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Michel Huneault: Intersection

Michel Huneault, Intersection
Michel Huneault, Untitled 2, Roxham Road, 2017

FOR IMMEDIATE RELEASE
(Communiqué de presse – PDF en français)

New exhibition reflects upon contemporary migration and the confusing quest for safety

Toronto, ON, August 28, 2017Circuit Gallery is pleased to present a solo show by Montreal-based photographer Michel Huneault, premiering his new project Intersection. Incorporating audio, video, and photography, Huneault reflects upon contemporary migration and the confusing quest for safety.

Huneault has, since early 2017, been documenting the steady flow of asylum seekers into Canada at the Canada-USA irregular border crossing point of Roxham Road, in the Québec community of Saint-Bernard-de-Lacolle, 60 kilometres south of Montreal.

Between February and July, he made sixteen visits to Roxham Road, documenting the evolution of this phenomenon as both the public and the authorities were trying to grasp its meaning and scope. Over the course of this period he witnessed 180 crossing attempts by asylum seekers coming from a wide range of countries: Eritrea, Djibouti, Sudan, Syria, Palestine, Democratic Republic of Congo, Colombia, Turkey, Libya, Yemen, Guatemala, El Salvador, Angola, Chad, the Philippines, Nigeria, Burundi, Mauritania, Zimbabwe, and, in the most recent spike in the number of attempts, from Haiti.

Intersection started like most of my projects, initially motivated by my curiosity and interests. In the last two years, I had completed other projects on remittance flows and the migrant crisis in Europe. This long time interest in migration came into sharper focus because similar events were happening at home. When I start my projects, they often have a more current journalistic timing, but I am not a photojournalist per se. I don’t get many assignments and don’t think of my projects as being for the media primarily. What I think I do is photography with a deep anchor in current events, while questioning classic forms of documentation. And then, periodically, I pitch timely excerpts of this work to my media clients. The turning point of this project for me was the photograph I took of the pregnant Nigerian woman who stood, frozen in fear, just steps away from the border. In the end she did not cross, and was taken away by the US Border Patrol. I sent that photo to my entire media client list, but nobody published it. That is when the project became clearer to me, when I grasped the complexity and the tension that I wanted to capture. —Michel Huneault

Public discourse on both sides of the border, indeed around the world, and at every level, from eloquent idealism to naked racism, has swirled and clashed around this phenomenon. American and Canadian government policies, practicalities, rhetoric, and images have defined and defied each other here, where desperate and frightened people cross a line they cannot see.

That moment when, on the side of a dirt road, people make a fundamental choice about what freedom means to them, when they would rather be under arrest in one country than “free” in another, is profoundly political and public. It draws into focus the character and identities of the countries as much as of the individuals. But it is also a moment of great personal risk and change. It is intensely private. By overlaying the outlines of asylum seekers with various fabrics he photographed in 2015 during the European migrant crisis – blankets given to stay warm, clothes donated, and tents erected to provide temporary shelter – Huneault respects that privacy and turns our attention to the moment itself, and to its global and humanitarian context.

I hope that Intersection will help us to reflect on the larger context of humanitarian principles and migratory flows, on why people take to the road and what they hope to find, on the obstacles they face, and on our collective responsibilities towards them. —Michel Huneault

This exhibition will also be adapted as an interactive virtual reality piece produced by the National Film Board of Canada (NFB), to be released in the fall of 2017. To access the NFB’s award-winning content, please visit www.nfb.ca/interactive/


BIO
Michel Huneault is a documentary photographer based in Montreal, Canada. Before devoting himself full time to documentary photography in 2008, Michel Huneault worked in the international development field for a dozen years, a profession that took him to over twenty countries, including one full year in Kandahar, Afghanistan. He holds an MA in Latin American Studies from the University of California, Berkeley, where he was a Rotary World Peace Fellow, researching the role of collective memory in large scale traumatic recovery. At Berkeley, he was a student and teaching assistant of Magnum photographer Gilles Peress, and afterwards held an apprenticeship position with him in New York. His practice—often mixing photography with audio/video elements—focuses on development and humanitarian issues, on personal and collective traumas, and on complex geographies.

Huneault is the recipient of numerous awards including the Dorothea Lange-Paul Taylor Prize (2015) for his long-term work on the Lac-Mégantic catastrophe, and the R. James Travers Foreign Corresponding Fellowship (2016) to continue his research on migration. In 2016 his project Post Tohoku, looking at the impact of the tsunami in Japan, was nominated for the Prix Pictet 7 and received a Prix Antoine-Désilets. Huneault’s work has been exhibited in various venues in Canada, France, UK, USA, Japan and the Netherlands.

