The Intergenerational LGBT Artist Residency in partnership with Videofag present:
Coman Poon is poised to take the lid off the box. Over a dozen banker boxes, actually. In E̶X̶P̶E̶R̶I̶M̶E̶N̶T̶I̶N̶G̶ ̶W̶I̶T̶H̶̶ HOW TO STOP MAKING ART, Coman Poon invites the public to join him in a process of inquiry. Recently moved into his new, long-term housing, Coman found himself finally able to retrieve all his belongings from various storage spaces, and for the first time in seven years, bring all his worldly possessions home. Finally surrounded by the items he had held onto for so long, he realized he was surrounded by things to let go of. During the The Intergenerational LGBT Artist Residency, Coman worked with the architecture of the old Island Natural Science School, crawling deep under the floorboards (literally) of interstitial spaces he found at the site and within himself, via his theoretical research, performance rituals, studio time and critiques with visiting artists and curators.
As an artist whose practice has included a sublime consideration of objects, costume, movement and gesture, Coman takes this opportunity for a 72-hour exhibition, hosted by Videofag, to ask himself to choose something he sought after and cherished, something hard to let go of and hard to give away, and release it. What are the stakes of engagement in the act of releasing? In deconstructing the container of our expectation of the gallery experience, Coman's exhibition is not an exhibition but rather a proposition, with a title struck through. When transitioning from transient to located, or mobile to fixed, we hold on to our materials until we are ready to embrace the consequences of letting go.
E̶X̶P̶E̶R̶I̶M̶E̶N̶T̶I̶N̶G̶ ̶W̶I̶T̶H̶̶ HOW TO STOP MAKING ART is open to the public on April 3, (9am - 5pm) and April 4, (9am - 5pm)
April 2 / day 1 - closed to the public (10 - 3:30)
April 3 / day 2 - open to the public (9 - 3:30)
April 4 / day 3 - open to the public (9 - 5), finissage 3:30 - 5
The Intergenerational LGBT Artist Residency is an annual summer residency on the Toronto Island at Artscape Gibraltar Point, offering a juried cohort of LGBT artists free room, board and studio space in which to develop projects critically engaged with Queer political histories. https://www.facebook.com/ILGBTArtistResidency
Written by Margo MacDonald
Directed by Diana Fajrajsl
Performed by Margo MacDonald and Sarah Finn
Stage Managed by Rae Powell
Costumes Designed by Judy DeBoer
This is a lost story. This is a true story.
In 1930s New York, at the height of her career, the English-born Queen of the American stage, Eva LeGallienne, is outed in the press as a lesbian. She escapes to a country retreat with her lover, Josephine Hutchison, only to be disfigured and nearly killed in a terrible explosion. The story slips back and forth in time as Eva struggles with art, disfigurement, alcoholism, sexuality, and acceptance. She battles with Broadway, critics, and her personal demons, while tormented by the overwhelming question: If her public and private battles destroy her happiness but nourish her art, will it have been worth it?
This multi-award winning play has been called “captivating and utterly convincing” by CBC Radio, and “sumptuous and gripping” by the Ottawa Citizen. It has sold out every performance to date. This is the first production of the show in Toronto.
For tickets, visit Eventbrite:
kuš and Videofag present The Last Match
Part of The Toronto Comic Arts Festival
May 7th - 12th
Opening Reception May 7th, 7:00pm-9:00pm
Free to Attend
Since 2009, the Latvian comics magazine kuš! has invited international comic artists to draw their interpretations of "the last match" on paper snips the size of matchbooks. At this size, these little artworks are easily collected in just a few tiny boxes – BUT – when exhibited together as The Last Match, the collected drawings are taken out and hung on matchsticks, showing that together you can make something big out of something small.The Last Match is made up of contributions from more than 380 artists, from over 52 countries. This international exhibition has traveled from Riga to Lisbon, Linz, Lucerne, Leipzig, Erlangen, Haarlem, Tbilisi, Prague, Poznan, St. Petersburg, Bologna, Graz, and Ljubljana, and it's making it's Toronto/Ontario/Canadian/North American debut with TCAF! We're so excited!
Co-presented by Videofag in Kensington Market, The Last Match will be up from May 7th-12th. There will be an opening reception on May 7th, from 7:00-9:00pm, which we highly recommend attending. With so many pieces, you'll want to spend time with it all!
The exhibition is being brought to TCAF thanks to the kuš! editors David Schilter and Sanita Muižniece, and will be accompanied by a matching wall painting by Patrick Kyle. For more information on The Last Match, as well as photos of it from previous showings, please visit the kuš website.
“Matchmonster” illustration by Oskars Pavlovskis.
A new performance by RM Vaughan
July 29, 2014 6:44pm to 8:44pm
July 30, 2014 6:43pm to 8:43pm
July 31, 2014 6:42 pm to 8:42pm
Super-Diviner is an experiment.
Toronto multi-media artist RM Vaughan has been reading Tarot cards and participating in occult rituals since his early teens.
Now he wants to know: Is he actually psychic?
Super-Diviner seeks to both re-arrange and undermine traditional systems of divinatory revelation (aka "fortune telling"), by disrupting the format of the familiar, one-on-one/single-signifier-deck Tarot reading. And, by dislodging the worn tropes of the "Tarot reading", Vaughan hopes to discover whether or not he is a psychic conduit.
The performances will take place for exactly two hours before sunset, three days in a row.
Visitors to the gallery will be instructed to enter alone, and not to speak or otherwise communicate with Vaughan. Vaughan will not be visible and is not permitted to ask questions of the visitor. All facial cues, verbal cues, and other non-verbal cognitive transactions between "Reader" and "Receiver" will thus be made opaque to both parties.
The visitor will select three cards from a pile of assorted divinatory decks, divinatory cards both well-known and obscure. The visitor will not be able to see the horde of cards and will use his/her own intuition in choosing them from an opaque bowl.
By breaking up multiple divinatory decks and throwing them into a common (and occluded) lot, Vaughan seeks to negate the innate, hierarchical systems present in each deck as well as the act of "card shuffling" and how it determines the Receiver's psychic "readiness" and receptivity -- and, overall, to create a far more random selection of potential divinatory prompts for both the visitor and the reader.
Once selected, the visitor's cards will be delivered to Vaughan via a simple mechanical exchange, an obscured sliding door, and Vaughan will pronounce his reading of the cards to the visitor from behind a veiled space.
The end of the reading is signalled by Vaughan's returning of the cards, via the sliding door, to the visitor, who then must leave. The visitor takes away the given reading and decides for her/himself if Vaughan possesses psychic abilities, or does not. The visitor is free to relay their discoveries to the docent, or not.
Super-Diviner is the first instalment of Entreat, a three-part "physic investigation" project involving performance and the creation of divinatory objects. Parts two and three will manifest over the coming 12 months, in various locations.
About the artist: RM Vaughan is a Toronto-based artist and writer. He is the author of 9 books and hundreds of articles on culture. His collaborative video works play in festivals around the world. Please visit www.rmvaughan.ca