Author: caitlin sutherland
Graeme Patterson: Secret Citadel at the Art Gallery of Hamilton
Review of Graeme Patterson’s solo exhibition Secret Citadel at the Art Gallery of Hamilton for the online publication, Daily Serving. Review was published December 19, 2013.
http://dailyserving.com/2013/12/graeme-patterson-secret-citadel-at-the-art-gallery-of-hamilton/
Irene Loughlin: the artist offers [her] hand
Profile on artist Irene Loughlin‘s performance practice and its incorporation of chance for the fall/winter issue of Hamilton Arts and Letters. Originally published December 4, 2013.
Not Just in it for the Shits and Giggles: Seripop’s Looming at YYZ
A review of Seripop’s exhibition Looming at YYZ Artists Outlet in Toronto for Daily Serving. Originally published October 23, 2013.
http://dailyserving.com/2013/10/not-just-in-it-for-the-shits-and-giggles-seripops-looming-at-yyz/
Ruinophilia: Luke Painter’s Rebound at Le Gallery
A review of Luke Painter’s solo exhibition, Rebound, at Le Gallery in Toronto for Daily Serving. Originally published September 19, 2013.
http://dailyserving.com/2013/09/ruinophilia-luke-painters-rebound-at-le-gallery-toronto/
No Dull Affairs at Onsite OCAD U
Review of No Dull Affairs, curated by Lisa Deanne Smith, and featuring the work of Vanessa Maltese, Karen Lofgren and Jillian McDonald at OCAD University’s Onsite Gallery for Daily Serving. Originally Published August 29, 2013.
Perpetuum Mobile: This Text is a Sculpture
Perpetuum Mobile: This Text is a Sculpture
December 5- January 31
Sona Safaei-Sooreh
Curated by Caitlin Sutherland
The exhibition Perpetuum Mobile: This Text is a Sculpture features the work of interdisciplinary artist Sona Safaei-Sooreh. The Hamilton Public Library presents an ideal location with which to situate the two pieces on display, This Text is a Sculpture and Bibliography. The title Perpetuum Mobile references Derrida’s theory that the power of the sign in semiotics does not reside in a fixed synchronic system but rather that meaning arises from the perpetual movement between sign and signifier.Together, the works encourage the viewer to explore the mythology and power relations embedded in art discourse that are often taken for granted, encouraging a humorous reflection on institutional critique. Visitors are encouraged to contribute to the repetition and homogenization of this discourse by photographing themselves in front of Bibliography (reminiscent of a media or press backdrop), and sharing their photos via social media.
Sona Safaei-Sooreh is an interdisciplinary artist based in Toronto. She holds a BFA in painting from Azad University in Tehran, and a BFA in Sculpture/Installation from Ontario College of Art and Design University. She has shown her work nationally and internationally in KunstraumKreuzberg/Bethanien and NGBK (Berlin), DNA Projects (Sydney), XPACE (Toronto), Narwhal Projects (Toronto), Harbourfront Centre (Toronto), Thomas Erben Gallery (New York), Iranian Pulse at SESC Vila Mariana (Sao Paulo), and Parkingallery (Tehran).
Postscript: An Ambitious Take on Conceptual Art and Writing at the Power Plant
A review of Postscript: Writing After Conceptual Art at the Power Plant in Toronto for Daily Serving. Originally published July 31, 2013.
Artificial Two-Step: Elizabeth Zvonar’s Banal Baroque
A review of Elizabeth Zvonar’s exhibition Banal Baroque at Daniel Faria Gallery in Toronto as a part of the Scotiabank Contact Photography Festival for Daily Serving published on June 11, 2013.
dailyserving.com/2013/06/artificial-two-step-elizabeth-zvonars-banal-baroque/
I am not there and I am not here
FOREGROUND: Angélica Teuta, The Language of Birds, 2012. Installation with audio. Dimensions variable. Commissioned and produced by AGYU. Wooden platform ‘wave,’ designed and fabricated by Brian Davis. Animal drawings by Lena Suksi. 2012 residency supported by AB Projects, Toronto. BACKGROUND: Mateo Rivano, Micro-Mundo / Micro World, 2012. Mixed media: wood, cardboard, lithographs, and found objects, 9 meters. Commissioned and produced by the AGYU. Wooden armature designed and constructed by Brian Davis. Residencies supported by AGYU in 2010 and Fundación Gilberto Alzate Avendaño, Bogotá in 2011 & 2012. Photograph courtesy: Art Gallery of York University. Photography: Michael Maranda
A review of Jamelie Hassan’s retrospective At the Far Edge of Words (MOCCA) and the group exhibition Imaginary Homelands (AGYU) for the publication Daily Serving, on September 25, 2012.
This piece marks the beginning of working as the Toronto correspondent for Daily Serving. As they don’t have many Canadian correspondents, I consider it more of a Southern Ontario jurisdiction- the previous review of TH&B2 was originally intended for Daily Serving before it was picked up by Canadian Art.
Caitlin Sutherland 