Posted August 1, 2018
The City of Ottawa invites you to review the exhibitions selected by the peer assessment committee for the Karsh-Masson Gallery and City Hall Art Gallery 2019 exhibition season. Within the next 30 days, members of the public may bring forward any concern that the peer assessment committee did not follow the criteria and procedures as described in the Call for proposals. Please contact email@example.com with your concern between August 1, 2018 and August 30, 2018 at 4 pm.
More information about this 30-day process is included in section 4.2 of the Public Art Policy.
Exhibitions selected by 2019 peer assessment committee
Artists: Gabriela Avila-Yiptong, Rachel Gray and Lea Hamilton
Proposal synopsis: This exhibition aims to explore the increasing overlap between natural and manufactured spaces by creating an immersive environment made from altered natural elements. The exhibition is a collaborative effort between three emerging artists and will combine large-scale charcoal drawings executed directly on the gallery walls, a “pond” made of chemically-altered copper plates, large-scale mounds that mimic natural land formations, plaster-casted sculptures of discarded materials, and aquariums that will hold mounds made of decomposable materials submerged in water.
Images (left to right):
Rachel Gray, Fallen Log, 2018, charcoal, ink and acrylic on drywall, 1.2 x 3.6 m. Courtesy of the artist.
Gabriela Avila-Yiptong, Aquarium, 2015, Plexiglas, magazines, glue and water, 46 x 30 x 46 cm. Courtesy of the artist.
Lea Hamilton, Studio Stills, 2017, plaster, variable dimensions. Courtesy of the artist.
Curator: Emily Falvey
Artists: Amanda Earl, Nadia Myre and Karen Trask
Working title: Unbound
Proposal synopsis: Unbound is a group exhibition exploring visual art and visual poetry that appropriates and transforms found written texts, such as official documents, manuals, protocols, and religious canons. In so doing, it will also explore a variety of related themes, including temporality, memory, physical embodiment, and the tension between social conventions and individual choice.
Image: Amanda Earl, The Vispo Bible: Exodus 10, ongoing since 2015, digital print, 20.3 x 25.4 cm. Courtesy of the artist.
Artists: Annette Hegel and Deborah Margo
Working title: Apidictor Symphony
Proposal synopsis: Apidictor Symphony is a multi-sensory installation bringing together scent, sound and three-dimensional elements in an illustration of bumble bee culture. Visitors move between bumble bee nectar pod “nests" made of beeswax, which rest on a carpet of sedum plants; pollinator conversations and songs are also located inside the pods. These soundscapes relate to each other like movements of a symphony, taking the listener through variations of speed, pitch and volume.
Image: Annette Hegel and Deborah Margo, Apidictor Symphony, 2018, mixed media, 5 x 5 x 1.5 m (approx.). Courtesy of the artists.
Artists: Gillian King, Helga Jakobson and Whitney Lewis-Smith
Working title: Terramatter
Proposal synopsis: Terramatter brings together the work of three visual artists, Helga Jakobson, Gillian King, and Whitney Lewis-Smith to create a multi-layered and sympoietic system within the City Hall Art Gallery. Concerned with the environment and ecological destruction, the artists explore how we can reconnect with nature and other living beings through sympoiesis, or ‘becoming-with’ the organic world. The artists will build a site specific, interactive installation that functions as a laboratory and research space centered around three plant chambers.
Images (left to right):
Gillian King, Iron Yolks, 2018, mixed media, 152 x 122 cm. Courtesy of the artist.
Helga Jakobson, Entropic Symphony, 2018, online audio platform, variable dimensions. Courtesy of the artist.
Whitney Lewis-Smith, Transfix, 2018, heliogravure etching on copper, 89 x 114 cm. Courtesy of the artist.
Artist: Léna Mill-Reuillard
Working title: Misceo
Proposal synopsis: Misceo is a video installation that treats the landscape as an open space, static but constantly renewable. Wind and gradual changes in light enables us to detect movement. The landscape fills up the space, immerses us in the image. The projection spreads across the walls and ground on a reflective surface. The portion of the image projected onto the ground is reflected again on the walls, creating superposition—projected image/reflected image—of new perspectives. The exhibition space inhabited by the landscape encourages viewers to invest the space with their presence.
Image: Léna Mill-Reuillard, Miscere (documentation of the installation), HD video projections, 5’5’’ x 12’ screen, Plexiglas, 25 minutes. Courtesy of the artist.
Artist: Nathalie Quagliotto
Proposal synopsis: This proposed exhibition of sculpture consists of reconfigured old children’s objects and looks at how humour and play can affect reform in a social setting.
Image: Nathalie Quagliotto, Urban Crib, 2014, metal carts, 60 x 152 x 121 cm. Courtesy of the artist.
Artist: Benjamin Rodger
Working title: Tu peux encore changer le monde
Proposal synopsis: I have tentatively titled the proposed exhibition Tu peux encore changer le monde (You Can Still Change the World). This phrase is taken from a discussion I had with one of Joseph Kosuth’s assistants while staying at an artists’ residence in Leipzig, Germany. Written in neon, the phrase will serve as the centrepiece of the exhibition. A series of wall-mounted paintings will reflect the new artistic approach I adopted upon returning home, in response to discussions and debates I had while in Germany.
Image: Benjamin Rodger, Ligne rouge, 2018, acrylic on cherry wood, 121 x 91 cm. Courtesy of the artist.
Curator: Jakub Zdebik
Artists: Luce Meunier, Sarah Rooney and Monica Tap
Working title: Abstract Networks
Proposal synopsis: The Abstract Networks exhibition showcases the abstract paintings of Luce Meunier, Sarah Rooney and Monica Tap which, taken together, represent a digital network aesthetic. Meunier’s use of rigorous geometric forms expresses the relation between art and information systems represented as grid formations. Rooney, through her hybrid practice of digital photography and oil painting, explores abstract representations of intermedial space. Tap’s works are based on Quicktime videos of landscapes furtively captured from moving vehicles embodying conceptual and schematic studies of pictorial coding and, by extension, the mediation of perception. Through abstract paintings, these three artists engage with an equally abstract reality made up of data, code and information.
Images (left to right):
Luce Meunier, Flot 12, 2017, acrylic on canvas. Courtesy of the artist
Sarah Rooney, Suspended Emulsion #2, 2017, inkjet print, 76 x 71 cm. Courtesy of the artist
Monica Tap, Company, 2016, oil on canvas, 170 x 122 cm. Courtesy of the artist.