Chris Curreri

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<header>Chris Curreri: Thick Skull, Thin Skin</header>
<header>Esker Foundation, Calgary 
January 23 - May 2, 2021</header>
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Chris Curreri’s works complicate and dissolve seemingly dichotomous states of tenderness and violence; abjection and beauty; seduction and revulsion; self and other. They suggest an unravelling of the hermetic borders that have been constructed between us, others, and things in the world.
This exhibition brings together sculptural and photographic bodies of work that form and frame a sense of porousness and consider the tension between moments where things become fixed and the possibility of continuous, nearly imperceptible shifts—the suggestion that bodies and matter can and do exist within a continuum of potentialities.
Clay, photographs, human bodies, glass, concrete, and the earth have all undergone a transformation, shaped and moulded by force—by forces that are tender, by those that are unrelenting, or those that are elemental—to arrive in a moment of ambiguous suspension. Forms rhyme and resonate as vessels, portals, orifices, or thresholds and enigmatically offer the potential of inside and/or outside, exposure and/or concealment, pleasure, and/or potentially, pain. These works revel in productive confusion and address us as proxies of the vulnerable, powerful body.
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For more information please visit: <a href="https://eskerfoundation.com/">https://eskerfoundation.com/</a>
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Chris Curreri, Esker Foundation, Calgary, January 23 - May 2, 2021

Mark Lewis

Video Room: Mark Lewis 
MASP, São Paulo 
December 18, 2020 - January 31, 2021
Mark Lewis is a Canadian video artist who lives in London and frequently visits São Paulo, where he has producedwork. Among them is Museum (2018), shot in the picture gallery of glass easels designed by Lina Bo Bardi for MASP’s collection, located on the building’s second floor. The glass easel gallery was inaugurated with the new building on Avenida Paulista in 1968, introducing an exhibition display that remains radical to this day; nevertheless it was dismantled in 1996, and reconstructed again in December 2015. As we complete five years of the picture gallery’s reconstruction, Lewis video, gifted to the museum by the artist and here on view, offers us a meditation on the museum, art, and its histories — at MASP and around the world.
In a long, slow, continuous one-shot, the camera strolls through MASP’s second-floor gallery. We recognize paintings by the “great (male) masters” of (European) art history: Piero di Cosimo, Jacopo Tintoretto, Hieronymus Bosch, Rafael, Sandro Botticelli, Diego Velázquez, El Greco, Frans Hals, Rembrandt. Lewis has subjected the material to extreme digital manipulation, creating an environment that is at once fantastic and phantasmagoric, where art and architecture, time and history, vision and perception seem to be in the process of melting and decomposition; fracturing and fragmentation; shattering and crystallization. Alternatively, everything could be the vision of a delusional dream during a night of torpor. Or further still, it might be the representation of a lysergic vision, the result of altered states of consciousness, induced by chemical substances of different orders.
However, it may also be possible to identify here a certain criticism of that totalizing and dominating institution, attempting to encompass, classify, confine, organize, and preserve everything, representing a coherent, hierarchical, and significant image of the world and its most illustrious objects: the museum itself. With its inescapable focus on things from the remote or recent past, with its mission to preserve objects from other times, the museum and its collection run the risk of distancing and disconnecting themselves from the present, from contemporary life. “The German word museal has unpleasant overtones,” wrote the German philosopher Theodor Adorno. “It describes objects to which the observer no longer has a vital relationship, and which are in the process of dying. They owe their preservation more to historical respect than to the needs of the present.” The museum would then tend to petrify or ossify, something that Lewis’s video seems to ominously represent. Would we be facing a “museum in ruins,” to use the well-known expression of art historian Douglas Crimp, a reader of Adorno? At a time in which museums around the world are experiencing crises of identity, reevaluating their missions, collections, and purposes to find new ways to engage with art (be it ancient or contemporary) and audiences (whether internal or external), Mark Lewis’s video meditation, full of strange and familiar, frightening and seductive visions, is an incisive and powerful provocation.
CURATED BY Adriano Pedrosa, Artistic Director
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For more information please visit: <a href="https://masp.org.br/">https://masp.org.br/</a>

Mark Lewis, MASP, São Paulo, December 18, 2020 - January 31, 2021

Shannon Bool

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Patterning: Pop and Politics in Contemporary Textile Art 
Kunstsammlung Chemnitz, Chemnitz, Germany 
November 8 – February 14, 2020
The examination of the material, new textiles and carrier materials inspires artists: people of different generations and origins from all continents. Curtains, wallpaper and carpets are being rediscovered as image carriers for contemporary representations. Stories and backgrounds of historical, visual and global contexts can be retold with fabrics, textile decor and clothing. The rediscovery of traditional techniques contrasts with enthusiasm for new digital technologies: digital technology controls the looms today or spins the threads into an augmented reality. Fabrics are always also symbols of cultural identity. Material research in the context of mass production and sustainability are key words that are currently subject to a special pattern in artistic terms.
An exhibition with works by 
Nevin Aladağ | Alexandra Bircken | Tim Berresheim | Shannon Bool | Edith Dekyndt | The deadly Doris | Kyungah Ham | Tobias Hantmann | Erika Hock | Magdalena day care center | Helen Mirra | Laure Prouvost | Yelena Popova | Puppies Puppies (Jade Kuriki Olivio) | Regine Schumann | Sara Sizer | Oliver Sieber | Heidi Specker | Roland Stratmann | Rosemarie Trockel
For more information please visit: <a href="https://www.kunstsammlungen-chemnitz.de/ausstellungen/musterung/">www.kunstsammlungen-chemnitz.de</a>

Shannon Bool, Kunstsammlung Chemnitz, Germany, November 8 – February 14, 2020

Nadia Belerique

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NADIA BELERIQUE, JENEEN FREI NJOOTLI, KATHY SLADE 
Kunstverein Braunschweig, Germany 
Nov 7, 2020 – Feb 14, 2021
The current exhibition brings together works by NADIA BELERIQUE, JENEEN FREI NJOOTLI, and KATHY SLADE in the Villa Salve Hospes and the grounds of the Kunstverein.
In her artistic work, Nadia Belerique (born 1982 in Toronto, Canada) examines the relationship between object and (photographic) representation as well as the possibilities of subtle manipulations of perception in space. Using deliberately distorted everyday objects and invoked symbols, she lays narrative trails that allude to various, sometimes contradictory narrations. Moments of intimacy and retreat are explored against the backdrop of blurred boundaries between private and public space and between psychological and physical space.
Jeneen Frei Njootli’s (born 1988 in Whitehorse, Yukon, Canada) interdisciplinary practice with performance, sound, and installation is inspired by their cultural background and personal experiences. Njootli is a member of the Vuntut Gwitchin, a Canadian indigenious community that is self-governing to this day. They interrogate traditional materials and objects, which are closely interwoven with the memory of their ancestors, in terms of their relation to trade, ceremony, politics, and the body.
Kathy Slade’s (born 1966 in Montreal, Canada) expansive, multidisciplinary practice moves across genres from visual and popular cultures to gendered labours through the use of textiles, sculpture, publication, sound, film, and video works. Spanning a breadth of Slade’s practice over the last two decades, the exhibition focuses on reading and publishing, offering meditations on the role of the artist, publisher, and teacher.
Curators: Franz Hempel, Jule Hillgärtner, Nele Kaczmarek, Julia Lamare (CAG)
GUEST ROOM
We welcome DOKUARTS and the Braunschweig International Film Festival as guests with a selection of films thematically linked to Canada.
The exhibition is developed in partnership with the Contemporary Art Gallery (CAG), Vancouver. The exhibition is part of the culture program related to Canada’s Guest of Honour presentation at the Frankfurt Book Fair 2020/21 and is supported by Canada Council for the Arts, the Government of Canada (Embassy of Canada), British Columbia Arts Council and the Ministry for Science and Culture of Lower Saxony.
Kunstverein Braunschweig e.V. is supported by City of Braunschweig – Department for Culture and Science.
For more information please visit: <a href="https://kunstvereinbraunschweig.de/en/exhibitions/nadia-belerique-jeneen-frei-njootli-kathy-slade/#belerique_frei-njootli_slade">https://kunstvereinbraunschweig.de/</a>

Nadia Belerique, Kunstverein Braunschweig, November 6, 2020 - February 14, 2021

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Silhouettes 
Baba Yaga, Hudson, New York 
Opening September 26th
Nadia Belerique 
Lorenzo Bueno 
Max Guy 
John-Elio Reitman
For more information please visit: <a href="https://babayaga.earth/">https://babayaga.earth/</a>

Nadia Belerique, Baba Yaga, Hudson, New York

Douglas Coupland

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Hello, Robot. 
Nouveau Musée Bienne, Bienne, Switzerland 
September 26 2020 – January 3, 2021
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Hello, Robot.
Le design entre humain et machine
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Drones de livraison, capteurs intelligents, industrie 4.0 – depuis plusieurs décennies, la robotique s’est peu à peu installée dans nos vies et bouleverse notre quotidien. Dans ce processus, le design joue un rôle particulier, car ce sont les designers qui conçoivent les interfaces entre les humains et les machines.
L’exposition Hello, Robot. Le design entre humain et machine présente un éclairage inédit sur le récent essor de la robotique. Elle englobe plus de 200 objets issus du design et de l’art – des robots utilisés dans l’espace domestique, dans les secteurs des soins et de l’industrie, des jeux vidéo, des installations multimédias ainsi que des exemples issus du cinéma et de la littérature. Montrant la multiplicité des formes que prend la robotique aujourd’hui, l’exposition ouvre également le débat sur les questions éthiques, sociales et politiques que soulève l’utilisation croissante de ces innovations technologiques.
Hello, Robot aborde la thématique en quatre chapitres : « Science et fiction », « Programmé pour le travail », « Ami et auxiliaire » et « Une fusion totale ». Il en va autant du fantasme de la création de créatures artificielles, que des robots dans la culture populaire. Concernant le monde du travail, dans lequel les robots sont particulièrement présents, les visiteuses et les visiteurs rencontreront aussi bien des robots industriels classiques que des installations artistiques qui interrogent les limites entre le travail pouvant être automatisé et les tâches – notamment créatives – des humains. De même, dans la vie quotidienne, l’usage des robots devient de plus en plus intime - entre amis digitaux et cybersexe. L’implantation de capteurs ainsi que l’évolution vers des villes intelligentes évoquent en outre une future fusion avec les machines.
Hello, Robot. Le design entre humain et machine – présentée pour la première fois sur la frontière linguistique – est issue d’une coopération entre le Vitra Design Museum, le MAK – Österreichisches Museum für angewandte Kunst / Gegenwartskunst Wien et le Design Museum Gent.
For more information please visit: <a href="https://www.nmbiel.ch/.well-known/index.php?id=4&amp;lang=fr&amp;eid=70">www.nmbiel.ch</a>
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Douglas Coupland, Nouveau Musée Bienne, Switzerland, September 26, 2020 - January 3, 2021

Steven Beckly

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Steven Beckly: Lightbringer 
Stride Gallery, Calgary, Canada 
September 25 – November 7, 2020
The exhibition’s title refers to multiple metaphors of light. It is a term for the planet Venus used to indicate its brightness and unique movements in the night sky. Due to these cosmic nuances, mythology surrounding Venus often features the motif of a divine being falling from grace. Lucifer (‘light-bringer’) is a Latin name used for mythological and religious figures associated with the planet.
Drawing on photography’s relationship to light, space and time, Beckly’s new body of work comprised of images, sculptures and a public billboard installation. Working with natural and spectral forms, Beckly cultivates a visual language of colours and textures by revealing poetic links between optics and haptics, materiality and sensuality. Printed on materials of varying opacity, reflectivity and dimension, Beckly’s works are affected by light and the position of the viewer’s body. Suspending in the gallery space and protruding from the walls, they exist in a tenuous balance. Considering darkness as the companion of light, Lightbringer reaches into the realm of the unknown for a deeper look at intimacy and relationships.
Steven Beckly is a Chinese artist and photographer based in Toronto. Recent and upcoming solo exhibitions include The heart can’t wait at Daniel Faria Gallery, Toronto (2020); and Love S.O.S. at Centre3, Hamilton (2019). Beckly’s work has been featured in exhibitions at the Remai Modern, Saskatoon (2019); The Museum of Fine Arts, Houston (2019); and the Musée d’art contemporain de Montréal (2017). He is represented by Daniel Faria Gallery, Toronto.
Exhibition publication Lightbringer contains works by Steven Beckly and text by Fan Wu.
The artist would like to acknowledge the support of the Ontario Arts Council.
For more information please visit: <a href="http://www.stride.ab.ca/category/main-space/">http://www.stride.ab.ca/</a>

Steven Beckly, Stride Gallery, Calgary, September 25 - November 7, 2020

<a href="https://danielfariagallery.cmail19.com/t/r-i-jkuuhruy-l-tl/">Image...Sent</a> 
Curated by Catherine Bédard 
Canadian Cultural Centre, Paris, France 
September 17 – October 16, 2020
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From September 17 to October 16, this exhibition celebrating the 50th anniversary of the Canadian Cultural Centre in Paris brings together 36 new photographic projets by major Canadian contemporary artists, as well 50 special images shared by Canadian and French citizens.
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Mark Lewis, Canadian Cultural Centre, Paris, September 17 - October 16, 2020

Kristine Moran

<a href="https://danielfariagallery.cmail19.com/t/r-i-jkuuhruy-l-tj/">Cubed</a> 
The Hole, New York, United States 
September 10th – October 11th, 2020
CUBED
Andreas Angelidakis 
Ara Peterson 
Clinton King 
Irina Ojovan 
Jean Nagai 
Jonny Niesche 
Kristine Moran 
Lilah Rose 
Luke Diiorio 
Luke Murphy 
Palma Blank 
Rebecca Ward 
Robert Moreland 
Thomas Trum
September 10th – October 11th, 2020
The Hole is proud to present a group show of idiosyncratic geometric abstraction entitled “Cubed”. Building on our 2016 show “Two on Two” with Johnny Abrahams, Matt Mignanelli, Palma Blank and Russell Tyler, this exhibition was meant to be two on two on two, or 2 x 2 x 2, two cubed and eight artists. Unfortunately it has been so long since we have gotten to do a group show of this nature that there were 14 artists crucial to the exhibition. I suppose we should have added two more and changed the name to “Tesseract”.
Regardless of the enforced continuity in our thematic group exhibitions, “Cubed” sprang into 3D from our encounters around the art world in 2019 before it all went on pause. Andreas had an amazing installation at Art Basel’s Art Unlimited (and at The Breeder in Athens), Rebecca Ward had beautiful works with Ronchini Gallery at Art Brussels, Luke Murphy had a fantastic solo exhibition at Shane Cambell in Chicago, Johnny Niesche we saw at ALAC in LA and also Art Athina in Athens. Our gallery director Ray engaged with Kristine Moran after her solo booth at Armory with Daniel Faria along with artists Luke Diiorio, Irina Ojovan and Clinton King.
I seized a week of pandemic clouds parting to visit LA and see Lilah Rose, Jean Nagai and Robert Moreland in person—a luxury! But travel restrictions prevented Thomas Trum from coming to do a beautiful wall mural with this custom-built painting machine. We are super grateful that we will be able to welcome you to a socially-distanced opening for “Cubed” and be open with limited occupancy; unlike our last thematic group show “Second Smile” in April that not a single person got to come see.
The works in this exhibition will fill the entire gallery, one office and also our new expanded entrance gallery. Having demolished our little shop zone (which over the past nine years was bookstore, pajama shop, eyeglass store, Matcha cafe, and most recently heritage perfumery) we now have a big front zone and two front doors to welcome you. A special project for this area, Andreas Angelidakis created a tipped-over column to go with our newly exposed little corinthian guy. And festooning our new walls, works by Irina Ojovan shift hue and albedo across their small and subtle compositions.
The main long wall of the gallery features the single-line machine drawings of Dutch artist Thomas Trum, whose experimentation with drawing and painting machines leads to giant geometries. 3D wall works by Lilah Rose and Robert Moreland fill out this room with their undulating and folding protrusions from the picture plane. In the rear gallery the strands of light in Luke Murphy’s video cube mimic the bright electric lines of Clinton King, Palma Blank and Jean Nagai paintings. In our side office we have installed Ara Peterson’s 1997 video “12 Ball” whose clacking soundtrack invigorates this very enigmatic animation work and likewise the whole exhibition.
Australian artist Johnny Niesche creates two infinite void paintings with layers of dyed and painted fabrics, while Luke Diiorio’s shaped canvas-over-panel painting goes in the other direction with its insistent objecthood. In the big back gallery, Rebecca Ward’s skeins of painted silks and de-threaded weaving works pair with Canadian Kristine Moran’s quasi-abstract compositions. The beautiful arcs of black across her line of canvasses starts to resolve into swim caps with the peek of round pink goggles (above), just as the hint of personal idiosyncrasy pervades this show to keep the preponderance of geometric abstraction light on its feet.