Artist Website: Michel Huneault


Michel Huneault: Intersection runs September 7 through September 30 at Circuit Gallery @ Prefix ICA, with a reception for the artist on Friday, September 8, from 6–9 PM, and a talk by the artist on Saturday, September 9, from 2-3 PM.


Michel Huneault

Intersection

September 7 – 30, 2017
Circuit Gallery @ Prefix ICA
401 Richmond Street West, Suite 124
Toronto, ON, M6R 2G5
[ Google Map ]

Artist’s Reception: Friday, September 8, 6-9 PM
Artist’s Talk: Saturday, September 9, 2-3 PM
Gallery Hours: Tuesday – Saturday, 11 AM – 5 PM

Michel Huneault, Intersection
Michel Huneault, Untitled 9, Roxham Road, 2017
Michel Huneault, Intersection
Michel Huneault, Untitled 10, Roxham Road, 2017
Michel Huneault, Intersection
Michel Huneault, Untitled 3, Roxham Road, 2017

Visit Circuit Gallery for more information and to see more images:
www.circuitgallery.com/exhibitions


ABOUT CIRCUIT GALLERY
Circuit Gallery specializes in contemporary photography. Established in 2008 by Susana Reisman and Claire Sykes, the Toronto based commercial gallery represents both emerging and established Canadian and international artists.

Web: www.circuitgallery.com

Email: info@circuitgallery.com
Phone: 647-477-2487

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Philip Cheung: The Edge

Philip Cheung, "Lifeboats, Al Jaddaf, Dubai," 2015, from 'The Edge'
Philip Cheung, “Lifeboats, Al Jaddaf, Dubai,” 2015

FOR IMMEDIATE RELEASE

New exhibition offers a contemporary look at the rapidly changing coastal landscape of the United Arab Emirates

Toronto, ON, January 4, 2017Circuit Gallery is pleased to present an exhibition of ten large-scale photographs by Philip Cheung from The Edge, a new project that follows the 1300 km coastline of the United Arab Emirates looking at the region’s rapid development and transformation.

As Cheung Explains:

The United Arab Emirates is a country in a state of constant geopolitical change. Once an obscure Gulf nation, the UAE has, in just 40 years, emerged from the desert sands. Substantial economic growth resulting from the discovery of major oil and gas reserves off the coast of Abu Dhabi have transformed the formerly semi-nomadic Bedouin society into a thriving localized culture, anchored in international business, tourism, and luxury

Significant urban and industrial development has attracted migrant workers, business people, consumers, and tourists from all around the world. Expatriates now make up 85 percent of the population in the major urban centers of Abu Dhabi and Dubai. As a result, the cultural identity of the Emirates as a whole is evolving through a constant influx of foreign influences.

The Edge is a continuation of Cheung’s successful project Desert Dreams which offered a modern portrait of the Emirates and its negotiation of a relationship between traditional culture and lifestyle and the new cosmopolitan aspirations afforded by massive wealth, intense urbanization, and economic development. With this new work Cheung turns his attention to the landscape and to the varied activities taking place along the coast. In these photographs he’s looking at the expression of these changes and ambitions through the built environment, architecture, infrastructure, and indeed the use of space—the spaces various people occupy, from local Emirati’s to Western expats and migrant labourers, and the distance between co-existing and contrasting worlds.

As Leo Hsu astutely writes, in his essay accompanying the exhibition:

Cheung’s photographs are powerful because, beyond surveying, or describing, they suggest the seeming necessity of the present moment, which in his graceful compositions feels both inevitable and eternal. At the same time, they underscore the moment’s contingency—the feeling that the cultural features on display, functions of power, economics and globalization, look so specific, when seen in the context of the landscape that has made this wealth and power possible. Where nature cannot but look as it does, the built environment betrays human ambition in the way that it assumes its specific forms. The success of Cheung’s photographs is its evocation of the tension between these two imperatives.


BIOS
Philip Cheung is a Canadian photographer with experience in various forms of photography who, since 2007, has worked extensively in the Middle East, particularly the United Arab Emirates. In recent years, his personal work has focused on research and exploration of issues of citizenship, capital, labour and industrialization through a layered approach of natural and urban landscapes and portraiture.

Cheung’s work has been exhibited in galleries, museums and festivals across North America and Europe, including The National Portrait Gallery (London, UK), the Lumix Festival (Hanover, DE) and the Flash Forward Festival (Toronto, CA), and has appeared in features and reviews in The British Journal of Photography, CNN, Boston Review and TIME, among others. Clients include The Wall Street Journal, The Guardian Weekend Magazine, Stern, The Independent Magazine, The New York Times, Der Spiegel, Le Monde and Wallpaper*.

