In recognition of Canada’s sesquicentennial in 2017, the City invited professional artists, artist collectives and curators working in visual arts, media arts and fine craft to propose exhibitions that address the theme of mapping.
“Mapping is a fundamental way of converting personal knowledge to transmittable knowledge.”-Arthur Howard Robinson, The Nature of Maps
Mapping includes ways of knowing, organizing and presenting the world as well as our place in it and in relation to others. It helps us track where we’ve been and where we’re going. In addition to cartography, the term mapping has been used in reference to biological, psychological and digital terrains, among others. Mapping can be physical, cultural and emotional. Like an art practice it is a process in constant transformation.
José Luis Torres – De l'horizontal au vertical (From Horizontal to Vertical)
May 4 to June 11, 2017
Vernissage: Thursday, May 4, 5:30 to 7:30 pm
Tour with the artist (in French): Sunday, May 28, 2 pm
De l'horizontal au vertical (From Horizontal to Vertical) provides Torres with an opportunity to fill the Karsh-Masson Gallery with his personal vision and produce a newly imagined environment. The reconfigured gallery displays both the process and the result of an exercise in cartography whereby the artist maps his own reality. His way of occupying space; his approach to the transformation, presentation and manipulation of objects; even the materials he works with are all important markers of his artistic universe. After all, although site-specific art provides a clearer window into an artist’s thought process, thereby supporting a more faithful representation of reality, this reality remains steeped in subjectivity.
- Excerpt from the essay by Céline Le Merlus
José Luis Torres, Cartographie, 2016, tennis balls and steel, 110 x 80 x 20 cm. Courtesy of the artist.
José Luis Torres, Prospection II, 2015, paper, metal and cork. Courtesy of the artist.
José Luis Torres was born in Argentina. In addition to holding a bachelor's degree in visual arts and a master's degree in sculpture, he has training in architecture and integrating art with architecture. He has been living and working in Quebec since 2003. His work has been featured in many solo and group exhibitions, public art interventions and artist residencies in Canada, Argentina, the United States, Mexico and Europe.
Curator: Jaime Koebel
June 22 to July 30, 2017
Vernissage: Thursday, June 22, 5:30 to 7:30 pm
Through Indigenous and non-Indigenous floral cultures, the use of flowers in art objects become markers of cultural identity, a source of beauty and an act of elegance. Cultural identity through floral symbolism provides a source of distinct placement and discoveries of cultural mapping through art objects. In collaboration with the NAC’s Canada Scene.
Christi Belcourt, Family, 2011, acrylic on canvas, 91 x 152 cm. Courtesy of the artist.
University of Ottawa MFA candidates – Thesis exhibitions
Kizi Spielmann Rose
August 5 to 15, 2017
Vernissage: Thursday, August 10, 5:30 to 7:30 pm
Kizi Spielmann Rose, Three Stacked Planes, 2017, oil pastel and flashe on panel, 30.5 x 35.5 cm. Courtesy of the artist.
Jonathan Théroux St-Cyr
August 19 to 29, 2017
Vernissage: Thursday, August 24, 5:30 to 7:30 pm
Jonathan Théroux St-Cyr, But it’s getting there (video still), 2016, digital video projection, 38:00 min. Courtesy of the artist.
As a supplement to our regular programming, Karsh-Masson Gallery is pleased to partner with the University of Ottawa’s Department of Visual Arts to provide a valuable mentorship and professional development opportunity.
CONTINUUM – Karsh Award artists welcome a new generation
Curator: Melissa Rombout
September 14 to October 22, 2017
Vernissage: Thursday, September 14, 5:30 to 7:30 pm
Continuing an intergenerational chain of mentorship that fosters camera-based innovation, past Karsh Award laureates have selected seven emergent artists: Joi T. Arcand, AM Dumouchel, Leslie Hossack, Olivia Johnston, Julia Martin, Meryl McMaster and Ruth Steinberg. Presented as part of Canada’s 150th anniversary, this special exhibition celebrates the future of artistic achievement in a photo-based medium.
Left: Leslie Hossack, Bunker, Juno Beach, Courseulles-sur-Mer, 2015, pigment ink on cotton fibre, 81 x 122 cm. Courtesy of the artist.
Right: AM Dumouchel, ROYAL (RAMSCHAKLE 2), 2016, digital collage, 112 x 157 cm. Courtesy of the artist.
Khadija Baker – Behind Walls/Maps
November 2 to December 3, 2017
Vernissage: Thursday, November 2, 5:30 to 7:30 pm
Khadija Baker is interested in how countries create official histories while unwanted memories of the marginalized are erased or suppressed to serve a new political agenda. The map is essentially an arbitrary, artificial notion that does not necessarily correspond to people’s day-to-reality. Baker’s work explores how the processes of exile, loss, and erasure affect the identity, memory and history of individuals and communities.
Khadija Baker, Behind Walls/Maps (installation view), 2008, 80 clay spheres, strings spun from clothing, sand, audio and video, variable dimensions. Photo: Guy l'Heureux, courtesy of the artist.
Mélanie Myers – Ce qui touche au sol (What Touches the Ground)
December 14, 2017 to January 21, 2018
Vernissage: Thursday, December 14, 5:30 to 7:30 pm
Mélanie Myers uses drawing and the fabrication of objects to modify the all too familiar urban environment. This exhibition is an observation of systems and incentive measures put in place to ensure the adequate administration of a city. To highlight certain variances in conduct, the spaces assigned to the residence and the landscape, as well as to traffic and contemplation, are represented in a realistic yet improbable way.
Mélanie Myers, Sans titre (eau), 2015, graphite on paper, 152 x 150 cm. Courtesy of the artist.