Museum of Contemporary Canadian Art September 6–October 26, 2014

Brew Pub Journal (/) Jonah Brucker-Cohen (New York) Bill Burns (Toronto/Dawson City) 952 Queen Street West Toronto, Ontario, Canada M6J 1G8 Arabella Campbell (Vancouver) tel: 416 395 0067 ch+qs arquitectos (Madrid) email: [email protected] Tomas Chaffe (Stockholm) Gallery Hours: Tuesday–Sunday, 11 AM to 6 PM Michelle JaJa Chang (San Francisco) FREE ADMISSION courtesy of the RBC Foundation Steven Chodoriwsky (Los Angeles) Maggie Groat (St. Catherines) Exhibition Supporters Jesse Harris (Toronto) J.P. Bickell Foundation Justin Langlois (Vancouver) The Ouellette Family Foundation Donald Schmitt and Cheryl Atkinson Gordon Matta-Clark (American, b. June 22, 1943, d. August 27, 1978) Armstrong Fine Art Services Dax Morrison (Toronto) Paint the City Archer Pechawis (Toronto) Jon Sasaki (Toronto) Institutional Supporters Jeanne van Heeswijk (Rotterdam) and others Architecture program and consultation by Jennifer Davis

an Ontario government agency un organisme du gouvernement de l’Ontario Curated by Su-Ying Lee Further reflecting on our own visibility, an archi- again begins to create the same effect. Few truly TBD Outdoor tectural intervention has been executed for this innovative solutions have been realized to allow all exhibition—a second doorway that was cut into parties to exist side by side. & Spatial the lobby wall. With this modification, pedestri- ans have a sightline from the sidewalk into the To Be Discussed; To Be Defined; To Interventions gallery. Previously, when entering the exhibition Be Deleted; To Be Decided; To Be space, visitors walked around the reception desk. Performances The new doorway allows visitors to enter directly Developed; To Be Destroyed; To Be TBD begins streetside as a response to observations into the main gallery. As a doorway only, without about how visitors initially encounter MOCCA. As part of TBD, two performances take up Detailed; To Be Determined doors, the new entry-point reduces visual and Audience experience and related concerns continue disparate characterizations of contemporary physical barriers. The exhibition title TBD, most typically used as an to be reflected upon throughout the exhibition, art institutions. The first is a single performance acronym for “to be determined,” proposes that considering the museum’s effect as an entity and The former entrance remains, giving the audi- by Archer Pechawis on the occasion of the the definition of a contemporary art gallery is not structure that is part of a larger community, system ence two choices for entry into the exhibition. opening reception. The second is a reoccurring fixed. TBD scrutinizes the power and potential and ecology. Dual access points allow the exhibition to action by Jon Sasaki that has a yet-to-be within contemporary art galleries in order to be designed to begin with two different but determined frequency. imagine possible futures and new approaches. related propositions. Jesse Harris The discussion about culture’s impact on com- HOW MUCH ART CAN YOU TAKE? Archer Pechawis munities endures. As dialogue develops through a Tomas Chaffe 2014 Seeking Bones range of theories and criticisms, contemporary art Sometimes Artists Work Here museums must be self-reflexive and self-motivated Extruded polystyrene insulation and hardware Multi-media performance on opening night, 2010 towards evolving, asking: How is a contemporary September 5, 2014 A double-sided sign rhetorically advertising an Vinyl banner art gallery defined? What is the art institution’s exhibition that greets museum visitors outside What place do we occupy in the gallery? function in society? Are contemporary art galleries, and leaves them to consider their return. The An unforgiving take on the state of affairs of What place does the gallery occupy in as they presently exist, relevant? For MOCCA, this construction materials of the piece are left the original site in which it was shown—an the environment? is the decisive moment to consider how we as an exposed in refusal of any defence against the artist-run gallery within a complex of artist Seeking Bones, a live, multi-media performance institution are perceived and situated within our elements, encouraging the viewer to question studios, located on a busy main road and in the by Archer Pechawis is presented on the occasion own geographic, cultural and professional commu- the question. heart of a redevelopment zone—Sometimes nities and what our contributions are or can Artists Work Here broadcasts the common of the opening reception for TBD. Accompanied be within these realms. HOW MUCH ART CAN YOU TAKE? is a sign fab- transitory and fragile nature of spaces for the by his digital drum, the artist performs in Cree ricated of low-budget materials inspired by the production and display of art against gentrification and English. TBD is an exhibition that facilitates discussions and aesthetic of used car lot signage. and increasing rental prices. experiments. The former includes a programme Bones can be taken to variously symbolize physi- of events, both intimate and public in scale, that Located at the street side of MOCCA’s courtyard, Sometimes Artists Work Here hangs on the façade cal structures, death, the sacred, mortality and are integral to the project. The latter includes the sign acts as an institutional experiment in way- of MOCCA indicating the contents of its container. resurrection; we learn from long buried bones. works and interventions that begin before the finding that is intended to both draw in visitors The conditions under which Chaffe originally What then are the bones in and