In 2011 Cheung was named one of PDN’s 30 top emerging photographers, and in 2016 he was selected for the Canadian Forces Artist Program by the Directorate History and Heritage to continue a series that examines military culture in Canada’s post-Afghanistan military. He is currently based in Los Angeles and Toronto.

Leo Hsu is a writer, researcher and photographer based in Toronto. He is a regular contributor to Fraction Magazine and holds a PhD in Anthropology and Certificate in Culture and Media from New York University.


Philip Cheung: The Edge runs January 12 through February 4, at Circuit Gallery @ Prefix ICA, with an opening reception on Friday, January 13, from 6-9 p.m.. The artist is in attendance.


Philip Cheung

The Edge

January 12 – February 4, 2017
Circuit Gallery @ Prefix ICA
401 Richmond Street West, Suite 124
Toronto, ON, M6R 2G5
[ Google Map ]

Opening Reception: Friday, January 13, 6-9 p.m.
Gallery Hours:
Tuesday – Saturday, 11:00 a.m. – 5:00 p.m.

Philip Cheung, "Friday, Fujairah," 2014, from 'The Edge'
Philip Cheung, “Friday, Fujairah,” 2014
Philip Cheung, "Roundabout, Khor Fakkan, Sharjah," 2014, from 'The Edge'
Philip Cheung, “Roundabout, Khor Fakkan, Sharjah,” 2014
Philip Cheung The Edge Circuit Gallery
Installation view of Philip Cheung’s solo exhibition “The Edge” at Circuit Gallery @ Prefix ICA, Toronto, Canada (January 12 – February 4, 2017)

Visit Circuit Gallery for more information and to see more images:
www.circuitgallery.com/exhibitions


ABOUT CIRCUIT GALLERY
Circuit Gallery specializes in contemporary photography. Established in 2008 by Susana Reisman and Claire Sykes, the Toronto based commercial gallery represents both emerging and established Canadian and international artists.

Web: www.circuitgallery.com

Email: info@circuitgallery.com
Phone: 647-477-2487

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Alejandro Cartagena public installation for CONTACT

Alejandro Cartagena
Alejandro Cartagena, Carpooler #2 (detail) and Carpooler #1 (detail), from his Carpoolers series, 2011

Circuit Gallery is thrilled that gallery artist Alejandro Cartagena‘s work has been curated into an innovative and ambitious public art installation as part of the 2015 Scotiabank Contact photography festival. The exhibition takes over Warden subway station (google map).

NEWS RELEASE

Alejandro Cartagena’s work to take over Toronto’s Warden subway station as an official public installation for the Scotiabank CONTACT photography festival

Toronto, ON, April, 2015 — PATTISON Onestop and Art for Commuters are pleased to present Contacting Toronto: Expanding Cities, featuring noted Mexican artist, Alejandro Cartagena’s images on 55 advertising posters, converting Toronto’s Warden subway station into a distinctive exhibition space. The exhibition also threads throughout the city’s subway system, via a series of videos by Kingston, Ontario art duo, Julia Krolik and Owen Fernley capturing the attention of more than one million daily commuters from May 1 to 31, 2015.

An official public installation of Scotiabank CONTACT, Toronto’s annual photography festival, the 9th annual Contacting Toronto addresses issues of transportation, suburban development and sustainability. Contacting Toronto: Expanding Cities is curated by Sharon Switzer.

Cartagena’s series Carpoolers (2011–2012) adopts a bird’s eye view of construction workers and landscapers gathered together in the beds of pickup trucks. Travelling to the wealthy suburban communities outside of Monterrey, Mexico that they build and maintain, the men lounge together, nestled among the tools and detritus of their professions. His Suburbia Mexicana (2006–2010) series focuses on the rise of poorer suburbs. Tiny cookie-cutter homes spread across the horizon, while families pose in front of these simple dwellings, proud of their new neighbourhoods.

Intersection (2015) is a series of videos by Krolik and Fernley, shown non-stop on 5 TTC LCD screens throughout Warden Station and every 5 minutes at 62 other stations across the city. Aerial views of suburban homes, roads, and parking lots are revealed with map-like precision, through the use of government orthophotos. The artists created a custom image processor to randomly sample images from a suburban region north of the GTA. Appearing as a triptych of changing images, this expanse transforms continuously as unnamed communities replace one another, details blurring into a seemingly never-ending suburban landscape.