Kristine Moran, The Hole, New York, September 10 - October 11, 2020

<a href="https://danielfariagallery.cmail19.com/t/r-i-jkuuhruy-l-yk/">Together Apart</a> 
Equinox Gallery, Vancouver, Canada 
September 10 – October 1, 2020
Together Apart features works by Shuvinai Ashoona, Sonny Assu, Douglas Coupland, Claes Oldenburg, Ed Ruscha, Gordon Smith, Frank Stella, Renée Van Halm, Takao Tanabe, Neil Wedman, and more.

Douglas Coupland, Equinox Gallery, Vancouver, September 10 - October 1, 2020

<a href="https://danielfariagallery.cmail19.com/t/r-i-jkuuhruy-l-s/">Shannon Bool: Crimes of the Future</a> 
Kadel Willborn, Düsseldorf, Germany 
September 4 – October 24, 2020
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Shannon Bool, Kadel Willborn, Düsseldorf, September 4 - October 24, 2020

<a href="https://danielfariagallery.cmail19.com/t/r-i-jkuuhruy-l-e/">Shannon Bool: Modernism and Its Discontents</a> 
Agnes Etherington Art Centre, Kingston, Canada 
August 25 – December 6, 2020
Shannon Bool’s recent practice takes on many forms, including tapestries, silk paintings, collages, sculptures and photograms. All gravitate around a central theme: a critique of Modernism through unconventional material processes, combined with her own interpretation of psychoanalytical concepts. By examining the flip side of modernist currents, the artist reveals repressed aesthetic influences in both visual art and architecture.
The role of architecture in controlling both bodies and behaviour is at the core of Bool’s approach, which identifies objectifying strategies used in interior design, specifically in the arrangement of niches, alcoves and sightlines within domestic spaces. This is apparent in her tapestries investigating viewpoints in the architecture of Mies van der Rohe and Le Corbusier, and her recent works of embroidered floor plans by Adolf Loos and Carlo Molino. In other tapestries and photograms, she complicates Le Cobusier’s Plan Obus, aimed at transforming Algiers into a modern imperial capital, by revealing its underlying phantasmal character. Using superimposition, she connects his architectural drawings with his erotic drawings and orientalist postcards widely circulated at the time, suggesting that one could have informed the other. Finally, her silk paintings confound our expectations by mixing ideas of softness and sensuality with the rigidity and flatness of the modernist grid reminiscent of architectural façades.
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This exhibition is produced by the Musée d’art de Joliette in partnership with the Agnes Etherington Art Centre. Iterations of this project initiated by the Musée d’art de Joliette have been presented by the Canadian Cultural Centre in Paris, and the Kunstverein Braunschweig in Braunschweig. We thank the Canada Council for the Arts for their support.
Curated by Anne-Marie St-Jean Aubre, Curator of Contemporary Art, Musée d’art de Joliette with Sunny Kerr, Curator of Contemporary Art, Agnes Etherington Art Centre

Shannon Bool, Agnes Etherington Art Centre, Kingston, August 25 - December 6, 2020

Un Cuore Due Capanne 
Galeria Madragoa 
Curated by Luiza Teixeira de Freitas 
July 31 - October 3, 2020 
Online Exhibition
Madragoa is happy to announce the online exhibition Un Cuore due Capanne, curated by Luiza Teixeira de Freitas, on air in the gallery's viewing room and live on Artsy from July 31st to October 3rd, 2020!
Un Cuore due Capanne is an online group show featuring works by Augusto Alves da Silva, Adríán Balseca, Nadia Belerique, Sara Chang Yan, Enzo Cucchi, Tomás Cunha Ferreira, Alexandre Estrela, Rodrigo Garcia Dutra, Rodrigo Hernández, Max Hooper Schneider, Luís Lázaro Matos, Renato Leotta, Joanna Piotrowska, Buhlebezwe Siwani, Belén Uriel and Yuli Yamagata.
This exhibition is inspired by the song Coniugati passeggiare by the Italian singer Dente and explores the notion of isolation, resultant from the current social constraint situation. The selection of works presented propose a reflection on the strangeness of the contemporary world and the digital format in which this exhibition is presented, in a kind of meta-strangeness on the new post-pandemic modus vivendi.

Nadia Belerique, Galeria Madragoa, Online Exhibition July 31 - October 3, 2020

Steven Beckly LIGHTBRINGER: A PRELUDE 
July 20 – September 14, 2020 
Stride Gallery’s Storefront Windows
Stride Gallery is pleased to present a photographic installation, Lightbringer: a prelude in our storefront by Steven Beckly as a prelude to his exhibition Lightbringer that opens on September 25, 2020.
The exhibition’s title refers to multiple metaphors of light. It is a term for the planet Venus used to indicate its brightness and unique movements in the night sky. Due to these cosmic nuances, mythology surrounding Venus often features the motif of a divine being falling from grace. Lucifer (‘light-bringer’) is a Latin name used for mythological and religious figures associated with the planet.
Drawing on photography’s relationship to light, space and time, Beckly’s new body of work comprised of images, sculptures and a public billboard installation. Working with natural and spectral forms, Beckly cultivates a visual language of colours and textures by revealing poetic links between optics and haptics, materiality and sensuality. Printed on materials of varying opacity, reflectivity and dimension, Beckly’s works are affected by light and the position of the viewer’s body. Suspending in the gallery space and protruding from the walls, they exist in a tenuous balance. Considering darkness as the companion of light, Lightbringer reaches into the realm of the unknown for a deeper look at intimacy and relationships.
Steven Beckly is a Chinese artist and photographer based in Toronto. Recent and upcoming solo exhibitions include The heart can’t wait at Daniel Faria Gallery, Toronto (2020); and Love S.O.S. at Centre3, Hamilton (2019). Beckly’s work has been featured in exhibitions at the Remai Modern, Saskatoon (2019); The Museum of Fine Arts, Houston (2019); and the Musée d’art contemporain de Montréal (2017). He is represented by Daniel Faria Gallery, Toronto.
Exhibition publication Lightbringer contains works by Steven Beckly and text by Fan Wu.
The artist would like to acknowledge the support of the Ontario Arts Council.

Steven Beckly, Stride Gallery, Calgary, July 20 – September 14, 2020

<a href="https://danielfariagallery.cmail19.com/t/r-i-jkuuhruy-l-jr/">In Focus: Statements</a> 
Copenhagen Contemporary, Copenhagen, Denmark 
Through December 30, 2020
<h3>Under Open Skies</h3>
‘No Justice, No Peace’, ‘I can’t breathe’, ‘Keep a distance’. These words have spread like wildfire globally, testifying to a world marked by change and consternation. COVID-19 has claimed hundreds of thousands of lives, the battle against racism rages in the wake of the killing of George Floyd, a black American, and the #MeToo wave seeks to mitigate violation against women. Humans are on the barricades.
On 25 June, Copenhagen Contemporary opens its doors to the exhibition In Focus: Statements, directly addressing the current global crisis. Copenhagen Contemporary is activated by international world stars indoors and outdoors in the group show In Focus: Statements. Works of art with political texts and messages go beyond the physical framework of CC, sending visitors on a journey of discovery in the former welding hall and outside in the Refshaleøen industrial area.
With focus directed at events happening in the world at the moment: USA’s upcoming presidential election, Brexit, #MeToo, the COVID-19 pandemic, and Black Lives Matter, the exhibition presents artists who, through language, address some of the social issues topping the agenda just now.
<h3>Contemporary linguistic highlights</h3>
In Focus: Statements aptly summarises the global crisis experienced by the world at this moment with the COVID-19 pandemic – a crisis denying us social interaction and renegotiating the relationship between citizens and those in power, individuals and groups, and the private and public sphere. While Douglas Coupland encourages us, with a pinch of humour, to stockpile all that cannot be downloaded, Sam Durant visualises, in his work Labyrinth, how isolation affects different groups, for example, prisoners.
In the case of COVID-19, language and rhetoric have played a crucial role in communicating the crisis in the media and public space. New words have emerged while others have taken on new meanings. Several works in the exhibition, therefore, trace the changing meanings of words from they were created until the present. An example of this is Shilpa Gupta’s work from 2008–09 consisting of soaps inscribed with the word Threat – no longer solely associated with debates on ethnicity and identity politics, but also on hygiene and danger of infection. The same is true of Monica Bonvicini’s Hy$teria from 2019, a fitting epitaph to the situation facing financial markets since the outbreak of COVID-19.
Many of these works are not recent – but we interpret them in the context of the present. Jenny Holzer’s marble benches with engraved texts – describing the loss of a loved one to AIDS – now brings to mind the privations and deaths brought about by the COVID-19 pandemic. Zoe Leonard’s text I want a president from 1992 is about wanting a president who embodies some of the experiences shared by ordinary people.
The artist Marilyn Minter has created gender political works for decades, subscribing to the struggle of the #MeToo movement to end the suppression of women when Donald Trump’s (in)famous statement ‘Grab them by the pussy’ is placed on an election poster in citation marks. Adrian Piper addresses the right of people to decide on matters affecting their own bodies by formulating statements on a business card for you to take with you and hand out if anyone oversteps your personal boundaries.
In various ways, the works in the exhibition are a reminder that the language we use is not neutral, but plays a part in forming us and our understanding of the world. Language is powerful, daily defining our experience of social inequality, representation of minorities, abuse against women, suppression, racism, climate responsibility, and other big questions of concern to us at present.
The outdoor part of the exhibition is open from 25 June until 30 August whereas the indoor part can be experienced until 30 December.
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Douglas Coupland, Copenhagen Contemporary, June 25 - December 30, 2020

<a href="https://danielfariagallery.cmail19.com/t/r-i-jkuuhruy-l-jy/">The Tin Man Was a Dreamer: Allegories, Poetics and Performances of P</a><a href="https://danielfariagallery.cmail19.com/t/r-i-jkuuhruy-l-jj/">ower</a> 
The Vancouver Art Gallery, Vancouver, Canada 
June 15 - November 1, 2020
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Spectacles of physical power and violence have long permeated the visual cultures of Western civilizations. Battle scenes, warriors and athletes have figured in visual art since antiquity, when victorious generals and emperors were commonly immortalized in sculpture. Presented at a time that coincides with presidential and congressional election campaigns in the United States, The Tin Man Was a Dreamer draws on these traditions while subtly responding to this historical moment by examining the ways in which power is constructed, disseminated, enacted and denied. The exhibition title refers to the Tin Man, a character from the 1939 film The Wizard of Oz who earnestly sets out in search of a heart, only to discover that he has had compassion all along. The tin man as a motif also commonly appeared in American advertising and political cartoons in the late nineteenth century to symbolize workers who had been dehumanized by industrialization, or pugnacious politicians who continually assailed their opponents. Featuring works in a variety of media—from seventeenth-century paintings to contemporary video—the exhibition examines topics ranging from displays of aggression, physical posturing, the performance of the self, political theatre and the role of mass media in framing public perception.
Artists include Larry Fink, Mark Lewis, Sorel Cohen, Fred Herzog, Jack Shadbolt, Joyce Wieland, Ruth Scheuing, Lawrence Paul Yuxweluptun, Micah Lexier, Manuel Álvarez Bravo, Rineke Dijkstra, William Beechey, Elizabeth Wyn Wood, Marian Penner Bancroft and Robert Frank, among others.

Douglas Coupland and Mark Lewis, The Vancouver Art Gallery, June 15 - November 1, 2020

<a href="https://danielfariagallery.cmail19.com/t/r-i-jkuuhruy-l-yd/">Just Don’t Let Anything Burn: 
New Presentation of the Collection</a> 
Kunstmuseum Bonn, Bonn, Germany 
June 3, 2020 - July 1, 2022
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After the large inventory of painting in the exhibition Jetzt! The Kunstmuseum Bonn is now directing young painting in Germany back to its own collection, which is being re-presented in its diverse aspects and including purchases and donations from recent years as well as permanent loans from private collections (KiCo, Mondstudio, Scharpff-Striebich, etc.).
At the same time, the new hanging creates a resonance space for the previous in now! positions shown, because the art museum defined painting as the focus of its collection of contemporary art from the start. A room with pictures from the 1980s gives a look back at the emphatic revitalization of painting and at the same time an outlook on current painting projects, for example Tobias Pils and his complex, both reflected and intuitively developed pictures. The spectrum ranges from Informel to Palermo, Gerhard Richter, Sigmar Polke and to Pia Fries, Christopher Wool and Thomas Huber.
But the image possibilities of photography are also discussed, with new acquisitions of photographs by Heidi Specker and Viktoria Binschtok, which were previously shown in solo exhibitions at the museum, with photographs by Claudia Fährenkemper and Hartmut Neumann, who gave the museum a comprehensive bundle of his work. The museum also received works by Harald Naegeli as a donation, who is not presented here as a sprayer, but as the creator of utopian drawing spaces with his “primeval clouds”.
The video center shows the film "Unheil" by John Bock, acquired in 2018, who invents a Middle Ages full of disturbing rituals. Separate rooms are dedicated to Isa Genzken and Georg Herold, two artists who refuse to define any media or content, Genzken confidently improvisationally, Herold with disrespectful humor (“Don't let anything burn”).
With works by: 
Hans-Peter Adamski, Jan Albers, Georg Baselitz, Joseph Beuys, Viktoria Binschtok, John Bock, Katinka Bock, Shannon Bool, Herbert Brandl, Walter Dahn, Hanne Darboven, Claudia Fährenkemper, Pia Fries, Isa Genzken, Michael Görnert, Katharina Grosse, Geord Herold, Charline von Heyl, Stephan Huber, Thomas Huber, Jörg Immendorff, Christof Kohlhöfer, Milan Kunc, Wolfgang Laib, Michel Majerus, Ingo Meller, Johanna von Monkiewitsch, Harald Naegeli, Hartmut Neumann, Marcel Odenbach, Albert Oehlen, Markus Oehlen, Blinky Parlemo, Tobis Pils, Sigmar Polke, Gerhard Richter, Sebastian Riemer, Reiner Ruthenbeck, Thomas Scheibitz, Heidi Specker, Gerd &amp; Uwe Tobias, Günter Umberg, Stefan Vogel, Christopher Wool