around a cultural viewer enters the exhibition space. Artists are and identify the site through the sign’s accessible produced this work—competitive demands for real institution? While taking up the query of what the barometer of our cultural consciousness. aesthetic and curious query. estate in urban areas—are shared and experienced a contemporary art institution is and can be Today, they continue to produce work in the line- near and far. Pechawis’s performance prompts us to view place With a courtyard/parking area between the side- age of institutional critique, a discourse that has and history on a broad continuum. If understood walk and the museum’s doors, the general public been evolving since the 1950s. Maintaining a A familiar and ongoing dilemma is caused when as a metaphoric excavation, the project of MOCCA are sometimes unsure whether they are welcome critical interest in the mechanisms of art produc- the presence of artists and cultural organizations and all contemporary art institutions can benefit through the gates and across the courtyard to the tion and exhibition, artists have incorporated enhance a community and popularize a neighbour- from more deeply acknowledging the societal and museum entrance. Further, with MOCCA residing social, community and spatial practices into hood. Commercial interests are attracted and, in geographic structures they are propped upon and in a shared complex of buildings, each with several their work, and these gestures can be read here, turn, lower income residents are displaced. When supported through. doors, would-be visitors are frequently confused throughout TBD. the creative community begins to undergo the as to which one is MOCCA’s entrance. strain of high real estate values a migration once Jon Sasaki ity. Happening throughout the exhibition, the Collection of the Canadian Centre for Architecture, drawn from a series of writers including Judith Performance to Double the parodic survey attempts to configure statistics Montréal Butler, Jacques Rancière, Chantal Mouffe and Sol about MOCCA audiences through a series of Lewitt, among others, are stitched together to Conical Intersect, Matta-Clark’s contribution to the MOCCA’s Visitor Figures unorthodox questions. How do we qualify this in- create a winding statement on the embedded Paris Biennial of 1975, manifested his critique of 2014 formation, and how much of it is used to enlighten challenges in which contemporary gallery spaces urban gentrification in the form of a radical incision Weekly performance, attendance counter institutional procedures when creating new exhibi- (and the art contained within them) are necessarily through two adjacent seventeenth-century buildings tions? Aisle 4 will also be conducting No Art Tours implicated, while the emphases added to the texts Throughout the exhibition, the artist will come by designated for demolition near the much-contested during the exhibition. creates a secondary entry point into the work. MOCCA regularly, ask the desk attendant for the Centre Georges Pompidou, which was then under The text could be read as a caption, response, daily total of visitors, then set about matching that construction. For this anti-monument, or nonu- critique or commentary on the context and number: Sasaki will enter through the front door, The exhibitionTBD examines ment, which contemplated the poetics of the civic potentially hidden frameworks of support, be counted by gallery staff, exit out the emergency contemporary art institutions ruin, Matta-Clark bore a tornado-shaped hole that antagonism or compromise within which the door, and repeat until he has done this once for spiralled back at a 45 degree angle to exit through gallery space exists. every real visitor to MOCCA, thereby doubling the under two broad headings: the roof. Periscope like, the void offered passers-by gallery’s attendance figures. institutional power and a view of the buildings’ internal skeletons. By design, Glossed Over calls the viewer’s attention —Nancy Spector, Guggenheim, NY to the politics of aesthetics. Langlois’s text work This tally could be cited in the MOCCA’s year-end institutional potential. sees the dynamics of institutional power writ large. funding report. An absurd and comical gesture When the designs for Paris’s Centre Georges Pom- Akin to the work’s subtle white on white palette, of running in circles, the performance is intended Should a visitor choose to enter from the west, pidou were revealed in 1971, the area’s residents imbalances of power can be mistakenly thought to satirize gallery metrics that prioritize attend- the show is introduced as has been MOCCA protested, comparing the Richard Rogers, Renzo to be non-existent in places of culture. ance figures over other less quantifiable measures convention: a title wall and momentous doors Piano and Gianfranco Franchini building to an oil of value. give way to an introductory wall text, invoking refinery. The art museum remained the subject References from Glossed Over: the theme of institutional power as it defines of huge controversy throughout the 1970s. Photo 1. Jean Baudrillard’s The Agony of Power The frequency of Jon Sasaki’s circumambulations a contemporary art institution. montages from Gordon Matta-Clark’s Conical (pg. 24, Semiotext(e), 2010). over the course of the exhibition will depend upon Intersect series are the first works encountered 2. We Make the Road by Walking: Conversations the gallery convention of recording visitor attend- If entering from the east and therefore utilizing the when entering through the permanent doors of on Education and Social Change by Myles Horton ance