“The artwork in Expanding Cities asks viewers to think critically about suburban expansion and sustainability,” said Sharon Switzer, National Arts Programmer and Curator, PATTISON Onestop. “Warden station, at the eastern edge of Toronto’s subway system, may seem like an unlikely place to mount an ambitious art installation, but I believe the relatively remote location will enhance viewers’ appreciation of work.”

For artist’s bios and statements, and to view a selection of Contacting Toronto: Expanding Cities images and an exhibition essay by Nives Hajdin, please visit www.contactingtoronto.ca


Contacting Toronto: Expanding Cities is co-produced by PATTISON Onestop and Art for Commuters, in partnership with Scotiabank CONTACT Photography Festival, with financial support from the Ontario Arts Council and PATTISON Outdoor’s Art in Transit program.

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Scotiabank CONTACT Photography Festival – www.scotiabankcontactphoto.com
PATTISON Onestop – www.pattisononestop.com – @onestopmedia
Art in Transit – www.artintransit.ca – @ArtTransit
Art for Commuters – www.art4commuters.com – @art4commuters


About Onestop
Onestop is a world leader in the development and operation of Digital Out-of-Home Media (DOOH). Onestop creates and delivers uniquely engaging experiences that connect the physical and digital worlds, and provides audiences timely and relevant information in engaging spaces. Onestop leverages proprietary technology to deploy digital campaigns for mass transit, office, airport, residential, and retail environments, as well as being the exclusive media provider in the PATH – Toronto’s underground walkway connecting office towers and subway stations to over 1,200 shops and services. Onestop is a division of PATTISON Outdoor Advertising.
www.pattisononestop.com

For more information contact:
Marie Nazar, Arts Publicist, PATTISON Onestop
416-762-7702 | marie.nazar@bell.net

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CONNECTED EVENTS

Circuit Gallery is pleased to support the following connected events.

Friday, May 8th at 6:00pm
Alejandro Cartagena: Learning from Latin American (Sub)Urbanism
OCADU, 100 McCaul Street, Room 230

Artist talk, followed by a conversation with author, Shawn Micallef.

This event is co-presented by CONTACT, Latin American-Canadian Art Projects Speaker Series (LACAP), the Faculty of Art at OCAD University (Photography Department), and Circuit Gallery, in conjunction with Contacting Toronto: Expanding Cities.


Wednesday, May 6th – Thursday, May 7th
Alejandro Cartagena: The Photobook
Gallery 44 Centre For Contemporary Photography
401 Richmond St W, Suite 120

Cartagena will teach a two day workshop focused on photo book history, edit and sequencing methods. Cartagena’s recent self-published book carpooler was listed as one of the best photo books in 2014 by Time magazine.

This event is co-presented by Gallery 44, Centre for Contemporary Photography, CONTACT, LACAP and Circuit Gallery, in conjunction with Contacting Toronto: Expanding Cities.

Akihiko Miyoshi: CMYKRGB

Akihiko Miyoshi
Akihiko Miyoshi, CMYKRGB, detail, 2014

FOR IMMEDIATE RELEASE

Akihiko Miyoshi: pushing the intersection of art and technology into new territory

Toronto, ON, March 26, 2015Circuit Gallery is pleased to present CMYKRGB, an exhibition of new abstract photographic and installation work by Portland Oregon based artist Akihiko Miyoshi.

In this latest work, Miyoshi pushes his interest in the intersection of art and technology into new territory. While Miyoshi has consistently engaged questions specific to photographic representation – exploiting the conventions of perception, questioning the status of both the photographer/author and the referent/real in the digital age – here he extends his investigation into the very processes and conditions of contemporary image production.

I believe we live in a moment where the torrent of the digital and the inertia of the analog collide with each other creating an aesthetic and lived experience unique to our time…. This collision is the subject of the works presented.

The works exhibited exist, conceptually, somewhere between painting and photography. Visually, they are between formal abstraction and photographic representation.

Using photography, a medium whose indexicality clings to the real, Miyoshi performs a variety of gestures that bring to the fore the tensions between the analog and the digital. These gestures range from very material and mechanical performative actions undertaken in the studio in front of the camera (using paper, paint, light, mirrors, and the artists own body), to manipulations within the software (digital gestures such as offsetting the color channel), through to collaborations with the digital algorithms of the software – “letting it think” and act.

Miyoshi seeks to represent something of our contemporary experience of what is pervasive yet elusive, known only through the effects of optics, algorithms, data, and mediation – and experienced though screens and web browsers, 8-bit aesthetics, and virtual worlds.