Shannon Bool, Kunstmuseum Bonn, June 3, 2020 - July 1, 2022

Elizabeth Zvonar

<div class="entry-statement">Elizabeth Zvonar: Cut and Paste</div>
<div class="entry-statement">Public Installation for Capture Photography Festival, Vancouver, Canada</div>
<div class="entry-statement">Fraser St at 15th Ave (across from Grey Church), Vancouver, Canada</div>
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Rotating Public Installation:
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<div class="entry-statement">Gattamelata, July 29 – November 17, 2020</div>
<div class="entry-statement">Women’s Work, December 1, 2020 – March 18, 2021</div>
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Fragmentation and juxtaposition are two ways in which Elizabeth Zvonar challenges the power of representation within iconic images from Western art history. Cutting and pasting pictures from art history textbooks into collages, Zvonar examines their underlying systems and structures.
In French Fantasy, the face and torso of the figure from Ingres’s La Grande Odalisque (1814) is removed and replaced with a detail from an image of a funerary statue of ancient Egyptian Prince Rahotep and Princess Nofret (c. 2600 BC). This arrangement obscures the identity of the woman in Ingres’s portrait, replacing it with the stylized arm of Nofret. In Zvonar’s image, both women are released from idealization and the viewer’s fantasy; their objectification becomes obfuscated.
Gattamelata juxtaposes the Mona Lisa (1503–6) by Da Vinci with an image of Donatello’s Equestrian Statue of Gattamelata (c. 1453). The image of the statue, which represents Erasmo da Narni, a military captain, is removed and replaced by an offset image of the Mona Lisa. The arms from another image of the Mona Lisa float below, proportionally larger in scale than the fragment of the face above. In Zvonar’s collage, the figure from the Mona Lisa becomes larger than life, her face much greater in size than that of the statue, with her hands enveloping the ground on which he stands. The equestrian statue as a symbol of male power is negated by the male representation of a woman. Systems of power and representation in both images are challenged.
In Women’s Work, Zvonar cuts up both black and white and colour images of Manet’s Un bar aux Folies Bergere (1882) and mixes it with Fernand Leger’s The City (1919). The section of Manet’s painting that is removed from Zvonar’s collage is that of the mirrored male figure that appears to be the subject of the worker’s attention. What remains is her despondent gaze, multiplied through two additional sets of eyes. This combination lays over Jan Van Eyck’s image of hell from Last Judgement (c. 1430–40). The result is a commentary on labour in cities, identifying the strife of ill-paying jobs as a hellish condition of cosmopolitan life.
By appropriating, splicing, and remixing these images, Zvonar forces them to recontextualize one another. She uses a formal gesture of mirroring throughout all three images: the feet and the curtains in French Fantasy extend beyond the frame, architectural motifs in Gattamelata transform building facades into endless patterns, and the mirror is cut in Women’s Work shifting the perspective. Through mirroring, a multiplication of the subject and form emerges, reinforcing Zvonar’s move to recontextualize the original images. From the objectification of women, to power relations inherent in images, and to the realities of labour in urban life, they serve as a testament to the relation between representation and reality, or idealization and life.
The GreyChurch Billboard is generously supported by Jane Irwin and Ross Hill.
Curator: Emmy Lee Wall
Text by: Madalen Benson

Elizabeth Zvonar, Capture Photography Festival, Vancouver, March 12, 2020 - March 18, 2021

Human Learning - What Machines Teach Us 
Canadian Cultural Centre, Paris 
February 5 - April 17, 2020 
Opening Reception: Tuesday, February 4, 6 PM
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Human Learning. What Machines Teach Us is an exhibition that documents the world using the technologies that shape it. The works in the exhibition feature a large variety of styles: interactive devices that make us learn their playabilities, generative installations whose processes are entirely autonomous and digital creations made out of digital forms.
The concept of artificial intelligence emerged in the 1950s. It served as a vehicle for an imaginary world immediately adopted by science-fiction writers who endowed machines with the ability to “think”. In the 1980s, the idea that machines could themselves learn, by deduction, appeared. This is known as “machine learning”. Finally, since the turn of the millennium, the term “deep learning” has been used for the processing of vast quantities of data by computers.
We have taught everything to machines and continue to supply them so that they pursue the “desire” for autonomy we would like to grant them. Isn’t it time that we started thinking that we, too, learn from them by observing their specificities or qualities? If there is one community that observes the world to give us its interpretations of its transformations, it is the artistic community.
Artists have always made use of the tools and materials of their times. Thus, more and more of them are turning to the creative potential of digital technologies, which are also used by researchers in their laboratories. In doing so, they accept what the machines offer them while adding an element of unpredictability to their creations. Sometimes, they distance themselves from their works, which run so that their modes of actions may be observed better. Machines or robots are also the subjects of photographs or films that other artists produce to encourage new forms of empathy in us. It is not an application or a service that does not work as soon as it opens. From the special-effect filters of mass-market software to the networks of artificial neurones that artists share with researchers. They both learn and appropriate these technologies by rubbing shoulders with them.
We have a certain proximity with the works that emerge from the use and/or observation of the technologies that shape our relationship to the world, to others and to ourselves. Recognizing the technologies of our daily lives in an artistic context makes us envisage them differently. Knowing that it is through contact with others that we build ourselves, it is about time to think about the “mechanical” other we increasingly frequent without being too aware of it. Dedicating an exhibition to machines and ideas or the resulting aesthetics amounts to accepting their teachings.
Works by Matthew Biederman, Emilie Brout &amp; Maxime Marion, Grégory Chatonsky, Douglas Coupland, Chun Hua Catherine Dong, Emilie Gervais, Sabrina Ratté, David Rokeby, Justine Emard, Louis-Philippe Rondeau, Samuel St-Aubin, Skawennati, Xavier Snelgrove &amp; Mattie Tesfaldet, with an exterior installation by Olivier Ratsi.
Guest curators: Dominique Moulon and Alain Thibault 
Associated curator: Catherine Bédard
For further information please visit: <a href="https://canada-culture.org/en/event/human-learning-ce-que-les-machines-nous-apprennent/">canada-culture.org</a>

Douglas Coupland, Canadian Cultural Centre, Paris, February 5 - April 17, 2020

Afterimages: Maude Bernier Chabot, Brie Ruais, Elizabeth Zvonar 
Musée D’Art De Joliette, Joliette 
February 1 – May 17, 2020
They live in Montreal, New York and Vancouver. Through their sculptures, ceramics, and photographs, artists Maude Bernier Chabot, Brie Ruais and Elizabeth Zvonar have developed unique ways to make themselves heard.
How can the female body be re-signified? Should we avoid representation altogether, and instead evoke it through sensation? Use abstraction to escape objectification? The female body is the nexus of a set of forces that endlessly reshape it. Like clay, it retains a memory of touch. Mysterious, sacred, impure, tempting, provocative: it comes wrapped in a tapestry of references and connotations.
It is difficult to free ourselves from certain ideologies. We are so deeply steeped in them that they exert a pernicious influence on our ways of being, doing and thinking. For women, the body remains a site of claims and resistances. Instead of approaching the subject head-on, the three artists invite us to question the assumptions underlying our cultural and ideological references.
For further information please visit: <a href="https://www.museejoliette.org/en/expositions/maude-bernier-chabot-brie-ruais-elizabeth-zvonar/">museejoliette.org</a>
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Elizabeth Zvonar, Musée D’Art De Joliette, Joliette, February 1 – May 17, 2020

Iris Häussler

Iris Häussler Prototypes for Dirty Laundry 
Gallery Stratford, Stratford, Ontario 
Curated by Angela Brayham 
February 1 - September 1, 2020
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Iris Häussler is a conceptual artist best known for experiential installations featuring fictional characters brought to life through the evidentiary traces she places in the intricately imagined lives of a growing family of alter egos. These installations are often punctuated by more focused experiments that prototype techniques and materials that may eventually find their way into a major work.
Wax-encased clothing is deeply rooted in Häussler’s practice, dating back more than 30 years and spanning her artistic output both in Canada and Germany, the country of her birth. Just as a musician will often compose studies as part of the conception of a larger work and to dive deeply into a singular technical aspect of a larger body of work, so too Häussler stretches herself through these self-contained works in tar, paraffin and clothing.
As the title suggests, these works are prototypical wax-encased fabric pieces transmuted in meaning and substance by the presence of tar. The alchemical process of making is elaborate: each second-hand garment is worn once, then soaked in tar. Once dry, the dresses, skirts, and blouses are pushed through a layer of molten wax, which immediately releases the blackness of the tar into the liquid paraffin. Paradoxically, this reaction creates a hue that uncannily resembles the natural color of beeswax, inviting us in to beeswax’s connotation of purity and wellbeing. The final sculptural castings evoke natural formations—caves with waxen stalagmites and stalactites, or the complex underwater microcosms of coral reefs.
The title of the work, Prototypes for Dirty Laundry, draws a direct line between the naturally occurring tar sands that are the accidental graveyards and preservation medium for prehistoric animal life, to contemporary fossil-fuel dependent civilization in all its toxicity. The artist’s 2018 visit to the La Brea tar pits in California directly inspired this experimentation with tar. Paraffin, with its snowy whiteness, is a less overtly toxic but similarly refined petroleum product, no less ubiquitous.
The objects, once transferred from the studio into the art gallery, are installed in a classical way: as paintings on walls or freestanding sculptures on pedestals. The works may be seen as art objects unto themselves, but also as foreshadows of the rich dark narratives of Häussler’s elaborate conceptual works.
Text by Beth Kapusta
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Iris Häussler, Gallery Stratford, February 1 - September 1, 2020

Neighborhood Watch
Nadia Belerique, Cytter/Roebas, Dani Leder, Dylan Vandenhoeck, Douglas Watt
Downs and Ross, New York
Jan 17 – Feb 23, 2020
Opening Reception: Friday, January 17, 6–8pm
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For more information please visit: <a href="https://downsross.com/">downsross.com</a>

Nadia Belerique, Downs & Ross, New York, January 17 - February 23, 2020

I Spy: Elizabeth Zvonar
The Polygon, Vancouver
January 10 – March 1, 2020
Opening Reception: Sunday, January 19, 2-4 PM
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Elizabeth Zvonar is a Vancouver artist who works extensively with collage techniques and sculpture. Zvonar draws material from a broad spectrum of sources to produce savvy, sardonic, and often comical juxtapositions that critique socio-cultural norms. Her works—vivid, colourful, and alluring—are examinations of subliminal power dynamics and ideologies in visual culture.
Her exhibition, I Spy, features two new large-scale murals and recent photographic collages that allude to how we look at and make sense of photographs. Photography is Hard, a mural installed on the second-floor landing, makes reference to The Polygon as a place dedicated to the medium of photography. Here Zvonar experiments with new techniques favouring concealment and removal over addition and excess as with her photo-collages. She works with analogue and digital tools, combining cut images from various mass market magazines to create evocative pictures. In this altered portrait, drawn by Lucien Freud circa 1945, the actress, bohemian, and aristocrat Pauline Tennant appears poised to look through a camera lens.
Of this work Zvonar has said: “photography is hard precisely because the form and the meaning will inevitably shift. Photography is many things including a vinyl print on a wall writ large of an image of a drawing looking through a lens whose focus is controlled by a contrary set of hands.” Another mural is a densely layered montage of images from magazine pages and postcards culled from Zvonar’s expansive personal archive of source material.
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For further information please visit: <a href="https://thepolygon.ca/exhibition/i-spy-elizabeth-zvonar/">thepolygon.ca</a>

Elizabeth Zvonar, The Polygon Gallery, Vancouver, January 10 - March 1, 2020

Allyson Vieira

Division of Labour, Curated by Suzanne Carte
Art Gallery of Burlington
January 10 - March 29, 2020
Opening Reception: Friday, January 17, 7-10 PM
Division of Labour is an exhibition bringing together artists who address issues of class, race, and labour as they relate to cultural waste. Including the works of nine artists who utilize recycled material in their work to illustrate the power and potential of reused matter for artistic production, the exhibition and ancillary programming are designed to educate about the scarcity of resources, labour rights, and the lack of living wages in the arts.
Featuring ro Barragan (Buenos Aires), Patrick Cruz (Toronto), Atom Cianfarani (Montreal), Nicolas Fleming (Toronto), Marlene Jess (Vancouver), Lisa Meecham (Burlington), Joaquin Wall (Buenos Aires), Allyson Vieira (New York), and Shellie Zhang (Toronto).
We are living in a time of increasing economic uncertainty, wage gaps, and class divides. Barter economy systems, critical discourse about consumption, and circuits of solidarity exchange are more present than ever in the daily working lives of artists and cultural producers. Division of Labour uses this moment to consider the true cost of artists’ labour and economic parity through their recovery of and access to excess material. The exhibition is not simply a display of objects constructed from trash, but works to support the building of new networks, resources, and methods for the sustainability of artists’ work. It goes beyond accessing free material to open dialogue about the systemic issues inherent in class dynamics, underemployment, and labour exploitation that plague the cultural industry.
Division of Labour is generously supported by our Title Sponsor RBC Wealth Management and our Activation Sponsor Durward Jones Barkwell &amp; Company LLP. We gratefully acknowledge the contribution of the Ontario Arts Council. The Artist Material Fund is graciously supported by the Ontario Trillium Foundation. Community partners include BurlingtonGreen, Centre, Workers Arts &amp; Heritage Centre, Fondo Nacional de las Artes, and the Consulate General of Argentina in Toronto.
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For more information please visit: <a href="https://artgalleryofburlington.com/">artgalleryofburlington.com</a>

Allyson Vieira, Art Gallery of Burlington, January 10 - March 29, 2020

Staying alive
Sojourner Truth Parsons, Sara Gernsbacher, Nadia Belerique
Lyles and King, New York
January 8 - February 9, 2020
Opening Reception: Wednesday January 8, 6-8 PM
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For more information please visit: <a href="http://www.lylesandking.com/">lylesandking.com</a>

Nadia Belerique, Lyles and King, New York, January 8 - February 9, 2020

The Extreme Present 
Presented by Jeffrey Deitch &amp; Gagosian Gallery 
Art Basel Miami Beach 
December 4 - 8, 2019
Gagosian is pleased to announce The Extreme Present, the fifth in a series of annual exhibitions at the Moore Building in the <a href="https://www.miamidesigndistrict.net/">Miami Design District</a> during Art Basel Miami Beach, presented by Gagosian and <a href="http://deitch.com/">Jeffrey Deitch</a>. The Extreme Present will explore artists’ reactions to the conditions of our accelerating and increasingly complex world. The title is inspired by The Age of Earthquakes: A Guide to the Extreme Present, a book by Shumon Basar, Douglas Coupland, and Hans Ulrich Obrist, published in 2015. Their provocative thesis addresses the rapidly evolving digital era, half a century after Marshall McLuhan’s groundbreaking study on technology’s influence on culture, Understanding Media: The Extensions of Man, in which he coined the phrase “the medium is the message.” Works in this exhibition explore concepts of media, communication, togetherness, and isolation.
For more information please visit: <a href="https://gagosian.com/news/2019/11/09/extreme-present-exhibition-deitch-moore-building-miami/">gagosian.com</a>

