by the MOCCA as part of the exhibition TBD, curated by Su-Ying Lee. For MOCCA, a contemporary art institution, working with the journal Brew Pub engages with artistic production explicitly at a contrary scale to that which is fostered by the increasing dominance of the global contemporary art world. In opposition to a mode of production demanded by art fairs, biennials and large institutions—one which emphasizes spectacular size, broad publicity, enormous crowds and international scope—Brew Pub is small, discreet, intimate and concertedly local, both in its publicness and in its process of creation.

Brew Pub redefines publication, something that is typically understood to be comprised of a type of book or journal. What elements of a contemporary art institution can similarly be transposed, shifted or reordered to expand the definition of a contemporary art gallery?

About The Brewtality of Fact Homebrew Beer Club:

The purpose of The Brewtality of Fact is the testing, exhibition and judging of the beer made by our members.

The beer consumed at our meetings is never sold, but rather shared. In exchange, members commit to offering frank feedback on the quality of the homebrew, including its aroma, taste, appearance and palate.

To Join:

Meetings are open to all members of The Brewtality of Fact Beer Club. Memberships cost $5 and are open to anyone 19 years of age and up.

The $5 membership and additional $5 per/meeting fee (for food/venue costs) can be purchased online or at MOCCA, will be available for purchase online as of Saturday, 06 September 2014, or can be purchased at the door.

For all other inquiries, contact

Special thanks to the Liaison of Independent Filmmakers of Toronto for their ongoing support of this project.

Anne Carson’s “Variations on the Right to Remain Silent”

Lanfranco Quadrio, 2013.

Lanfranco Quadrio, 2013.

Monday, 11 August 2014
Dufferin Grove Park at the south path “cob” fire pit
7 PM

In conjunction with Gabrielle Moser’s No Looking After the Internet project and Jacob Korczynski’s If I Can’t Dance, I Don’t Want to Be Part of Your Revolution reading group, this salon will feature excerpts from Anne Carson’s essay “Variations on the Right to Remain Silent.”

Gabrielle Moser and Jacob Korczynski in attendance.

Moser’s No Looking After the Internet project invites participants to look at a photograph (or series of photographs) they are unfamiliar with, and “read” the image out-loud together. The format emphasizes the multiplicity of meanings embedded in an image, drawing attention to the ways that social factors condition understanding. No Looking is an ongoing, collaborative project based out of Toronto’s Gallery TPW. Korczynski’s If I Can’t Dance, I Don’t Want to Be Part of Your Revolution reading groups depart from a spirit of open questioning and long term enquiry, taking on research thematics such as reading/feeling and appropriation/dedication. The format emphasizes the role of performance and performativity in acts of collective sense-making. The Toronto iteration of the reading group happens alongside reading groups in Amsterdam, New York, and São Paulo. What No Reading After the Internet shares with No Looking and If I Can’t Dance is an interest in how we construct understanding based on encounter.

Variations on the Right to Remain Silent” is described by publisher Slyph Editions as “an essay on the stakes involved when translation happens, ranging from Homer through Joan of Arc to Paul Celan; it includes the author’s seven translations of a poetic fragment from the Greek poet Ibykos.”

Excerpts from the essay will be read aloud and used as a provocation to perform an act of translation as a group.

Anne Carson was born in Canada and teaches ancient Greek for a living.

Jacob Korcyznski is an independent curator. A recent participant in the de Appel Curatorial Programme, he has curated projects for the Stedelijk Museum, SAVAC, Oakville Galleries and was a contributor to Matthew Lutz-Kinoy’s Loose Bodies at Elaine MGK. His writing has appeared in Prefix Photo, C Magazine, Fillip, and The Power Plant publication Jimmy Robert: Draw the Line (in collaboration with Oliver Husain). Currently, he is a researcher for the Performance in Residence platform of If I Can’t Dance, I Don’t Want to Be Part of Your Revolution.

Gabrielle Moser is a writer and independent curator. She regularly contributes to, and her writing has appeared in venues including ARTnews, Canadian Art, Fillip, n paradoxa, and Photography & Culture. She has curated exhibitions for Access Gallery, Gallery TPW, the Leona Drive Project and Vtape. Moser is a PhD candidate in art history and visual culture at York University and a member of the Toronto Photography Seminar.

This meeting of No Reading After the Internet (Toronto) is supported by the Liaison of Independent Filmmakers of Toronto.

Rasheed Araeen’s “A New Beginning: Beyond Postcolonial Cultural Theory and Identity Politics,” as selected by June Pak

Pak clip

Saturday, 09 August 2014
26 (26 Mackenzie Crescent)
3 PM

As part of the exhibition June Pak @ 26, this salon will feature excerpts from Rasheed Araeen’s “A New Beginning: Beyond Postcolonial Cultural Theory and Identity Politics,” as selected by June Pak.

June Pak in attendance.

When discussing the topic of ethnicity in visual arts, visibility is often emphasized: being visibly different from others, presenting one’s difference visibly to others and representing what it means to be different visually. But what if that difference is invisible? 

Departing from these questions, which are central to Pak’s exhibition, excerpts from Rasheed Araeen’s 2000 essay “A New Beginning” will be read aloud. The founding editor of Third Text, Araeen stirs up the art establishment in this essay by questioning the institutionalization and categorization of ethnicity. His argument on art institutions’  theoretical influence on ethnic art/artists extends Pak’s fundamental query on the concept of visibility.

June Pak was born in Seoul, South Korea, and now lives in Toronto, Canada. Her work investigates the currently limited methods of understanding ethnicity in the visual arts due to the universalization and institutionalization of “ethnic work.” By utilizing assumed functions of hyphenation, as to both connect and divide two (or more) entities, she is exploring different means to articulate visualization of ethnicity that resists the prescribed ethnic subject’s positioning in the current multi-cultural and multi-ethnic society. She is a PhD candidate in Studio Art at York University.

This meeting of No Reading After the Internet (Toronto) is supported by the Liaison of Independent Filmmakers of Toronto (as always). Special thanks to 26 for hosting this salon.

Lawrence Liang’s “Free as in Soul: The Anti-image Politics of Copyright”

Webpage Clip

Monday, 14 July 2014
Bento Miso (100-862 Richmond Street West)

While discourse about net neutrality is reaching the mainstream, and some civil society groups are taking part in international fora about citizenship on the Internet, the implications of the corporatization of the Internet on artists has been little explored. In Bangalore, India, there is a thriving network of activists, artists and lawyers who are collaborating on a range of social justice issues that consider the intersection of artists’ practices and Internet policies. As part of this movement, Lawrence Liang, a founder of Alternative Law Forum, has become a prominent voice against concepts such as intellectual property and copyright, while advocating creative commons licensing as a possible legal answer to this privatization of thought.

Co-presented by SAVAC (an artist-run centre) and Bento Miso (a co-working space), this salon will feature Liang’s essay “Free as in Soul: The Anti-image Politics of Copyright.” Here, Liang looks at the increased restrictions imposed on images and moving images by copyright legislation that effectively renders image-making into a commodity process meant solely for commercial activity.

Written in 2010, this essay has renewed resonance: YouTube is changing its user agreement; in the USA, the Federal Communications Commission has proposed sweeping changes to net neutrality; and civil society groups across the world are demanding Internet governance structures incorporate the central tenets of democracy. Departing from Liang’s article, this salon will map the local impact of these tendencies, considering how the changing nature of the Internet affects the practices of individual artists and art institutions.

This meeting of No Reading After the Internet (Toronto) is supported by the Liaison of Independent Filmmakers of Toronto, SAVAC and Bento Miso.