The works evoke what is intangible or unrepresentable, and yet oddly familiar, by revealing something of the processes underneath the act of representation. Questioning and revealing the spaces between pigment and light, the tensions between the material and immaterial, the real and the virtual, between human and machine, between certainty and uncertainty, Miyoshi’s new work allegorically offers a way to look at the complexity of our present state.

The exhibition is accompanied by the essay, “Photography and the ‘Artifacts of Software’: Akihiko Miyoshi’s CMYKRGB,” by Toronto-based writer and researcher Emily Doucet.


BIO
Born in Japan, Akihiko Miyoshi received his MFA in photography in 2005 from the Rochester Institute of Technology after leaving a PhD program in Electrical and Computer Engineering at Carnegie Mellon University to pursue art. Miyoshi is an Associate Professor of Photography and Digital Media at Reed College (Portland, OR). His work explores the intersection between art and technology most frequently dealing with issues surrounding photographic representation.

His work has been exhibited widely including Portland, New York, Los Angeles, Rochester, Pittsburgh, and Toronto. He was named the International Award Winner of Fellowship 12 at The Silver Eye Center for Photography in Pittsburgh PA, and the finalist for the Betty Bowen Award from the Seattle Art Museum in 2012 and Aperture Portfolio Prize in 2013. Miyoshi received a Hallie Ford Fellowship in 2012.


Akihiko Miyoshi: CMYKRGB runs April 9 through May 2 at Circuit Gallery @ Prefix ICA, with an opening reception on Wednesday, April 8, from 6 – 9 PM.


Akihiko Miyoshi

CMYKRGB

April 9 – May 2, 2015

Reception: Wednesday, April 8, 6-9 p.m.

Circuit Gallery @ Prefix ICA
401 Richmond Street West, Suite 124
Toronto, ON, M6R 2G5
[ Google Map ]

Gallery Hours:
Tuesday – Saturday, 11:00 a.m. – 5:00 p.m.

Akihiko Miyoshi
Akihiko Miyoshi, Process Structure #4, from the series Process Structures, 2014
Akihiko Miyoshi
Akihiko Miyoshi, Process Structure #1, from the series Process Structures, 2014
Akihiko Miyoshi
Akihiko Miyoshi, Process Structure #7, from the series Process Structures, 2014

Visit Circuit Gallery for more information and to see more images:
www.circuitgallery.com/exhibitions


ABOUT CIRCUIT GALLERY
Circuit Gallery specializes in contemporary photography. Established in 2008 by Susana Reisman and Claire Sykes, the Toronto based commercial gallery represents both emerging and established Canadian and international artists.

Web: www.circuitgallery.com

Email: info@circuitgallery.com
Phone: 647-477-2487

###

Shelagh Keeley: Barcelona Pavilion

Shelagh Keeley, Barcelona Pavilion I, 1986/2012
Shelagh Keeley, Barcelona Pavilion I, 1986/2012

FOR IMMEDIATE RELEASE

Canadian artist Shelagh Keeley to premiere Barcelona Pavilion photographs in new solo exhibition at Circuit Gallery

Toronto, ON, December 29, 2014Circuit Gallery is pleased to present an exhibition of photographs by senior Canadian artist Shelagh Keeley. These images were taken in 1986 in the newly reconstructed Mies van der Rohe Pavilion in Barcelona, Spain, just before it was reopened to the public.

Keeley is well known for her highly visceral and embodied drawing practice. She has always used photography, incorporating it into her site-specific installation work and drawings through collage, however Keeley’s own photographs are rarely the focus of attention in an exhibition.

Barcelona Pavilion, presented here for the first time, reveals an approach to photography that is consistent with this artist’s broader practice. Here is a subjective and embodied kind of ‘drawing with light’ and poetic engagement with space that is refreshingly irreverent, inconsistent with both our expectation of photography and for pictures of such an iconic work of modernist architecture.

Albeit attracted to the iconic aspects of the celebrated building—the materials (marble, glass, and metal), the key spaces, and light—they seem like asides, as her focus is more ambient and on the mundane. She uses photography in a subjective way, where her “less is more” minimal and abstracting compositions are less about describing these sober and rational spaces, than they are about a poetics of space, and about being in them.

Shelagh Keeley: Barcelona Pavilion is the fourth exhibition for Circuit Gallery @ Prefix ICA, a new presentation partnership where the commercial gallery is sharing exhibition space with Prefix ICA in the destination landmark arts building at 401 Richmond Street West in Toronto.

The exhibition is curated by Claire Sykes, with catalogue essays by Joel Robinson and Mark Kingwell.


BIO
Shelagh Keeley (born Oakville, Ontario) lives now in Toronto after spending 23 years in New York City and Paris. She received her Honours BFA in Art History / Anthropology from York University, Toronto.