Douglas Coupland, Jeffrey Deitch & Gagosian at ABMB, December 4-8, 2019

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24/7: A Wake up Call for our Non-Stop World 
Somerset House, London, UK 
October 31 2019 – February 23, 2020
An essential exhibition for today, exploring the non-stop nature of modern life through a series of immersive, playful works from some of today’s most exciting global artists.
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Tracing the origins of our ‘always-on’ culture back to the Industrial Revolution, 24/7 examines the blurred boundaries between day and night, work and leisure, human and machine, the individual and the collective. With every waking moment now an opportunity to work, tech companies tracking our facial expressions and our devices following our activity even while we sleep, how we cope with this accelerated pace of life is one of the most urgent contemporary issues affecting us all.
This major exhibition takes you on a multi-sensory journey from dawn to duskthrough five themed zones. Over 50 multi-disciplinary works have been brought together, including interactive installations which hold a mirror up to a society where complex control systems play an ever larger role. The exhibition is inspired by the book of the same title by art critic and essayist Jonathan Crary (Verso, 2013).
Contributors include Marcus Coates, Mat Collishaw, Harun Farocki, Pierre Huyghe, Rut Blees Luxemburg, Kelly Richardson, Pilvi Takala, Addie Wagenknecht, and ten artists and designers from Somerset House Studios, including <a href="https://www.somersethouse.org.uk/residents/iain-forsyth-jane-pollard">I</a>ain Forsyth &amp; Jane Pollard.
It is estimated that Britons worked 37 more hours in 2017 than in 2010 (the equivalent of one week’s extra work for many people), with 200,000 working days lost annually to insufficient sleep. Living in the glow of blue light, people in the UK now check their smartphones, on average, every 12 minutes, and half of all UK adults say their life would be boring if they could not get online access.
Curated by Somerset House and Sarah Cook, the exhibition takes visitors on a journey from the cold light of the moon to the fading warmth of the sunset through a series of interactive installations and interrogations of 24/7 life.
Installations include:
Tatsuo Miyajima’s meditative isolation chamber Life Palace (tea room), in which individuals can climb inside, shut the door and bathe in the blue glow of LED countdowns
Alexandra Daisy Ginsb<a href="https://www.somersethouse.org.uk/residents/alexandra-daisy-ginsberg">erg</a>’s new immersive orchestration of a machine generated dawn chorus, highlighting the impact of 24/7 urban lifestyles on bird populations
Daily tous les jours’ I heard there was a secret chord, where visitors can unite with listeners around the world to hum the chorus of Leonard Cohen’s Hallelujah at the end of the exhibition.
Other exhibition highlights include Nastja Säde Rönkkö’s project 6 months without, in which she spent 6 months living and working from Somerset House Studios without the internet; Roman Signer’s Bett, where the artist attempts to sleep with a drone helicopter hovering above his head; Thomson &amp; Craighead’s Beacon, a railway flap sign continuously relaying live web searches as they are being made around the world; Tega Brain’s unfit bits, where the artist fools fitness tracking tools into thinking she is taking exercise, and Alan Warburton’s series of 3D-scanned self-portraits depicting his worktime naps in a visual effects studio in Beijing.
24/7 is supported by world renowned lighting company Signify and will include new work commissioned as a partnership between Somerset House and design hub A/D/O by MINI. Daily Tous Les Jours’ I Heard There Was A Secret Chord is supported by the Québec Government Office, London.
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For more information please visit: <a href="https://www.somersethouse.org.uk/whats-on/247">www.somersethouse.org</a>
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Douglas Coupland, Somerset House, London, October 31 2019 - February 23 2020

Sleeping with a Vengeance, Dreaming of a Life 
Württembergischer Kunstverein, Stuttgart, Germany 
October 19, 2019 - January 12, 2020
From October 19, 2019 to January 12, 2020, the Württembergische Kunstverein will present the most comprehensive version of the exhibition Sleeping with a Vengeance, Dreaming of a Life , which was previously sketched in Greece, China and the Czech Republic. Ruth Noack, designated Founding Director of The Corner at Whitman-Walker , Washington DC, has invited more than 40 artists from different cultural contexts to artistically negotiate the current policy of sleeping and dreaming. We live in times when sleep is considered a biopolitical resource and are encouraged to make it more efficient or even completely abolish it. When sleep is so filled up, how can we still dream?
However, there have always been people who use sleep as a restrained form, such as sleeping instead of working or sleeping where it is not intended, for example in public places. At the same time, dreaming has always been associated with the (counter-) design of a good life, as in Martin Luther King's famous sentence: "I have a dream ...".
The curatorial model of Sleeping with a Vengeance, Dreaming of a Life , opposes the efficiency paradigms and production schemes of the contemporary art industry, which have no relation to the actual conditions of production and often take their space for exhibitions. Instead, the medium of exhibition is seen as an opportunity to produce knowledge together. Sleeping with a Vengeance, Dreaming of a Lifebegan in 2018 as a series of exhibition sketches, jointly and in solidarity with the smallest institutions, the artists, who in turn brought sketches, time and know-how, as well as the curator, and is evolved from time to time. With each station new sketches were added and old ones were developed further. In Stuttgart, a selection is now realized. It is not a classic traveling exhibition, but a work in progressthat changes and learns from the place, the conditions and the people. In this open framework, sleep is to be questioned in its current late capitalist function as a resource for its subversive potentials. Can the act of sleeping and dreaming in an everyday life of constant production and consumption be understood as a resistant political act?
Artists: lorencia Almirón, Clara Amaral, Alaa Abu Asad, Ibon Aranberri, Zbynek Baladrán, Matthijs de Bruijne, Livio Casanova, Ulk Çelik, Agata Cieślak, Alice Creischer, Chris Curreri, Anna Dacqué, Danica Dakić, Anna Daučíková, Teresa Distelberger, Ines Doujak, Haytham el-Wardany, GaP, Tina Gverović, Matt Hinkley, Hu Wei, Dominique Hurth, Sanja Ivekovic, Luis Jacob, Sanne Kabalt, Franz Kapfer, Gülsün Karamustafa, Denisa Lehocká, Miao Ying, Nabuqi, Alejandra Riera, Annette Ruenzler and Jürgen Stollhans , Isabelle Sully, Alia Syed, Leeron Tur-Kaspa, Wendelien van Oldenborgh, Simon Wachsmuth, Xie Nanxing, Xieqi, Baha Görkem Yalim, Zheng Mahler
Curated by: Ruth Noack
For more information please visit: <a href="https://www.wkv-stuttgart.de/programm/2019/ausstellungen/sleeping-with-a-vengeance-dreaming-of-a-life/">www.wkv-stuttgart.de</a>

Chris Curreri, Württembergischer Kunstverein, Stuttgart, Germany, October 19, 2019 - January 12, 2020

Iris Häussler: The Sophie La Rosière Project 
PSM Gallery, Berlin, Germany 
September 17 - October 26, 2019 
Opening Reception: September 14, 2019, 6-9 PM
A studio frozen in time in 1918, that belonged to Sophie La Rosière (1867-1948), contains a number of black paintings unusual to her oeuvre. Image investigation shows underlaying erotic oil paintings revealing her romantic relationship with Florence Hasard (* 1882) and further research unravels her life and work that had been forgotten for almost a century.
For more information please visit: <a href="http://www.psm-gallery.com/exhibition/iris-haussler-sophie-la-rosiere-project-2/">www.psm-gallery.com</a>

Iris Häussler, PSM Gallery, Berlin, Germany, September 17 - October 26, 2019

Undomesticated 
Koffler Gallery, Toronto 
September 18 – November 17, 2019 
Opening Reception: Wednesday, September 18, 2019, 7-9 PM
Artists: Mary Anne Barkhouse, Gwenaël Bélanger, Katherine Boyer, Sandra Brewster, Hannah Claus, Erika DeFreitas, Julie Favreau, Nicolas Fleming, Iris Häussler, Lucy Howe, Gunilla Josephson, Lewis Kaye, Valérie Kolakis, Carmela Laganse, Heather Nicol, Dainesha Nugent-Palache, Gord Peteran, Birthe Piontek, Yannick Pouliot, Adrienne Spier, Karen Tam, Kevin Yates, Shaheer Zazai, Shellie Zhang
Curator: Mona Filip 
Art Director: Nicolas Fleming
Through critical investigations of the domestic realm, Undomesticated considers the psychological, political and emotional layers that shape our sense of home and belonging. Detouring the objects and settings of dwelling spaces, the exhibition addresses an underlying impossibility to fully adapt to or tame our environments in order to construct places where our bodies and psyches can seamlessly fit in.
Driven by survival instinct, humans constantly transform landscapes and ecosystems in search of shelter, security, nourishment, and a more elusive notion of ‘well-being.’ With both positive and negative impact, these transformations seek to eradicate or control what we perceive to be ‘wild’ in search of economic and psychological benefits. Our views and treatment of the natural environment are paralleled in our homes where domesticating tendencies fully manifest in our endless pursuit of comfort.
Engaging with different aspects of the household territory, the artists in this exhibition explore both the influences of external pressures and the outcomes of inherent politics, ranging from diasporic and colonial experiences to aging or displacement. Working in a wide range of media, they transform the everyday to reveal its hidden, unyielding strangeness. Ubiquitous furniture, objects and materials are stripped of their familiarity to access deeper levels of relationship to our surroundings.
The exhibition extends from the Koffler Gallery into the hallways and stairwells of Artscape Youngplace. The look and function of these public spaces are disrupted by artist Nicolas Fleming who takes on a complex role as the art director of the exhibition, reframing the architectural context for the project and staging the artworks in an immersive environment. Working with building materials and techniques developed through his work as an art installer, Fleming diverts the primary functions of commercial supplies like drywall and plaster, blurring their status by enabling overlooked aesthetic attributes to supersede their intended purpose.
As the initial function of domestic objects is supplanted, the tension between their practical and artistic qualities generates uncertainty and destabilizes assumptions. These alienating ambiguities unwelcome our presence, inviting us perhaps to consider, like philosopher Theodor Adorno, that the highest form of morality might be to not feel at home in one’s own home.
For more information please visit: <a href="http://kofflerarts.org/news/2019/03/12/undomesticated/">kofflerarts.org</a>

Iris Häussler, Koffler Gallery, Toronto, September 18 – November 17, 2019

Shannon Bool: House of Oblivion 
Kunstverein Braunschweig, Braunschweig, Germany 
September 14 - November 17, 2019 
Opening Reception: Friday, September 13, 7 PM 
Shannon Bool examines the meaning of the look. In doing so, she pursues a multifaceted artistic practice that includes carpets, photograms, sculptures, installations and painting. She combines the fine arts with techniques and materials that have a handcrafted feel to them: elaborately woven, large-format tapestries and silkscreen prints embroider them with fine cotton threads to emphasize details or to develop an additional image plane. Such practices - traditionally connoted feminine - point to a feminist perspective that opposes prevailing thinking patterns.
In her projects, Shannon Bool combines the finest formal elaborations with astute research revolving around social, art historical or architectural phenomena. With House of Oblivion , Shannon Bool approaches the unconscious, which - inspired by psychoanalysis - runs like a red thread through its exhibition. In studies on Carlo Mollino, Mies van der Rohe, Le Corbusier and stock photos of horses, which merge with architectural motifs, Shannon Bool deals with the modern and the associated with it readings. Shannon Bool combats (art) history against the grain and questions deep-seated perceptual habits.
Shannon Bool (* 1972 in Comox, British Columbia, lives in Berlin) studied at the Städel School of Fine Arts in Frankfurt. The Kunstverein Bonn (2012), the GAK Society for Contemporary Art Bremen (2010) and the Center Rhénan d'Art Contemporain Alsace, Altkirch, France (2010) dedicated Shannon Bool's first solo exhibitions. Her work is represented in the collections of the Metropolitan Museum NY and the MMK Museum of Modern Art Frankfurt.
The exhibition by Shannon Bool was initiated by the Musee d'Art Joliette in Québec, Canada and is a collaboration between the Museé d'Art Joliette (2018), the Center Culturel Canadien in Paris (2019), Agnes Etherington Art Center, Kingston, Canada (2020) and the Kunstverein Braunschweig. The version of House of Oblivion presented in Braunschweig is the most comprehensive exhibition of Shannon Bool ever.
A catalog has been published for the exhibition.
GUESTROOM: Esther Kinsky
At the invitation of Shannon Bool, Esther Kinsky records the room originally used as a guest room in the Villa Salve Hospes.
Curator: Dr. Jule Hill gardener
Curatorial Assistance: Raoul Klooker
For more information please visit: <a href="https://kunstvereinbraunschweig.de/exhibitions/shannon-bool-house-oblivion/">kunstvereinbraunschweig.de</a>

Shannon Bool, Kunstverein Braunschweig, Braunschweig, Germany, September 14 – November 17, 2019

Age of You: An exhibition curated by Shumon Basar, Douglas Coupland, and Hans Ulrich Obrist 
Museum of Contemporary Art, Toronto 
September 5, 2019 – January 5, 2020 
Opening Reception: September 4, 7-10 PM
If you’re wondering why the inside of your head feels so strange these days, this exhibition is for you.
Age of You is a timely exhibition about how the self has become more extreme, and what it means to be an individual today. It is curated by Shumon Basar, Douglas Coupland and Hans Ulrich Obrist, with graphic design by Daly &amp; Lyon and over 70 visual contributors from the worlds of art, design, filmmaking, photography, performance and electronic music. Age of You has been commissioned and produced by MOCA Toronto.
Guess what this century’s most valuable resource is? It’s you — and all your online behaviours, enriched data sets and millions of meta-data points.
In this process, a large part of you is extracted from you, and now exists everywhere and nowhere, independently of your five senses. Are you really built for so much change so quickly? And what if individuality is in fact morphing into something else?
Age of You previews a forthcoming book by Basar/Coupland/Obrist, The Extreme Self, a sequel to their acclaimed previous title, <a href="https://www.penguin.co.uk/books/272/272295/the-age-of-earthquakes/9780141979564.html">The Age of Earthquakes: A Guide to the Extreme Present</a> (2015).
Visitors to Age of You at MOCA will walk through 13 immersive chapters that chart how individuality is changing today, from the psychological (such as beauty, belief and empathy) to the social (work, wealth and democracy). In this graphic print space, wry words and slogans by Basar/Coupland/Obrist are juxtaposed with wildly eclectic portraits from the contributors.
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Interspersed with the book chapters are major works in film, photography, fashion, sculpture and installation. Each articulates a salient aspect of The Extreme Self. New commissions from Satoshi Fujiwara, Stéphanie Saadé and Yuri Pattison, deal with the paradoxical physicality of data, as found in crowds, screens and emoji. Films by Trevor Paglen and NVIDIA Research, and sculptures by Agnieszka Kurant, are informed by Artificial Intelligence and machine vision. Sophia Al-Maria, Farah Al Qasimi, Toronto-born Victoria Sin and Vancouver-born Sara Cwynar all explore transformed perceptions and performances of the self. Craig Green‘s collection for Moncler fuses menswear, machine and habitat. And Toronto-based Dennis Kavelman visualizes visitor’s remaining mortality.
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For more information please visit: <a href="https://museumofcontemporaryart.ca/age-of-you-programmes-2019/">museumofcontemporaryart.ca</a>

Douglas Coupland, Museum of Contemporary Art, Toronto, September 5, 2019 – January 5, 2020

