The pandemic has made it possible for art media which would traditionally be seen in the context of a gallery or museum to be streamed online from the comfort of your home. It allows the viewer the freedom and flexibility to search and find content that resonates with them. And for someone like myself that loved to be inspired by new and provoking ideas the excitement of exploring and discovery is now endless.
So, don’t waste a good crisis.
My searching led me to DIS. A streaming visual media platform that re-imagines society’s relationship to videos and streaming channels, making intellectual theory accessible when it would typically be presented in an academic thesis.
As Ontario and many other provinces call for a state of emergency in an attempt to slow the COVID-19 pandemic, it is leaving its citizens cooped up in self-isolation subject to hours of binge-watching on Netflix. As an avid lover of the arts, and a board member to a local media arts centre, I too had made the decision to temporarily close our doors as many other institutions are forced to reduce social gathering and the spread of the virus. This has resulted in any museums offering virtual tours of their exhibitions in an attempt to continually engage with their members.
Several months ago before the pandemic hit our shores, Toronto hosted its first Art Biennial, 72 days of free art. Did you get a chance to catch one of over 20 programs scattered across the city of Toronto and Mississauga? Taking a very academic and political topic, “The Shoreline Dilemma”. On an autumn weekend, I bring my friends, who “like” art, to the Small Arms Inspection Building in Mississauga located on the Lakeshore. I try to explain the premise of the overall theme of the Biennial. “It’s about the lake and how we have colonized it. The artists are responding to this theme through…art.”
The 16th installment of Come Up To My Room (#CUTMR) is an alternative design exhibition that provides a platform for experimentation outside the norms of art and design, at the edges between intention and interpretation. Freed from the constraints of traditional practice, CUTMR encourages spatial exploration that engages our senses, our memories and our perceptions of reality. The exhibition challenges participants to push their everyday practice by offering a blank canvas upon which to explore new themes and ways of working. Framed within the backdrop of the historic 130-year-old Gladstone Hotel, CUTMR invites artists and designers to create site-specific, immersive installations that stimulate the imagination and encourage discussion and dialogue between contributors and visitors alike. The Gladstone welcomes Jana Macalik & Jennie Suddick as the curatorial team for CUTMR 2019.
“I can do that, all I need is an iPhone and a couple of lights,” this is what my friend says as we go through an interactive experience that flips our image as we walk through.
This is one of the many lack lustered experiences we were hunting down because it was Nuit Blanche and art was in the air. I remember years ago when they had proper funding and sponsorship the top tier artists and installations that flooded the streets of Toronto. Now, I feel there is a real gap in programming, curation and all around art. I had this same experience at Hamilton’s Supercrawl, where I was looking for some real art and was disappointed at what was presented. Continue reading “Toronto’s Nuit Blanche 2018”→
Getting the opportunity to design a structure for the Serpentine Pavilion is like the Super Bowl of architecture. I had the pleasure of visiting last year’s pavilion designed by Francis Kere and was so amazed and moved by the space that I honestly could have stayed there for days.Continue reading “The Serpentine Pavilion: Unzipped by Bjarke Ingels”→
For the second consecutive edition of London Design Biennale, the Domenic Lippa team at Pentagram has created the visual identity and promotional materials. As with the previous identity, a restricted colour palette of orange, black and white is used. Continue reading “London Design Biennale creative campaign”→
The newest cover of National Geographic is set to become one for the ages. As the world continues to drown in single-use plastic, the iconic magazine has launched a multi-year initiative called Planet or Plastic? The newly unveiled June 2018 cover illustration by Jorge Gamboa is a heartbreaking visualization of the reality we’re collectively facing.