Keeley has an extensive international exhibition history over the last 30 years and has travelled across the globe. Keeley’s recent production includes a commission by the Power Plant, Toronto, to create two new installations for the venue’s large clerestory walls (2014/2015), and by MoMA, Library and Archives, NYC, for a new research project / performance with choreographer Lin Snelling (2014/2015).

In 2013 she created a major on-site commissioned wall drawing installation at Stadtisches Museum Abteiberg, Monchengladbach, Germany, for the exhibition In Order to Join (2013). This exhibition will travel to the Goethe-Institut / Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (former Prince of Wales Museum), Mumbai, India (2015), and will include the Barcelona Pavilion photographs.

Keeley’s larger record includes exhibitions at: Devi Art Foundation, Gurgaon, India (2013); Ryerson Image Centre, Toronto (2013); Nuit Blanche, Paris (2012); McMaster Museum of Art / Robert McLaughlin Gallery, Oshawa (2010); Vancouver Art Gallery (2010); Caoyang Village Public Art Project, Shanghai (2009); National Gallery of Canada (2008, travelling exhibition), RAM Foundation, Rotterdam (2008); Museum of Contemporary Canadian Art, Toronto (2007); Nature Morte Gallery, New Delhi (2004); Printed Matter, NYC (1998), Indianapolis Museum of Art (1995); John Gibson Gallery, NYC (1994); Exit Art, NYC (1993); MOMA P.S.1 Museum, NY (1992); and DIA Art Foundation, NYC (1989).

Her work is in the collection of major international public institutions including: the Museum of Modern Art, NYC; the Walker Art Center, Minneapolis; the Van Abbemuseum, Eindhoven; the Stedelijk Museum, Amsterdam; the National Gallery of Canada, Ottawa; the Fonds National d’Art Contemporain Paris; the Vancouver Art Gallery, Vancouver; the Musées de la Ville de Paris, Paris; the Getty Museum, Santa Monica; the Harvard Art Museum, Boston; the Mattress Factory, Pittsburgh; the Yale University Art Gallery, CT; and the San Francisco Museum of Modern Art, CA.


Shelagh Keeley: Barcelona Pavilion runs January 8 through the 31st at Circuit Gallery @ Prefix ICA, with an opening reception on Thursday, January 8, from 6 – 9 PM. The artist is in attendance.


Shelagh Keeley

Barcelona Pavilion

January 8 – 31, 2015

Reception: Thursday, January 8, 6-9 p.m.

Circuit Gallery @ Prefix ICA
401 Richmond Street West, Suite 124
Toronto, ON, M6R 2G5
[ Google Map ]

Gallery Hours:
Tuesday – Saturday, 11:00 a.m. – 5:00 p.m.

Shelagh Keeley Barcelona Pavilion
Shelagh Keeley, Barcelona Pavilion III, 1986/2012
Shelagh Keeley Barcelona Pavilion
Shelagh Keeley, Barcelona Pavilion II, 1986/2012
Shelagh Keeley Barcelona Pavilion
Shelagh Keeley, Barcelona Pavilion VIII, 1986/2012

Visit Circuit Gallery for more information and to see more images:
www.circuitgallery.com/exhibitions


ABOUT CIRCUIT GALLERY
Circuit Gallery specializes in contemporary photography. Established in 2008 by Susana Reisman and Claire Sykes, the Toronto based commercial gallery represents both emerging and established Canadian and international artists.

Web: www.circuitgallery.com

Email: info@circuitgallery.com
Phone: 647-477-2487

###

Donald Weber: Interrogations

Donald Weber, Interrogations
Donald Weber, Interrogation X, 2010

FOR IMMEDIATE RELEASE

Interrogating the Interrogator: Donald Weber’s award-winning photography project Interrogations set for Canadian premiere in new exhibition

Toronto, ON, November 18, 2014Circuit Gallery is pleased to present an exhibition of work by Donald Weber from his award-winning project Interrogations, seen here for the first time in Canada.

The exhibition features twelve large-format photographs of suspected criminals being subjected to intense interrogation in an unnamed police station somewhere in Ukraine. This powerful series is accompanied by a selection of smaller photographs, which serve as a prologue.

Weber spent seven years traveling throughout Ukraine and Russia in an effort to understand and show something of life in the post-Soviet era. He observed how, since the collapse of Communism and its replacement with free-market Capitalism and an ostensible democracy, people are negotiating their places between ideologies, past and promised, and within “the system”.