<a href="https://danielfariagallery.cmail19.com/t/r-i-jkuuhruy-l-jl/">It’s Urgent! – Part II</a> 
Luma Westbau, Zurich, Switzerland 
Curated by Hans Ulrich Obrist 
August 31 - November 15, 2019
The starting point for It's urgent is an exhibition model that I (together with Christian Boltanski and Bertrand Lavier) started with do it in 1993 . For this ongoing, flexible and open-ended exhibition, we invite artists to write instructions, scores and recipes that can then be interpreted by others every time they are presented. For example, the poet Eileen Myles (she is also a member of the new It's urgent project) wrote an article entitled How to Run for President of the United States . Your text reminds us that even in these terrifying times, democracy belongs to the people and that art can be a means of reclaiming it.
Earlier this year I invited twelve artists ( Etel Adnan, Sophia Al-Maria, Tania Bruguera, Tony Cokes, Olafur Eliasson, Hans Haacke, Lauren Halsey, Eileen Myles, Precious Okoyomon, Wolfgang Tillmans, Rirkrit Tiravanija, Nora Turato ) to Realizing posters and billboards that were displayed on advertising space throughout Denmark during the spring elections for the EU Parliament and the Danish Parliament. The idea was to have an exhibition that would reach everyone as it goes beyond the museum and brings the artists' ideas into society. This first edition of It's urgent was realized by the Kunsthalle Charlottenburg and the Heartland Festival.
The second edition started this spring at Luma Westbau in Zurich. In the interest of constantly developing exhibitions, we have invited another 45 artists from all over the world to answer the question of what is urgent in our time; these are: David Adjaye / Maxwell Alexandre / Mathis Altmann / Liz Johnson Artur  / Kasper Bosmans / Mark Bradford / Judy Chicago / Douglas Coupland / Aria Dean / Eugenio Dittborn / Jimmie Durham / Formafantasma / Cao Fei / Fernando Garcia-Dory /Anna Bella Geiger / Liam Gillick / Renée Green / Joseph Grigely / Newton Harrison / Luchita Hurtado / Pierre Huyghe / Koo Jeong A / Josh Kline / Jakob Kudsk Steenson / Suzanne Lacy / Friederike Mayröcker / Oscar Murillo / Lorraine O'Grady / Yoko Ono / Trevor Paglen / Raymond Pettibon / Vaclav Pozarek / Raqs Media Collective / Tabita Rezaire /Peter Saville / Stephen Shore / Marianna Simnett / Patrick Staff / Barbara Solomon Stauffacher / Martine Syms / Günther Uecker / Madelon Vriesendorp / Jan Vorisek / Lawrence Weiner / Stanley Whitney.
Many of these poster projects have taken the form of practical and feasible proposals rather than imaginary utopias. Questions of ecology, inequality and togetherness as well as a common future are often addressed. To speak with Etel Adnan: “The world needs togetherness, not separation. Love, not distrust. A common future, not isolation. "
The project will continue to develop in Zurich until we have reached 100 posters at the end of January 2020 and will then be shown during Luma Days 2020 in Arles. Admission is free; Small print versions of the posters can be taken away by visitors free of charge, and they will also be distributed across the city. Thus, the exhibition can reach an audience outside of Luma Westbau, as it manifests itself in many surprising locations and in unexpected contexts, creating new forms of exchange and social space.
If there was ever a time when the world needed artists' radical ideas, visions, and perspectives on society, it is now - and it is urgent.

Douglas Coupland, Luma Westbau, Zurich, August 31 - November 15, 2019

Targeted Settlements: Overpainted Photography in Contemporary Art 
Sprengel Museum, Hannover, Germany 
July 3 - October 6, 2019
In the 19th century, when manual editing, more specifically: colored overpainting, served as a means of compensating for the technical imperfections of the medium, the relationship between photography and overpainting changed dramatically in the 20th century. After the dissemination of color photography in everyday life, the art-historical point of view is, above all, the time of the 1970s, in which the form of overpainting was increasingly (re) used in the course of a confrontation between painting and photography. At that time, for which the positions of Arnulf Rainer (* 1929), Sigmar Polke (1941 - 2010) and Gerhard Richter (* 1932) stand, the main focus was on media-reflexive issues.
Today the competition, which has sprung from the artistic self-assertion of photography, has long since become obsolete. And that's exactly why the renaissance of the overpainting of photographs in the recent past may surprise: Why in recent years increasingly painterly revised photography? Have the media boundaries of the image genres been completely abandoned today? Is the renaissance of the manual in the field of photography perhaps even interpreted as a reaction to the experience of the digital world? The exhibition wants to examine this new form of a contemporary pictorial language in its breadth and give space to the different artistic approaches.
After an introductory sequence, in which works by Arnulf Rainer, Sigmar Polke and Gerhard Richter from the sixties to the eighties will present a historical prelude to the question of overpainted photography, the exhibition focuses on recent positions from the German-language art discourse. They exemplify the diversity and the different approaches in an area of ​​artistic photography that has long since left the documentary understanding of the image behind.
With Florian Merkel (* 1961), Peter Klare (* 1969), Shannon Bool (* 1972), Sabrina Jung (* 1978), Anna Vogel (* 1981) and Helen Feifel (* 1983) focuses this first overview exhibition on the subject overpainted photography on a new generation that, after the photo boom of the 1990s, confidently developed the image in terms of a hybrid form. It will be questionable to what extent general social phenomena, social, communicative or even political questions are topics of discussion here and whether traditional photography still remains recognizable here.
Curator: Dr. Stefan Gronert + Theresia Stipp (assistant)
For more information please visit: <a href="https://www.sprengel-museum-hannover.de/veranstaltung/gezielte-setzungen">www.sprengel-museum-hannover.de</a>

Shannon Bool, Sprengel Museum, Hannover, Germany, July 3 - October 6, 2019

Silences 
Musée Rath, Geneva, Switzerland 
June 14 - October 27, 2019
Silencieux, les arts plastiques le sont par essence, comme le rappelle l’expression « poésie muette » qui, dès l’Antiquité, fut employée pour désigner la peinture. Mais toute oeuvre d’art est-elle pour autant silencieuse ? Il est des peintures bavardes, criardes même, et il en est d’autres qui se tiennent « coites ». Certaines incitent à l’intériorité de la prière, d’autres ouvrent à la contemplation de l’infini, certaines nous laissent interdits ou dans l’effroi, d’autres, énigmatiques et secrètes, se ferment à une appréhension immédiate. Mêlant les genres, les motifs et les époques, cette exposition sera centrée sur le silence, envisagé non simplement comme absence de bruit et d’agitation, mais comme une qualité de présence émanant de certaines œuvres et suscitant chez le spectateur une disposition particulière de l’esprit.
For more information please visit: <a href="http://institutions.ville-geneve.ch/fr/mah/expositions-evenements/expositions/silences/">institutions.ville-geneve.ch</a>

Mark Lewis, Musée Rath, Geneva, Switzerland, June 14 - October 27, 2019

If I have a body 
Remai Modern, Saskatoon 
May 31 - September 2, 2019
If I have a body presents new and recent work by six Canadian artists: Shuvinai Ashoona, Steven Beckly, Billy-Ray Belcourt, Laurie Kang, Veronika Pausova and Dominique Rey. The title, drawn from a poem by Belcourt, considers the body as a proposition, an unstable form shaped by imagination, desire, vulnerability and exchange. The artists are brought together in dynamic pairings, creating dialogue between their works.
In her sculptures and installations, Laurie Kang combines industrial metal objects with soft, responsive materials such as silicone, clay and photo-sensitive paper. Her work speaks to metabolism and the transfer of energy, calling up forms that may be human, animal or alien. Veronika Pausova’s paintings show the figure and its traces as surreal impressions, isolating sensations such as touch, heat, attraction and tension.
Shuvinai Ashoona’s colourful drawings assert her highly personal vision, filtered through a Northern experience of globalization, where her inner and outer worlds coalesce in complex, troubling and exhilarating compositions. In her lens-based practice, Dominique Rey utilizes modes of performance, accumulation and collage to explore duality and estrangement in the construction of self.
Steven Beckly’s photographic work disrupts the still image to create evocative forms. Curving, draped and slumping, his intimately scaled work reveals the sensuality of the everyday. Billy-Ray Belcourt’s poems are an invitation to feel. Moving between frank observation and philosophical musings, his work addresses colonial violence and grief, while holding desire and joy as conditions for possibility.
The artists in this exhibition share an interest in body as a vehicle for synthesis and transformation. Rather than a singular, stable entity, the body is unresolved and contingent, a fragmented collection of feelings, expectations, and circumstances.
Curatorial Team: Organized by Rose Bouthillier, Curator (Exhibitions); Sandra Fraser, Curator (Collections); and Troy Gronsdahl, Associate Curator (Live Programs)
For more information please visit: <a href="https://remaimodern.org/program/exhibitions/exhibition/if-i-have-a-body">remaimodern.org</a>

Steven Beckly, Remai Modern, Saskatoon, May 31 - September 2, 2019

Milky Way Smiling 
Scotiabank Contact Photography Festival: Public Installation 
Westin Harbour Castle Conference Centre, Toronto 
May 1 2019 - April 15 2020
Amid towering structures and light pollution emanating from the city, views of the night sky tend to be sparse and undramatic. Vancouver-based artist Elizabeth Zvonar brings a heightened view of the cosmos to the cityscape in her monumental image, Milky Way Smiling. Animating the conference centre, a grey, block-long building at the edge of Toronto’s Financial District, she asks the public to consider the infinite space that extends beyond their sightlines. Her wondrous galactic scene offers physical opposition to both the urban landscape and the nearby lakefront.
Zvonar’s practice focuses on incorporating and recontextualizing imagery collected from found photographs, sketches, and typography in mass-produced books and periodicals. Her collages often employ humour through her choices of aesthetics and metaphor, and draw attention to social discrepancies through unexpected juxtapositions. For this site-specific commission, Zvonar culled a photograph from a popular science magazine and transformed it through digital collage and manipulation. Her choice of subject matter acknowledges the sweeping historical trajectory of images of the night sky inspired by science, as well as the technological evolution of high-powered telescopic photographs that offer increasingly expanded views of the universe. With its band of cosmic light gently curved into a smile, Zvonar’s whimsical galaxy of shining stars brings the metaphysical down to passersby at street level. In the artist’s words, Milky Way Smiling hinges on “a genial sentiment to offset and uplift our workaday lives.” Positioned in the midst of advertising billboards marketing consumer products, Zvonar’s image provides an alternative viewing experience that emphasizes a larger sense of social collectivity and appreciation for the mystery of the unknown.
For more information please visit: <a href="https://scotiabankcontactphoto.com/exhibition/milky-way-smiling/">scotiabankcontactphoto.com</a>

Elizabeth Zvonar, Westin Harbour Castle Conference Centre, Toronto, May 1 2019 - April 15 2020

The Way We Are 1.0 
Weserburg Museum für moderne kunst, Bremen, Germany 
March 29, 2019 - January 5, 2020
Starting at the end of March 2019, the collection presentation “The Way We Are 1.0” will be featured on two floors constituting more than half of the overall exhibition space of the Weserburg. The exhibition includes works from a large number of collections, some of which have enjoyed a long association with the institution while others are new additions; also on display will be works from the Weserburg’s own collection as well as loans by artists who will be participating in a show at the Weserburg for the first time.
For more information please visit: <a href="https://weserburg.de/en/exhibitions/current/">weserburg.de</a>

Chris Curreri, Weserburg Museum für moderne kunst, Bremen, Germany, March 29, 2019 - January 5, 2020

A History of Photography: Selections from the Museum’s Collection 
The Museum of Fine Arts, Houston 
March 6 - September 15, 2019
A History of Photography: Selections from the Museum’s Collection comprises a series of installations that trace the course of photography from its invention to the present day, showcasing important new acquisitions and treasured masterpieces.
Every six months, a new selection of photographs, drawn from the rich collection the Museum has built over the past half century, presents the medium’s history in a slightly different light. In this way, an increasingly complex picture of photographic history emerges, encouraging visitors to look closely, move slowly, and return for more.
Each new installation also includes a focused look at the work of a single artist or theme held in depth by the Museum, plus a selection of photographically illustrated books highlighting the key role that publications have played in the development of the medium.
For more information please visit: <a href="https://www.mfah.org/exhibitions/a-history-of-photography-selections-from-the-museums-collection">www.mfah.org</a>

Steven Beckly, The Museum of Fine Arts, Houston, March 6 - September 15, 2019

True to the Eyes: The Howard and Carole Tanenbaum Photography Collection 
Ryerson Image Centre, Toronto 
January 23 - April 7, 2019
Curated by: Paul Roth, Gaëlle Morel, and Charlene Heath
This exhibition presents more than 200 photographs from the extraordinary and eclectic collection of the long-time Toronto couple. The Tanenbaums were among the first Canadian collectors to engage with the medium during its late 20th century rise to prominence; over time, they assembled one of the country’s great holdings of photography. True to the Eyes highlights a range of humanistic photographs in many genres, from anonymous vernacular imagery to masterworks by such notable photographers as Southworth &amp; Hawes, William Notman, Ernest J. Bellocq, Brassaï, Lisette Model, Diane Arbus, Mary Ellen Mark, Jim Goldberg, Rafael Goldchain, and Edward Burtynsky. Through four decades of building their collection, the Tanenbaums have acquired images revealing aspects of family, wealth and poverty, civil rights, nature and the land, and Canadian life. The exhibition is accompanied by a richly-illustrated book published in partnership with Hirmer Verlag.
For more information please visit: <a href="https://ryersonimagecentre.ca/exhibition/tanenbaum-collection/">ryersonimagecentre.ca</a>

Chris Curreri, Ryerson Image Centre, January 23 - April 7, 2019

Steven Beckly: Love S.O.S 
Centre3, Hamilton 
February 23 - April 6, 2019
For more information please visit: <a href="http://centre3.com/exhibitions/">centre3.com</a>

Steven Beckly, Centre3, Hamilton, February 23 - April 6, 2019

Shannon Bool: Promiscuous Rooms 
The Canadian Cultural Centre, Paris 
February 8 - April 5, 2019
The Canadian Cultural Centre is pleased to present Shannon Bool’s first solo exhibition in France. Bool is an internationally recognized contemporary artist based in Berlin. Produced by the Musée d’art de Joliette, the exhibition is enriched in Paris by several new works co-produced with the Kunstverein Braunschweig, which will host the exhibition in the fall of 2019. Promiscuous Rooms reveals the underlying fantasmal character of modernist architecture, and the current relevance of this issue in a world where the image of an “exotic” female body remains powerfully seductive, but in more ambiguous ways.
For more information please visit: <a href="https://canada-culture.org/en/event/shannon-bool/">canada-culture.org</a>

