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Shannon Garden-Smith
Snail-work, or give the colours what turns you please (dans les cérémonies) (2024) is a large floor installation made of saturated pigmented sand, which ranges in color from deep red, bright yellow to emerald green. The sand is meticulously arranged in long, slightly uneven, scalloped-patterned stripes which references the Turkish/Persian tradition of marbled endpaper. This…
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Gwenyth Chao
Amorphous (2017–19) is a sculptural installation made from expired edible rice paper. The sculptures resemble stiff, crinkled translucent sheets of plastic that have retained an imprint of the uneven matrix against which they were moulded. The folds and creases create delicate shadows that expand the sculptures’ reach into the space. Created by Tkaronto-based artist Gwenyth Chao—this…
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Jin-me Yoon
In Untunnelling Vision (2020), a photography and video installation, viewers are immersed in an apocalyptic landscape. The Canadian Armed Forces leased some of the land of the Tsuut’ina Nation and contaminated it while conducting “war games” over a ninety-year period. This same land was later used as the backdrop for the Canadian war film Passchendaele (2008). The movie’s producer…
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Chun Hua Catherine Dong: Choosing Resilience
Dressed in matching camo pants, t-shirt and cap, Chun Hua Catherine Dong’s face is entirely covered in deer hide she has painstakingly glued onto her face prior to the performance. Over the course of 2.5 hours, the China-born and Tiohtiá:ke/Montreal-based artist sits atop a bright yellow scaffolding, towering over the audience of the Harold J.…
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Zinnia Naqvi
Zinnia Naqvi’s practice is permeated by familial archives, intergenerational dialogues, and politics of belonging. Principally lens-based, her work presents images that speak to the intimacy inherent to cherished family archives, as well as the embedded values that it represents. Past and Present II (2012 – 15) is a photographic series that explores the intergenerational identity construction of migrant families.…