Over the course of his research Weber became increasingly preoccupied with the subject of Power as exercised by the modern state, and how it deploys an all-encompassing theatre for its subjects. Amassed, his gritty photographs offer a complex portrait of people and a place, haunted by the past, and disillusioned with the present and its failure to provide a promised future.

Interrogations is the culmination of this seven-year project and a sharp distillation of subject and theme—one that seeks to go beyond the specificity of time, place, and individual, to reveal something more universal about the human situation.

Power is invisible, an abstract concept to which we are all subject. It can only be represented through its effects and consequences, its symbols and subjects (victims and perpetrators). Weber’s photographs from inside the interrogation room are simple stark images offering complex scenes.

Having gained the trust and permission of both the policeman and detainees to take photographs, Weber, as third party witness to the unfolding dramas (including the violent threats, aggression, and intimidation tactics of the policeman) focused his lens on the suspects, the men and women (and youth) who for whatever reason are brought in for questioning and find themselves in the room, subjected to interrogation.

Weber withholds context and specificity. We are not given information as to who they are, or the what, where, or why of their circumstance. Reduced to the confines of the room and to a succinct grammar of gesture and expression, Weber adeptly offers a series of types revealing a range of emotion and reaction: angry, defiant, pleading, ashamed, terrified, scheming, pliant, resigned.

We are unable to adjudicate guilt or innocence here. The implied indictment, it would seem, is not of the people portrayed nor is it limited to former Soviet states, but rather of the very idea of “the system” and the larger abuse of power and authority. The interrogator, rarely seen in the photographs, becomes the embodiment of Power itself in these emblematic dramas played out on the small stage, within the confines of the room.

This is a work which intelligently asks and invites all sorts of interesting and important questions about photography and the photographic situation as much as it does about the interrogations themselves.

Interrogations is the third exhibition for Circuit Gallery @ Prefix ICA, a new presentation partnership where the commercial gallery is sharing exhibition space with the highly respected Prefix ICA in the destination landmark arts building at 401 Richmond Street West in Toronto.

The exhibition is curated by Claire Sykes with a catalogue essay by Randy Innes.


BIOS
Donald Weber is a photographer fascinated by the subject of power (be it economic, political, or psychological) and how it deploys an all-encompassing theatre for its subjects. His Interrogations project and accompanying book (Schilt, 2011) has received notable recognition and accolades from World Press Photo, PDN, Aperture, and many others. It was preceded by Bastard Eden, Our Chernobyl (2008) which won the Photolucida Book Award. Weber’s numerous awards include a Guggenheim Fellowship, the Duke and Duchess of York Photography Prize, and two World Press Photo prizes. Most recently he was shortlisted for the 2014 Scotiabank Photography Award. He is a member of the acclaimed VII Photo agency and is represented by Circuit Gallery (Toronto).

Randy Innes holds a PhD in Visual and Cultural Studies from the University of Rochester. He has taught at several universities and he contributed to significant developments at the School of the Photographic Arts: Ottawa. His research interests include the history and theory of photography, museum theory and exhibition practice, and aesthetic theory. Randy held the History of Photography research fellowship at the National Gallery of Canada, and he has published research and exhibition essays on historical and contemporary photography, along with other topics. An article on Adam Broomberg and Oliver Chanarin appears in the special issue of the Canadian Art Review (RACAR) dedicated to War and Photography (Fall 2014).


Interrogations runs November 27 through December 20 at Circuit Gallery @ Prefix ICA, with an opening reception on Thursday, November 27, from 6 – 9 PM.


Interrogations

Donald Weber

November 27 – December 20, 2014

Reception: Thursday, November 27, 6-9 p.m.

Circuit Gallery @ Prefix ICA
401 Richmond Street West, Suite 124
Toronto, ON, M6R 2G5
[ Google Map ]

Gallery Hours:
Tuesday – Saturday, 11:00 a.m. – 5:00 p.m.

Donald Weber, Interrogation II, 2010
Donald Weber, Interrogation II, 2010
Donald Weber, Interrogations, 2010
Donald Weber, Interrogation VIII, 2010

Visit Circuit Gallery for more information and to see more images:
www.circuitgallery.com/exhibitions


ABOUT CIRCUIT GALLERY
Circuit Gallery specializes in contemporary photography. Established in 2008 by Susana Reisman and Claire Sykes, the Toronto based commercial gallery represents both emerging and established Canadian and international artists.

Web: www.circuitgallery.com

Email: info@circuitgallery.com
Phone: 647-477-2487

###

Judy Natal: Future Perfect

Judy Natal Energy Plant Baby
Judy Natal, Energy Plant, from the series Future Perfect, 2011. ©Judy Natal

FOR IMMEDIATE RELEASE

New exhibition invites us to imagine the landscapes of the future and consider our present moment and the environmental choices we have yet to make.