Shannon Bool , Canadian Cultural Centre, Paris, February 8 - April 5, 2019

Jennifer Rose Sciarrino

Jennifer Rose Sciarrino: Ruffled Follicles and a Tangled Tongue 
Southern Alberta Art Gallery, Lethbridge 
December 8 - February 17, 2019
Ruffled Follicles and a Tangled Tongue is a solo exhibition by Jennifer Rose Sciarrino, featuring new sculptural installation and video works, with the artist thinking through language and gesture to a microscopic level. The installation is comprised of blown glass and carved stone bearing the resemblance of microscopic cells of seeds, spores and bacteria on a magnified scale. The sculptures are held in precarious positions by their steel armatures, a likeness to the gestures of taking and receiving of such cellular information. An alabaster dandelion seed resembling a tongue, reaches towards a split glass archaea that may remind us of a kidney. Aspects of life are enlarged and entangled, creating likely or uncommon relationships in the complex systems of worlding.
In the video work nearby, a strange trilogue can be heard in a conversation through prose, between three women discussing aspects of science fiction, feminism, entanglement, and the Anthropocene as they speculate new ways of understanding and communicating with each other and the world around them. The words are spoken into glass vessels that collect the accrued fluid from their lungs and mouth. The fluid becomes a focus of the video as it is captured through lenses of microscopy: the fluid moves from an ecosystem in itself to encompass the intention of their shared communication.
For more information please visit: <a href="https://saag.ca/art/exhibitions/0736-ruffled-follicles-and-a-tangled-tongue-">saag.ca</a>
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Jennifer Rose Sciarrino, Southern Alberta Art Gallery, Lethbridge, December 8, 2018 - February 17, 2019

CHÈRE 
Arsenal Contemporary, New York 
November 14, 2018 - January 13, 2019
Nicola L with Nadia Belerique Ambera Wellmann Chloe Wise.
For more information please visit: <a href="http://arsenalcontemporary.com/details/chere/">arsenalcontemporary.com</a>

Nadia Belerique, Arsenal Contemporary, New York, November 14, 2018 - January 13, 2019

Sl<a href="https://www.iprovoke.org/">eeping with a Vengeance and Dreaming of a Life</a> 
Institute for Provocation, Beijing 
October 7 - November 7, 3018
Curated by Ruth Noack.
For more information please visit:<a href="https://www.iprovoke.org/"> iprovoke.org</a>

Chris Curreri, Institute for Provocation, Beijing, October 7 - November 7, 2018

<a href="http://www.gak-bremen.de/en/exhibitions/upcoming">Further Thoughts on Earthly Materials</a> 
Gesellschaft Für Aktuelle Kunst, Bremen 
September 21 – December 2, 2018
For more information please visit: <a href="http://www.gak-bremen.de/en/exhibitions/upcoming">gak-bremen.de/en</a>

Chris Curreri, Gesellschaft Für Aktuelle Kunst, Bremen, September 21 – December 2, 2018

<a href="https://www.visartscenter.org/event/deep-flash-on-art-and-transformation/">Deep Flash: On Art and Transformation</a> 
VisArts, Rockville, MD 
September 5 - October 14, 2018
Kaplan Gallery, Common Ground Gallery, Concourse Gallery, and Gibbs Street Gallery 
Opening Reception: Friday, September 7, 7 – 9 PM 
30thAnniversary celebration exhibition
<a href="https://www.visartscenter.org/event/deep-flash-on-art-and-transformation/">Deep Flash: Art and Transformation</a>, an exhibition celebrating the 30th anniversary of VisArts, explores the power of visual art to transform. Eleven curators, many who have been a critical part of VisArts’s history, selected a single work of art, a small group of artworks by multiple artists, or an art experience that addresses art’s ability to shift social, cultural, or personal forms. This exhibition was created in the spirit of sharing experiences and opening conversations about the “work” of art as a spark or trigger for conversions spectacular and subtle in both makers and viewers.
For more information please visit: <a href="https://www.visartscenter.org/event/deep-flash-on-art-and-transformation/">visartscenter.org</a>

Elizabeth Zvonar, VisArts, Rockville, Maryland, September 5 - October 14, 2018

<a href="https://litost.gallery/en/programme/sleeping-vengeance-dreaming-life/">Sleeping with a Vengeance and Dreaming of a Life</a> 
Litost, Prague 
August 31 - September 28, 2018
Curated by Ruth Noack.
<a href="https://litost.gallery/en/programme/sleeping-vengeance-dreaming-life/">Sleeping with a Vengeance, Dreaming of a Life </a>curated by Ruth Noack, takes a close look at contemporary politics of sleep and asks whether we can reclaim sleep and dreaming from the clutches of late capitalism. In Jonathan Crary’s book ‘24/7: Terminal Capitalism and the Ends of Sleep ‘, sleep has been turned into a resource, tied to production, consumption, warfare and biopolitics. We are simultaneously enticed to sleep less and to sleep productively. Contemporary cultural practice mimics this trend with sleep performances, sleep hotels, sleep music. Can sleep instead be configured as a radical, subversive activity? Can the act of dreaming, sleep’s correlate, be imagined a political deed? If sleep were to obstruct the cycle of capitalist production and social reproduction, would the sleeper be able to dream up a better life, a better future?
Sleeping with a Vengeance, Dreaming of a Life brings together artists from all walks of life and artworks from diverse cultural backgrounds in order to start understanding how we might share agency in a future politics of sleep. Concurrently, the curatorial model of the exhibition series is based on a much-needed ecology of scale. Starting with next to no budget and working with the smallest of institutions, the first exhibitions are conceived as sketches to be fleshed out and gaining momentum over the next couple of years. The series was opened with 21 artists at Yellow Brick, Athens, in July 2018. The exhibition at lítost will host 29 positions, before continuing on to the Institute for Provocation, Beijing in October 2018.
For more information please visit: <a href="https://litost.gallery/en/programme/sleeping-vengeance-dreaming-life/">litost.gallery/en/</a>

Chris Curreri, Litost, Prague, August 31 - September 28, 2018

<a href="https://press.simons.ca/3DCanada/en/" target="_blank" rel="noopener">Douglas Coupland: 3D Canada</a> 
Ottawa Art Gallery, Ottawa 
June 28 – August 19, 2018
Douglas Coupland, in partnership with Canadian fashion retailer Simons, presents 3D Caanda. 
 For more information please visit:<a href="https://press.simons.ca/3DCanada/en/" target="_blank" rel="noopener"> press.simons.ca</a>

Douglas Coupland, Ottawa Art Gallery, Ottawa, June 28 – August 19, 2018

<a href="https://www.jmkac.org/exhibition/2018/apartment4/apartment4">Apartment 4</a> 
John Michael Kohler Arts Center, Sheboygan 
June 23, 2018 – June 16, 2019
It is believed that in 1927, Florence Hasard moved to Milwaukee to begin a new life. There is some evidence that she stayed in Wisconsin until 1942. While she had few possessions, we believe Florence had an active art practice and a faith in the city’s artistic community, embodied by Charlotte Partridge (1882–1975) and Miriam Frink (1892–1977) at the Layton School of Art. With this kind of generosity and the introductions they facilitated, we can speculate that she transformed a modest suite of rooms into her home and studio.
For <a href="https://www.jmkac.org/exhibition/2018/apartment4/apartment4">Apartment 4,</a> Iris Häussler and The Chipstone Foundation collaborated to make a space for Florence, providing glimpses into her living room, studio, bedroom, and bathroom. The space is informed by Florence’s dark, introspective art practice that allowed her to work through the personal trauma she experienced as a nurse during the First World War. In addition, Apartment 4 will give hints to what her life in Milwaukee may have been like in the 1940s, providing context for a larger regional narrative and its local histories.
Through the interpretation of Florence’s home and studio in Apartment 4, we learn about what is revealed and what is concealed in different kinds of intimate spaces.
For more information please visit:
<a href="https://www.jmkac.org/exhibition/2018/apartment4/apartment4">www.jmkac.org</a>
&amp;
<a href="http://florencehasard.org/exhibitions/2018/wisconsin-usa/apartment4">florencehasard.org</a>

Iris Häussler, John Michael Kohler Arts Center, Sheboygan, June 23, 2018 – June 16, 2019

<a href="http://www.museejoliette.org/en/expositions/shannon_bool/" target="_blank" rel="noopener">The Shape of Obus</a> 
Musée d’art de Joliette, Joliette, Canada 
June 9 – September 9, 2018
Curated by Anne-Marie St-Jean Aubre.
Shannon Bool’s practice takes multiple forms, such as tapestry, painting on silk, collage, photogram and sculpture. The works usually address one central theme: her critique of modernism through the use of materials and techniques most often associated with crafts and women, combined with her interpretation of psychoanalysis.
For more information please visit: <a href="http://www.museejoliette.org/en/expositions/shannon_bool/" target="_blank" rel="noopener">museejoliette.org</a>

The Shape of Obus Musée d’art de Joliette, Joliette, Canada June 9 – September 9, 2018  Curated by Anne-Marie St-Jean Aubre.

<a href="http://www.grazerkunstverein.org/en/seasons/summer-2018.html" target="_blank" rel="noopener">On Sleep Stones</a> 
Grazer Kunstverein, Austria 
June 7 – August 3, 2018
Nadia Belerique presents new works at Grazer Kunstverein. 
For more information please visit: <a href="http://www.grazerkunstverein.org/en/seasons/summer-2018.html" target="_blank" rel="noopener">grazerkunstverein.org</a>

Nadia Belerique, Grazer Kunstverein, Austria, June 7 – August 3, 2018

<a href="https://www.gewerbemuseum.ch/en/exhibitions/hello-robot" target="_blank" rel="noopener">Hello, Robot</a> 
Gewerbe Museum, Winterthur 
May 27 – November 4, 2018
Whether in the form of delivery drones, smart sensors or Industry 4.0, in recent years robotics has found its way into our everyday lives, changing them in fundamental ways. Design has a central role to play in this process, for it is designers who shape the interfaces between humans and machines. The major exhibition “Hello, Robot.” examines the current boom in robotics in detail for the first time. It comprises more than 200 exhibits from the fields of design and art, including robots used in the home, in nursing care, and in industry, as well as computer games, media installations and examples of films and literature in which robots feature.
For more information please visit: <a href="https://www.gewerbemuseum.ch/en/exhibitions/hello-robot" target="_blank" rel="noopener">gewerbemuseum.ch</a>

Douglas Coupland, Gewerbe Museum, Winterthur May 27 – November 4, 2018

Douglas Coupland 
<a href="http://homemcr.org/exhibition/the-heart-is-deceitful-above-all-things/" target="_blank" rel="noopener">The Heart is Deceitful Above All Things</a> 
HOME and Cornerhouse, Manchester 
May 22 – July 26, 2015
Curated by Sarah Perks &amp; Omar Kholeif.
Exhibiting artists include Douglas Coupland, Jeremy Bailey, Jessey Tsang, &amp; Ragnar Kjartansson.

Douglas Coupland, HOME and Cornerhouse, Manchester

<a href="http://danielfariagallery.cmail20.com/t/r-l-jyiyddty-jkkryhjrq-yu/">Invisible Landscapes</a> 
Royal Academy of Arts, London 
May 19, 2018 – March 4, 2019
 
Today, digital technologies are often presented as the ultimate solution for cooperating and living in a globalised world, connecting people and places, and making our landscapes and actions more efficient. However, the use of these new technologies also raises questions of privacy, security, sustainability, health and dependency, creating radical transformations in the relationship between people and the environments they inhabit as well as the boundaries between humans and technology.
Invisible Landscapes will make visible the often-invisible presence of digital technologies in our lives and everyday environments. From the home to the city, the Royal Academy will invite practice-based researchers to present new work through three interconnected acts. Their installations will address how architecture can respond and engage with emerging contemporary issues around technology, and suggest new ways of being, belonging and living.
For more information please visit: <a href="https://www.royalacademy.org.uk/exhibition/invisible-landscapes" target="_blank" rel="noopener">royalacademy.org.uk</a>

Douglas Coupland, Royal Academy of Arts, London, May 19, 2018 – March 4, 2019

Douglas Coupland: <a href="http://danielfariagallery.cmail20.com/t/r-l-jyiyddty-jkkryhjrq-yk/">Vortex</a> 
Vancouver Aquarium, Vancouver 
May 18, 2018 – April 18, 2019
Experience acclaimed west coast artist Douglas Coupland’s Vortex – a new radical art installation. Step into Vortex, take an imaginative journey to the Great Pacific Garbage Patch, and immerse yourself in the ocean plastic pollution crisis. Coupland’s exhibit will make you think about plastic – a seductive yet sinister material – in a relevant, contemplative, and transformative way.
For more information please visit: http: <a href="http://www.vanaqua.org/experience/feature/vortex" target="_blank" rel="noopener">vanaqua.org</a>

Douglas Coupland, Vancouver Aquarium, May 18, 2018 – April 18, 2019

Nadia Belerique 
<a href="http://ggalleryprojects.ca/" target="_blank" rel="noopener">I think you’re wonderful and so does everyone else</a> 
G Gallery, Toronto 
May 15 – June 13, 2015
Featuring work by artists Nadia Belerique, Mark Clintberg, Kristie MacDonald, and Mungo Thomson, “I think you’re wonderful and so does everyone else” is the closing chapter of the three-part exhibition Your Undoing, curated by The Venn Diagram (Kristin Weckworth and Jon Davies).

Nadia Belerique, G Gallery, Toronto

<a href="http://www.high-tide.us/punctual-reality/" target="_blank" rel="noopener">May you live in interesting times</a> 
High-Tide, Philadelphia 
May 12 – June 16, 2018
Group exhibition featuring work by: Shannon Bool, Anna Breininger, Tony Garbarini, and Stephen Kent.
For more information please visit: <a href="http://www.high-tide.us/punctual-reality/" target="_blank" rel="noopener">high-tide.us</a>

Shannon Bool, High-Tide, Philadelphia, May 12 – June 16, 2018

<a href="http://danielfariagallery.cmail20.com/t/r-l-jyiyddty-jkkryhjrq-v/">The Weather Channel</a> 
Oakville Galleries, Oakville 
April 8 – June 3, 2018
Curated by Matthew Hyland
Driven by a close engagement with how images perform in our current moment, Toronto-based artist Nadia Belerique combines photography and sculptural installation to track the shifting relationship between the perceptual, the psychological and the representational. Frequently pushing at the limits of the photographic image—both real and imagined—Belerique’s works regularly stage scenes that confuse or conflate figure and ground, image and object, signifier and signified.
For more information please visit: <a href="http://www.oakvillegalleries.com/exhibitions/details/199/Nadia-Belerique" target="_blank" rel="noopener">oakvillegalleries.com</a>

Nadia Belerique, Oakville Galleries, April 8 – June 3, 2018

<a href="http://capturephotofest.com/public-installations/in-the-belly-of-a-cat/" target="_blank" rel="noopener">In the Belly of a Cat</a> 
BC Hydro Dal Grauer Substation, Vancouver 
April 1, 2018 – March 31, 2019
For the fourth annual BC Hydro Dal Grauer Substation Public Art Project, Capture commissioned Toronto artist <a href="http://capturephotofest.com/artists/nadia-belerique/">Nadia Belerique</a> to created a photo-based work that engages with the site of the Dal Grauer Substation. The resulting work, In the Belly of a Cat, uses the building’s defining glass façade to play with the poetics of perception and question how images perform in contemporary culture.
For more information please visit: <a href="http://capturephotofest.com/public-installations/in-the-belly-of-a-cat/" target="_blank" rel="noopener">capturephotofest.com</a>

Nadia Belerique, BC Hydro Dal Grauer Substation, April 1, 2018 – March 31, 2019

Derek Liddington

Longevity or a Lack Thereof 
MacLaren Art Centre, Barrie 
March 29 – June 24, 2018
Curated by Renée van der Avoird 
Featuring work by: Derek Liddington, Anthea Black and Thea Yabut, Francisco-Fernando Granados, Alex Morrison, &amp; Meghan Price.
For more information please visit: <a href="https://maclarenart.com/exhibitions/longevity-or-a-lack-thereof-anthea-black-and-thea-yabut-francisco-fernando-granados-dere" target="_blank" rel="noopener">maclarenart.com</a>