Toronto, ON, August 22, 2014Circuit Gallery presents Future Perfect, a solo exhibition by Chicago-based artist Judy Natal. The exhibition is curated by Claire Sykes with a catalogue text by Timothy Morton.

In Future Perfect Judy Natal presents three peculiarly evocative and troubling sites where human intervention and land use are exploring the quality and state of futurity. A Las Vegas desert preserve that envisions a sustainable future; Biosphere 2’s experimental tracts in Oracle, Arizona, that research controlled eco-systems and space colonization; and Iceland’s geothermal landscapes are worlds apart from each other, but become, in Natal’s photographs, perfect foils to imagine what the landscapes of the future might look like, illuminating the present moment and the environmental choices we have yet to make.

The photographs establish unexpected but compelling resonances between these sites to distill and display our hopes, perceptions and misunderstandings of nature, and suggest both the potential and pitfalls of our future on earth. Natal describes how central nature can be to our lives, and how hopeful and confused we may be in using, recreating, and changing nature. While she envisions these areas as indications of our future, they are also touchingly poignant examinations of our current intentions, our limitations, our own fragility and ultimately human nature.


BIOS
Judy Natal is a Chicago-based artist, Professor of Photography, and Co-coordinator of the Graduate Program at Columbia College. She is the author of EarthWords (Light Work, 2004), and Neon Boneyard Las Vegas A-Z (Center for American Places, 2006). Her photographs are in the permanent public collections of the the Museum of Contemporary Art, California Museum of Photography, Center for Creative Photography, the International Museum of Photography and Film at George Eastman House, and the Museum of Contemporary Photography, among others. Her work has been exhibited at Projects International and Photograph Gallery in New York City, the Nelson Atkins Museum, Kathleen Ewing Gallery, Washington, D.C., and the São Paulo Biennal.

She has received numerous grants and fellowships including a Fulbright Travel Grant, Illinois Arts Council Photography Fellowships, Polaroid Grants and New York Foundation for the Arts Photography Fellowships. Natal has also been awarded numerous artist residencies nationally and internationally, most recently in Iceland and the Biosphere 2 for her current work Future Perfect 2040 • 2030 • 2020 • 2010.

Timothy Morton is Rita Shea Guffey Chair in English at Rice University. He gave the prestigious Wellek Lectures in Theory in 2014. He is the author of Dark Ecology: For a Logic of Future Coexistence (Columbia, forthcoming), Nothing: Three Inquiries in Buddhism and Critical Theory (Chicago, forthcoming), Hyperobjects: Philosophy and Ecology after the End of the World (Minnesota, 2013), Realist Magic: Objects, Ontology, Causality (Open Humanities, 2013), The Ecological Thought (Harvard, 2010), Ecology without Nature (Harvard, 2007), seven other books and 120 essays on philosophy, ecology, literature, music, art, design and food.


Future Perfect runs August 28 through September 20 at Circuit Gallery @ Prefix ICA, with an Reception on Thursday, September 11, from 6:00 p.m. – 9:00 p.m. (artist in attendance) and an Artist’s Talk on Saturday, September 13, 1 to 3:00 p.m. Both events will be in the gallery and are free and open to the public.


FUTURE PERFECT

JUDY NATAL

August 28 – September 20, 2014

Reception: Thursday September 11, 6-9 p.m.
Artist’s Talk: Saturday September 13, 1-3 p.m.

Circuit Gallery @ Prefix ICA
401 Richmond Street West, Suite 124
Toronto, ON, M6R 2G5
[ Google Map ]

Gallery Hours: Tuesday – Saturday, 11:00 a.m. – 5:00 p.m.

Judy Natal, Future Perfect
Judy Natal, Steam Portrait, Emergency Worker, from the series Future Perfect, 2011. ©Judy Natal
Judy Natal, Saguaro Armature
Judy Natal, Wrapped Saguaro, from the series Future Perfect, 2011. ©Judy Natal
Judy Natal, Plastic Curtain
Judy Natal, Plastic Curtain, from the series Future Perfect, 2011. ©Judy Natal

Visit Circuit Gallery for more information and to see more images:
www.circuitgallery.com/exhibitions


ABOUT CIRCUIT GALLERY
Circuit Gallery specializes in contemporary photography. Established in 2008 by Susana Reisman and Claire Sykes, the Toronto based commercial gallery represents both emerging and established Canadian and international artists.

Web: www.circuitgallery.com

Email: info@circuitgallery.com
Phone: 647-477-2487

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