Derek Liddington, MacLaren Art Centre, March 29 – June 24, 2018

Daniel Faria Gallery is pleased to be participating in Art Düsseldorf 2017 with a presentation of works by:
<a href="https://www.art-dus.de/" data-cke-saved-href="https://www.art-dus.de/">Nadia Belerique</a>, <a href="https://www.art-dus.de/" data-cke-saved-href="https://www.art-dus.de/">Shannon Bool</a>, <a href="https://www.art-dus.de/" data-cke-saved-href="https://www.art-dus.de/">Chris Curreri</a>, &amp; <a href="https://www.art-dus.de/" data-cke-saved-href="https://www.art-dus.de/">Elizabeth Zvonar</a>.
Booth A03 
November 17 – 19, 2017
<a href="https://www.art-dus.de/" target="_blank" rel="noopener">Art Düsseldorf</a> 
<a href="https://www.art-dus.de/directions/" data-cke-saved-href="https://www.art-dus.de/directions/">Areal Böhler 
Hansaallee 321 
40549 Düsseldorf 
Germany</a>
For more information please visit: <a href="http://danielfariagallery.com/fairs/art-dusseldorf" target="_blank" rel="noopener">danielfariagallery.com</a> or contact Dory Smith at: 
<a href="mailto:dory@danielfariagallery.com?subject=Art%20D%C3%BCsseldorf" data-cke-saved-href="mailto:dory@danielfariagallery.com?subject=Art%20D%C3%BCsseldorf">dory@danielfariagallery.com</a> or 416 538 1880
Daniel Faria Gallery 
188 St Helens Avenue 
Toronto, ON M6H 4A1 
416 538 1880 
<a href="http://www.danielfariagallery.com/" data-cke-saved-href="http://www.danielfariagallery.com">www.danielfariagallery.com</a> 
Hours: Tuesday to Friday 11:00 am to 6:00 pm, Saturday 10:00 am to 6:00 pm

Daniel Faria Gallery at Art Düsseldorf 2017, November 17 – 19, 2017

<a href="https://www.maat.pt/en/exhibitions/electronic-superhighway-1966-2016" target="_blank" rel="noopener">Douglas Coupland, Electronic Superhighway</a> 
<a href="https://www.maat.pt/en/exhibitions/electronic-superhighway-1966-2016" target="_blank" rel="noopener">MAAT, Lisbon</a> 
November 8, 2017 – March 19, 2018
Curated by Omar Kholeif, Emily Butler with Seamus McCormack.
Participating artists include: Douglas Coupland, Zach Blas, Vuk Ćosić, Joana Hadjithomas and Khalil Joreige, Camille Henrot, Gary Hill, Ann Hirsch, JODI, Allan Kaprow, Oliver Laric, Rafael Lozano-Hemmer, Eva and Franco Mattes, Manfred Mohr, Lillian F. Schwartz, Richard Serra/ Nancy Holt, Taryn Simon, Stan VanDerBeek, Steina and Woody Vasulka, amoung others.
&nbsp;
For more information please visit: <a href="https://www.maat.pt/en/exhibitions/electronic-superhighway-1966-2016" target="_blank" rel="noopener">www.maat.pt</a>

Douglas Coupland, MAAT, Lisbon, November 8, 2017 – March 19, 2018

<a href="http://masp.art.br/masp2010/english_exhibitions.php" target="_blank" rel="noopener">Iris Häussler, Histories of Sexuality</a> 
<a href="http://masp.art.br/masp2010/english_exhibitions.php" target="_blank" rel="noopener">Museu De Arte De Sao Paulo, Sao Paulo</a> 
October 28,2017 – February 13, 2018
For more information please visit: <a href="http://masp.art.br/masp2010/english_exhibitions.php" target="_blank" rel="noopener">masp.art.br</a>

Iris Häussler, Museu De Arte De Sao Paulo, October 28, 2017 – February 13, 2018

<a href="http://mmk-frankfurt.de/en/nc/exhibitions/exhibition-details/article/i_am_a_problem/" target="_blank" rel="noopener">Shannon Bool, I AM A PROBLEM</a> 
<a href="http://mmk-frankfurt.de/en/nc/exhibitions/exhibition-details/article/i_am_a_problem/" target="_blank" rel="noopener">Museum für Moderne Kunst Frankfurt am Main, Frankfurt</a> 
September 23, 2017 – February 18, 2018
<h2 class="NewsTitel">Staged by Ersan Mondtag</h2>
&nbsp;
Featured artists include: Shannon Bool, Kader Attia, Vanessa Beecroft, Bernhard Johannes Blume,  Marlene Dumas, Robert Gober, Douglas Gordon, Ilja Clemens Hendel, Martin Honert, Jonathan Horowitz, On Kawara, Teresa Margolles,  Bruce McLean, Aernout Mik, Lutz Mommartz, Bruce Nauman, Bettina Rheims, Thomas Ruff,  Dayanita Singh, Markus Sixay, Jack Smith, Elaine Sturtevant, Jürgen Teller, Oliviero Toscani, Rosemarie Trockel, &amp; Andy Warhol.
For more information please visit: <a href="http://mmk-frankfurt.de/en/nc/exhibitions/exhibition-details/article/i_am_a_problem/" target="_blank" rel="noopener">mmk-frankfurt.de</a>

Shannon Bool, Museum für Moderne Kunst Frankfurt am Main, September 23, 2017 – February 18, 2018

<a href="http://danielfariagallery.com/exhibitions/daniel-faria-gallery-in-berlin" target="_blank" rel="noopener">Chris Curreri &amp; Nadia Belerique</a> 
<a href="http://danielfariagallery.com/exhibitions/daniel-faria-gallery-in-berlin" target="_blank" rel="noopener">Daniel Faria Gallery, Berlin</a> 
September 16 – October 28, 2017
Berlin Gallery Opening Friday September 15, 6-9pm 
Kreuzberg Galleries Brunch Saturday September 16, 11am – 2pm  
Exhibition continues until Saturday October 28, 2017
<a href="https://www.google.ca/maps?q=K%C3%B6penicker+Strasse+126+10179+Berlin&amp;um=1&amp;ie=UTF-8&amp;sa=X&amp;ved=0ahUKEwijnsLeupPWAhWG7YMKHe3pAhYQ_AUICigB">Daniel Faria Gallery at PSM Gallery 
Köpenicker Strasse 126 
10179 Berlin</a>
The gallery is moving into <a href="http://www.psm-gallery.com/" target="_blank" rel="noopener">PSM Gallery</a> on Köpenicker Strasse in Kreuzberg for the months of September and October, as PSM Gallery inaugurates its new space on Schöneberger Ufer (opening Friday September 8, 2017). Daniel Faria Gallery will present Unruly Matter an exhibition of new and recent works by Chris Curreri as well as an intimate presentation of Bed Island works by Nadia Belerique.
For more information contact Dory Smith at: 
<a href="mailto:dory@danielfariagallery.com?subject=DFG%20Berlin">dory@danielfariagallery.com </a>or 416 538 1880
Daniel Faria Gallery 
188 St Helens Avenue 
Toronto, ON M6H 4A1 
416 538 1880 
<a href="http://www.danielfariagallery.com/">www.danielfariagallery.com</a>

Daniel Faria Gallery in Berlin, September 16 – October 28, 2017

<a href="http://www.scrapmetalgallery.com/" target="_blank" rel="noopener">All the Names</a> 
<a href="http://www.scrapmetalgallery.com/" target="_blank" rel="noopener">Scrap Metal Gallery, Toronto</a> 
October 27, 2017 – March 10, 2018
Curated by Rui Mateus Amaral 
Exhibition includes work by: Helen Barff, Iris Häussler,Ivana Bašić, Walead Beshty, Christian Boltanski, Tracey Emin, Aiko Hachisuka, Liz Magor, Annette Messager and Shinique Smith.
For more information please visit: <a href="http://www.scrapmetalgallery.com/" target="_blank" rel="noopener">www.scrapmetalgallery.com</a>

Iris Häussler, Scrap Metal Gallery, Toronto, October 27, 2017 – March 10, 2018

Art Encounters on the Edge 
<a href="https://bonavistabiennale.com/" target="_blank" rel="noopener">Bonavista Biennale</a>, Newfoundland 
August 17 – September 17, 2017
Iris Häussler included in the <a href="https://bonavistabiennale.com/" target="_blank" rel="noopener">Bonavista Biennale: Art Encounters on the Edge</a>,presented by <a href="http://www.2roomscontemporaryartprojects.com/" target="_blank" rel="noopener">2 Rooms Contemporary Art Projects, Newfoundland. </a>
For more information please visit: <a href="https://bonavistabiennale.com/" target="_blank" rel="noopener">bonavistabiennale.com</a> &amp; <a href="http://www.2roomscontemporaryartprojects.com/" target="_blank" rel="noopener">2roomscontemporaryartprojects.com</a>

Iris Häussler, Bonavista Biennale, August 17 – September 17, 2017

<a href="http://belkin.ubc.ca/current/" target="_blank" rel="noopener">Sites of Assembly</a>
Belkin Art Gallery, Vancouver 
June 23 – August 12, 2017
Sites of Assembly is co-curated by Gabrielle Moser and Lorna Brown.
For more information please visit: <a href="http://belkin.ubc.ca/current/" target="_blank" rel="noopener">belkin.ubc.ca</a>

Mark Lewis, Belkin Art Gallery, June 23 – August 12, 2017

<a href="http://www.drakedevonshire.ca/culture/view-finder/" target="_blank" rel="noopener">View Finder</a>
<a href="http://www.drakedevonshire.ca/culture/view-finder/" target="_blank" rel="noopener">The Drake Devonshire</a>, Wellington
July 1 – October 15, 2017
View Finder is Drake Devonshire’s 3rd annual outdoor exhibition, taking over the grounds with a series of sculptures and murals by Micah Lexier, Gordon Monahan, Nadia Belerique, Lili Huston-Herterich, Trevor Wheatley and Cosmo Dean, Erik Burke, Luke Siemens, BIRDO, and Jason Peters.
For more information please visit: http: <a href="http://www.drakedevonshire.ca/culture/view-finder/" target="_blank" rel="noopener">www.drakedevonshire.ca</a>

Nadia Belerique, The Drake Devonshire, Wellington, July 1 – October 15, 2017

<a href="http://whitecube.com/exhibitions/dreamers_awake_bermondsey_2017/" target="_blank" rel="noopener">Dreamers Awake</a>
White Cube Bermondsey, London 
June 28 – September 17, 2017
Dreamers Awake is curated by Susanna Greeves.
For more information please visit: <a href="http://whitecube.com/exhibitions/dreamers_awake_bermondsey_2017/" target="_blank" rel="noopener">whitecube.com</a>

Shannon Bool, White Cube Bermondsey, June 28 – September 17, 2017

<a href="https://www.fotomuseum.be/en/exhibitions/between-film-and-photography.html" target="_blank" rel="noopener">The Still Point of The Turning World</a>
FOMU, Antwerp 
June 23 – October 1, 2017
Curated by David Campany &amp; Joachim Naudts. Includes work by: Mark Lewis, Manon de Boer,  Mekhitar Garabedian,  Geert Goiris, Paul Graham, Guido Guidi, Mark Lewis, Louis Lumière, Mark Neville, Lisa Oppenheim, Raqs Media Collective, John Smith, Hiroshi Sugimoto, Ana Torfs, Michiel van Bakel, &amp; Jeff Wall.
For more information please visit: <a href="https://www.fotomuseum.be/en/exhibitions/between-film-and-photography.html" target="_blank" rel="noopener">fotomuseum.be</a>

Mark Lewis, FOMU foto museum, June 23 – October 1, 2017

<a href="http://www.saag.ca/art/exhibitions/0718-the-tower-will-always-break-before-it-bends,-the-body-will-always-bend-before-it-breaks" target="_blank" rel="noopener">Derek Liddington: The body will always bend before it breaks, the tower will always break before it bends</a>
Southern Alberta Art Gallery, Lethbridge
June 23 – September 10, 2017 
For more information please visit: <a href="http://www.saag.ca/art/exhibitions/0718-the-tower-will-always-break-before-it-bends,-the-body-will-always-bend-before-it-breaks" target="_blank" rel="noopener">www.saag.ca</a>

Derek Liddington, Southern Alberta Art Gallery, June 23 – September 10, 2017

<a href="http://www.scrapmetalgallery.com/whats-on/">Belonging To A Place: An Exhibition by Fogo Island Arts</a> 
Scrap Metal Gallery, Toronto 
June 22 – September 23, 2017
<a href="http://www.scrapmetalgallery.com/whats-on/" target="_blank" rel="noopener">Belonging To A Place: An Exhibition by Fogo Island Arts</a> is Presented by Fogo Island Arts in partnership with Art en Valise and Scrap Metal and curated by Nicolaus Schafhausen.
Exhibition features work by: Nadia Belerique, Abbas Akhavan, George van Dam, Marlene Creates, Brenda Draney, Aslan Gaisumov, Flaka Haliti, Leon Kahane, Edgar Leciejewski, Jumana Manna, Sarah Morris, Kate Newby, Silke Otto-Knapp, Paul P., Joseph del Pesco, Willem de Rooij, Leander Schönweger, Augustas Serapinas, Zin Taylor.

Nadia Belerique, Scrap Metal Gallery, June 22 – September 23, 2017

Hello, Robot.
MAK Vienna, Vienna 
June 21 – October 1, 2017
Curators of Hello, Robot.: Amelie Klein (Vitra Design Museum), Thomas Geisler, Marlies Wirth (MAK), and Fredo de Smet (Design museum Gent, curatorial advisor). For more information please visit: <a href="http://www.mak.at/jart/prj3/mak-resp/main.jart?rel=en&amp;reserve-mode=active&amp;content-id=1461719618760&amp;article_id=1482977612914&amp;event_id=1484014465760" target="_blank" rel="noopener">www.mak.at</a>

Douglas Coupland, MAK, June 21 – October 1, 2017

<a href="http://www.viedange.club/" target="_blank" rel="noopener">Guttersnipes: Nadia Belerique &amp; Jenine Marsh</a>
Vie D’ange, Montreal
June 15 – July 23, 2017
For more information please visit: <a href="http://www.viedange.club/" target="_blank" rel="noopener">viedange.club</a>

Nadia Belerique, Vie D’ange, June 15 – July 23, 2017

Mental Yellow. High Sun
Lenbachhaus, Munich
May 6 – October 8, 2017
Shannon Bool included in Mental Yellow. High Sun at Lenbachhaus, Munich.
The Städtische Galerie in the Lenbachhaus prepares the exhibition Mental Yellow in cooperation with the Kunstmuseum Bonn. Sunshine level. The presentation is dedicated to the collection KiCo by Doris and Hans-Gerd Riemer from Bonn, which has been located at both museums in Bonn and Munich since the mid-1990s. The main focus of the collection was on monochrome coloring, but has expanded over a period of two decades to a wide spectrum from contemporary art to space – encompassing installations. Acquisitions take place under the premise of integrating complete work groups or entire spatial concepts into the collection. The acquired works are to be permanently available to the public museums. In close collaboration and coordination between the collectors and the two museums, the collection is continually expanded and thus makes it possible to complement the museum’s collections. The KiCo collection is of great help to the Lenbachhaus as well as the Kunstmuseum Bonn in continuing to pursue its own collection policy in the coming years.
For more information please visit: <a href="http://www.lenbachhaus.de/ausstellungen/mentales-gelb/" target="_blank" rel="noopener">www.lenbachhaus.de</a>

Shannon Bool, Lenbachhaus, May 6 – October 8, 2017

Mental Yellow, High Noon: The KiCO Collection 
Kunstmuseum Bonn, Bonn 
May 4 – August 20, 2017
Shannon Bool’s work included in Mental Yellow, High Noon: The KiCO Collection at the Kunstmuseum Bonn, Bonn.
The KiCo Foundation was established in 2009 by the husband-and-wife collectors couple Hans-Gerd Riemer and Doris Keller-Riemer who began collecting young contemporary art about 20 years ago. Right from the beginning, it was important for them to cooperate with public museums. As a result, they have been working closely and continuously with the Kunstmuseum Bonn since 1995, their cooperation with the Lenbachhaus München beginning a little later. The selection of the artworks and the decision to buy them is always made in direct contact between the collectors and the directors of the Kunstmuseum Bonn and the Lenbachhaus. When acquiring new works, a special focus is put on how well the works complement the two museums’ collections.
For more information please visit: <a href="http://www.kunstmuseum-bonn.de/nocache/en/exhibitions/preview/info/ex/mentales-gelb-sonnenhochstand-3248/" target="_blank" rel="noopener">kunstmuseum-bonn.de</a>

Shannon Bool, Kunstmuseum Bonn, May 4 – August 20, 2017

<a href="http://artmuseum.utoronto.ca/exhibition/its-all-happening-so-fast/" target="_blank" rel="noopener">It’s All Happening So Fast</a> 
Art Museum University of Toronto, Toronto 
May 3 – July 15, 2017
Douglas Coupland included in group exhibition <a href="http://artmuseum.utoronto.ca/exhibition/its-all-happening-so-fast/" target="_blank" rel="noopener">It’s All Happening So Fast </a>at the Art Museum, University of Toronto, Toronto. This exhibition is curated by Mirko Zardini, Director, <a href="http://www.cca.qc.ca/en/" target="_blank" rel="noopener">Canadian Centre for Architecture (CCA)</a> and Organized by the <a href="http://www.cca.qc.ca/en/" target="_blank" rel="noopener">Canadian Centre for Architecture (CCA)</a>.
For more information please visit: <a href="http://artmuseum.utoronto.ca/exhibition/its-all-happening-so-fast/" target="_blank" rel="noopener">www.artmuseum.utoronto.ca</a>

Douglas Coupland, Art Museum University of Toronto, May 3 – July 15, 2017

Jed Martin 
Kunstverein in Hamburg, Hamburg 
April 22 – June 18, 2017
Iris Häussler included in group exhibition supporting Jed Martin.
For more information please visit: <a href="http://www.kunstverein.de/ausstellungen/aktuell/20170421_1.php" target="_blank" rel="noopener">www.kunstverein.de</a>

Iris Häussler, Kunstverein in Hamburg, April 22 – June 18, 2017

<a href="https://www.ago.net/the-ago-tells-stories-about-canada-all-year-long-in-2017" target="_blank" rel="noopener">Mark Lewis: Canada</a> 
<a href="https://www.ago.net/the-ago-tells-stories-about-canada-all-year-long-in-2017" target="_blank" rel="noopener">Art Gallery of Ontario</a>, Toronto 
April 13 – December 10, 2017
<a href="https://www.ago.net/the-ago-tells-stories-about-canada-all-year-long-in-2017" target="_blank" rel="noopener">Mark Lewis: Canada </a>is curated by Adelina Vlas, the AGO’s Associate Curator of Contemporary Art.
Making its world premiere this spring at the AGO is a series of three new films by contemporary artist Mark Lewis exploring the idea of Canada. The Hamilton-born artist, who lives and works in London, UK, is one of the most prominent practitioners working with moving image today. Presented as simultaneous projections, Lewis’s new films illuminate the complicated and sometimes contradictory meanings “Canada” – the word as well as the country. Lewis is interested in exploring the idea of place as it relates to the land we call Canada. Shot in various locations, the films are set up as staged encounters between the camera and the landscape, creating meditations on and of a place.
For more information please visit: <a href="https://www.ago.net/the-ago-tells-stories-about-canada-all-year-long-in-2017" target="_blank" rel="noopener">www.ago.net</a>

Mark Lewis, Art Gallery of Ontario, April 13 – December 10, 2017

<a href="http://theagyuisoutthere.org/everywhere/" target="_blank" rel="noopener">Derek Liddington: The body will always bend before it breaks, the tower will always break before it bends</a>
<a href="http://theagyuisoutthere.org/everywhere/" target="_blank" rel="noopener">Art Gallery of York University</a>, Toronto
April 5 – June 4, 2017
The body will always bend before it breaks, the tower will always break before it bends is curated by AGYU Assistant Director/Curator Emelie Chhangur. Opening reception: Wednesday, Arpil 5, 6-9pm. 
For more information please visit: <a href="http://www.theagyuisoutthere.org/" target="_blank" rel="noopener">www.theagyuisoutthere.org</a>

Derek Liddington, The Art Gallery of York University, April 5 – June 4, 2017

<a href="https://www.thecontemporaryaustin.org/exhibitions/mark-lewis/" target="_blank" rel="noopener">Mark Lewis: Galveston</a>
The Contemporary Austin, Austin
April 2 – August 27, 2017
Mark Lewis’s latest film, Galveston, 2017, is a work newly commissioned by The Contemporary Austin and will be on view at the Jones Center. This film takes the city of Galveston, Texas, as both its setting and title.
For more information please visit: <a href="https://www.thecontemporaryaustin.org/exhibitions/mark-lewis/" target="_blank" rel="noopener">www.thecontemporaryaustin.org</a>

Mark Lewis, The Contemporary Austin, April 2 – August 27, 2017

<a href="http://ikg.acad.ca/" target="_blank" rel="noopener">Shannon Bool: The Eastern Carpet in the Western World Revisited</a> 
<a href="http://ikg.acad.ca/" target="_blank" rel="noopener">Illingworth Kerr Gallery, Calgary</a> 
December 1, 2016 – February 11, 2017 
Curated by Lorenzo Fusi
For more information please visit: <a href="http://ikg.acad.ca/" target="_blank" rel="noopener">http://ikg.acad.ca/</a>

Shannon Bool, Illingworth Kerr Gallery, December 1, 2016 – February 11, 2017

<a href="http://gallery.ahva.ubc.ca/" target="_blank" rel="noopener">This is it with it as it is</a> 
AHVA Gallery, Audain Art Centre, Vancouver 
November 24, 2016 – January 14, 2017
Douglas Coupland is included in <a href="http://gallery.ahva.ubc.ca/" target="_blank" rel="noopener">This is it with it as it is</a> curated by Will Aballe at AHVA Gallery, Audain Art Centre in Vancouver.
For more information, please visit <a href="http://gallery.ahva.ubc.ca/" target="_blank" rel="noopener">AHVA Gallery</a>.

Douglas Coupland, AHVA Gallery, November 24, 2016 – January 14, 2017

<a href="http://www.kunsthalle-recklinghausen.com/index.php?id=281&amp;tx_news_pi1%5Bnews%5D=31&amp;tx_news_pi1%5Bcontroller%5D=News&amp;tx_news_pi1%5Baction%5D=detail&amp;cHash=793c8f549624151ba88c225a74547ab0" target="_blank" rel="noopener">Everyone should be able to acquire art</a> 
Kunsthalle Recklinghausen, Recklinghausen, Germany 
November 13, 2016 – February 5, 2017
Shannon Bool is included in <a href="http://www.kunsthalle-recklinghausen.com/index.php?id=281&amp;tx_news_pi1%5Bnews%5D=31&amp;tx_news_pi1%5Bcontroller%5D=News&amp;tx_news_pi1%5Baction%5D=detail&amp;cHash=793c8f549624151ba88c225a74547ab0" target="_blank" rel="noopener">Everyone should be able to acquire art</a> at the Kunsthalle Recklinghausen, in Recklinghausen, Germany.
For more information, please visit <a href="http://www.kunsthalle-recklinghausen.com/index.php?id=281&amp;tx_news_pi1%5Bnews%5D=31&amp;tx_news_pi1%5Bcontroller%5D=News&amp;tx_news_pi1%5Baction%5D=detail&amp;cHash=793c8f549624151ba88c225a74547ab0" target="_blank" rel="noopener">Kunsthalle Recklinhausen</a>.

Shannon Bool, Kunsthalle Recklinghausen, November 13, 2016 – February 5, 2017

<a href="http://projetpangee-en.com/new-page-72/" target="_blank" rel="noopener">The Digital Cliff 
</a>Projet Pangée, Montréal 
Organized by: CK2 
November 12 – December 17, 2016
Nadia Belerique included in group exhibition <a href="http://projetpangee-en.com/new-page-72/" target="_blank" rel="noopener">The Digital Cliff</a> curated by CK2. Other artists included: Marie-Michelle Deschamps, Stephanie Hier, and Erin Baillie-Rutter.
For more information, please visit <a href="http://projetpangee-en.com/new-page-72/" target="_blank" rel="noopener">Projet Pangée</a>.

Nadia Belerique, Projet Pangée, November 12 – December 17, 2016

Shannon Bool
<a href="http://danielfariagallery.cmail20.com/t/r-l-shtsjt-jkkryhjrq-c/">Dream States</a> 
Metropolitan Museum of Art, New York
Through October 30, 2016

Shannon Bool, Dream States, Metropolitan Museum of Art

It has been announced that Daniel Faria artists Nadia Belerique, Shannon Bool &amp; Chris Curreri will be participating in the 2016 Montréal Biennale.
The 2016 Montréal Biennale takes place from October 19, 2016 – January 15, 2017.
For more information please visit: <a href="http://www.bnlmtl.org/en/" target="_blank" rel="noopener">www.bnlmtl.org</a>
More From <a href="https://danielfariagallery.com/artist/chris-curreri" rel="tag">Chris Curreri</a>, <a href="https://danielfariagallery.com/artist/nadia-belerique" rel="tag">Nadia Belerique</a>, <a href="https://danielfariagallery.com/artist/shannon-bool" rel="tag">Shannon Bool</a>

2016 Montréal Biennale: Nadia Belerique, Shannon Bool & Chris Curreri

<a href="http://www.cuevastilleard.com/scaleawall" target="_blank" rel="noopener">Scale A Wall</a> 
Cuevas Tilleard, New York 
October 14 – November 13, 2016
Kristine Moran is included in the group exhibition <a href="http://www.cuevastilleard.com/scaleawall" target="_blank" rel="noopener">Scale A Wall</a>, curated by Town Hall Meeting. Scale A Wall also features work by: Anya Kieler, Sarah Faux, Leah Guadagnoli and Les Rogers.
For more information please visit <a href="http://www.cuevastilleard.com/scaleawall" target="_blank" rel="noopener">Cuevas Tilleard.</a>

Kristine Moran, Cuevas Tilleard, New York

<a href="http://www.bnlmtl.org/en/" target="_blank" rel="noopener">Le Grand Balcon</a> 
La Biennale de Montréal, Montréal 
October 19, 2016 – January 15, 2017
Nadia Belerique, Shannon Bool &amp; Chris Curreri are among a select group of artists presenting at <a href="http://www.bnlmtl2016.org/en/" target="_blank" rel="noopener">La Biennale de Montréal 2016</a>, <a href="http://www.bnlmtl2016.org/en/the-grand-balcony/curatorial-statement/" target="_blank" rel="noopener">curated by Philippe Pirotte</a>. Other participating artists include: Valérie Blass, Moyra Davey, Geoffrey Farmer, Isa Genzken, Shahryar Nashat, Ben Schumacher, &amp; Luc Tuymans.
For more information about La Biennale de Montréal 2016 please visit: <a href="http://www.bnlmtl.org/en/" target="_blank" rel="noopener">www.bnlmtl.org</a>

Nadia Belerique, Shannon Bool & Chris Curreri, La Biennale de Montréal, Montréal

<a href="http://hybridart.ru/en/" target="_blank" rel="noopener">Anticipation</a>
The St. Petersburg Manege, St. Petersburg
October 12 – 25, 2016
Douglas Coupland participates in Anticipation: assembling the future at The St. Petersburg Manege in St. Petersburg. This exhibition is organized and curated by Marcello Dantas. For more information please visit: <a href="http://hybridart.ru/en/" target="_blank" rel="noopener">hybridart.ru/en</a>

Douglas Coupland, St. Petersburg Manege, Russia

<a href="http://www.whitechapelgallery.org/shop/product/category_id/34/product_id/2069" target="_blank" rel="noopener">Douglas Coupland Limited Edition Print</a> 
Whitechapel Gallery, London
Douglas Coupland 
Technical Sunrise Number One, 2014 
Giclée on Epson Hot Press with matte finish and UV glaze 
Dimensions: 24 x16.5 inches, actual image size 20 x 12.5 inches 
Edition of 40 signed and numbered works 
£295 full price (£265.50 Patron’s and Member’s)  including VAT
For assistance with your order of this print, pleasecontact Editions Manager Johanna Melvin on 020 7522 7882  or email Jo at<a href="mailto:jomelvin@whitechapelgallery.org">jomelvin@whitechapelgallery.org</a> , or email  your enquiry to <a href="mailto:mailorder@whitechapelgallery.org">mailorder@whitechapelgallery.org</a>  
As is traditional in editions publishing, prices will rise as an edition starts to sell out.

Whitechapel Gallery launches limited edition Douglas Coupland print

<a href="http://www.leftfieldgallery.com/" target="_blank" rel="noopener">How High?</a> 
<a href="http://www.leftfieldgallery.com/" target="_blank" rel="noopener">Left Field Gallery</a>, San Luis Obispo, California 
October 7 – October 28, 2016
Kristine Moran included in group exhibition curated by <a href="http://westernexhibitions.com/christian/" target="_blank" rel="noopener">Ryan Travis Christian</a> &amp; Travis Fish.
For more information please visit<a href="http://www.leftfieldgallery.com/" target="_blank" rel="noopener"> Left Field Gallery.</a>

Kristine Moran, Left Field Gallery, San Luis Obispo, California

<a href="https://www.plugin.org/exhibitions/2016/superimposition-sculpture-and-image-nadia-belerique-valerie-blass-ursula-johnson" target="_blank" rel="noopener">Superimposition: Sculpture and Image</a> 
Plug In Institute of Contemporary Art, Winnipeg 
October 1, 2016 – January 1, 2017
&nbsp;
Nadia Belerique included in group exhibition <a href="https://www.plugin.org/exhibitions/2016/superimposition-sculpture-and-image-nadia-belerique-valerie-blass-ursula-johnson" target="_blank" rel="noopener">Superimposition: Sculpture and Image </a>curated by Jenifer Papararo. Other featured artists include: Valérie Blass, Ursula Johnson, Kelly Lycan, Ursula Mayer, Kristin Nelson, Dominique Rey and Andrea Roberts.
For more information please visit <a href="https://www.plugin.org/exhibitions/2016/superimposition-sculpture-and-image-nadia-belerique-valerie-blass-ursula-johnson" target="_blank" rel="noopener">Plug In ICA.</a>