statistics. When the artist is not performing, door-way specially conceived of for the layout of the Main Space. and Paolo Freire (edited by Brenda Bell, John a counting device will be on display in the lobby. TBD, visitors can immediately enter into the exhibi- Gaventa and John Peters, pg. 206, Temple The counter will reflect the number of visitors who tion space. Via this route, the show unfolds through This work suggests the dilemma, and perhaps self- University Press, 1990). have attended the exhibition to date. This is the a viewer’s own reading of artworks, prompting cannibalizing effect, of the art institution’s move 3. Michel Foucault’s Discipline and Punish: The number of times Saski will have performed. a consideration of how existing and established into a neighbourhood. Does the establishment Birth of the Prison (pg. 27, Vintage Books, 1995). conventions, and our expectations of contemporary of an art institution destroy a neighbourhood? Is a contemporary art gallery defined by the sum 4. Dispossession: The Performative in the art institutions, can be re-conceived of. Prior to the opening of the Pompidou, Matta-Clark of its visitors? Political by Judith Butler, Athena Athanasiou Conical Intersect executed tying together and (pg. 95, Polity, 2013). Sasaki’s performance makes meaningless the con- revealing the relationship between destruction, 5. Chantal Mouffe’s The Return of the Political vention of quantifying value through attendance creation and change. (pg. 12, Verso, 1993). figures—an expectation of funding councils and Work: Main 6. Markus Miessen’s The Nightmare of Participa- an asset reported by galleries to stake-holders. Justin Langlois tion, (pg. 244, Sternberg Press, 2010). Space West 7. Jacque Rancière’s The Emancipated Specta- Do art institutions pander to their supporters’ Glossed Over expectations and, conversely, what tools are tor (pg. 14, Verso, 2009). 2014 best used to measure merit and quality within 8. Ben Davis’s 9.5 Theses on Art and Class Vinyl lettering a cultural context? Gordon Matta-Clark (pg. 28, Haymarket Books, 2013). Three works from the Conical Glossed Over appears as a large-scale sampled 9. Simon Critchley’s Infinitely Demanding: Ethics of Commitment, Politics of Resistance Intersect series text in white-gloss-finish vinyl that explores Another Visitor Experience Survey, by the curato- critical understandings and framings of the roles (pg. 132, Verso, 2012). 1975 rial collectiveAisle 4, also riffs off of conventions of power, participation and ethics in relation 10. Sol Lewitt’s “Sentences on Conceptual Art,” Gelatin silver prints used by art institutions to measure exhibition qual- to art and its institutional contingencies. Sentences as featured in Verksted No. 11 (pg. 58, Office for Contemporary Art Norway, 2009). Dax Morrison from the gift shop, but it remains a privileged of contemporary art. Appearing in a common My Submission tests the role of the transmitted Shop series institutional constituent, does fulfilling consumer public forum, the pleas reveal the weighty persons voice in a minor act of spatial disruption. In this desire become a function and near obligation who grant artistic success. case, a proxy speaker both borrows from and 2007 of the art institution? How does the trade-off of responds to a text provided by the institution from By the nature of Billboards for Curators and Shop: Art Gallery of Greater Victoria consumer commodities over take-away knowledge its open call for ideas. Is it an act of application, Artists situation off-site and in the expanded realm, Shop: Art Gallery of Hamilton and animated experiences position contemporary or one of submission? The work asks listeners the question of whether physical institutional Shop: Art Gallery of Nova Scotia art and its institutions? to consider both the productive promise and the spaces dedicated to exhibitions are necessary Shop: Beaverbrook Art Gallery confrontational peril of the language that is used is initiated. Shop: Esplanade Art Gallery to solicit, propose, receive and reproduce ideas. Shop: Glenbow Museum Bill Burns Perhaps to re-envision the museum is first to listen Shop: Musée des beaux-arts de Montréal From the Art World Jonah Brucker-Cohen to the museum and speak it back to itself. Shop: Museum London Celebrity series: Shop: National Gallery of Canada Alerting Infrastructure! The first work encountered when entering the ex- Pompidou #2 Shop: Prairie Gallery 2003 hibition from the east is Steven Chodoriwsky’s My SFMoMA #2 Submission Shop: Robert McLaughlin Gallery Drill, .php script, custom electronics and software, . Without conventional didactics at the Cessna with banner entrance of the space, Chodoriwsky’s audio work Shop: Winnipeg Art Gallery Internet connection serves as an announcement from which the viewer Screen print on Somerset paper Bill Burns’s versions of major international art Alerting Infrastructure! is a physical hit-counter can begin to form their own opinions of the exhibi- institutions, Pompidou and SFMoMA, are A request was made to Canadian public art galleries that translates the hits to an organization’s tion, its curatorial intent and the institution itself. renovated with the addition of a billboard for for a map or floor plan of their gallery. Only the website into the threat of interior damage to the the artist’s entreaties, positioning the institution Taken from the exhibition’s open call for ideas maps that indicated the location of the gallery’s building that the organization inhabits. A drill as a vehicle to fame, success and memorial. (whose selected ideas are exhibited on back wall gift shop were used. All identifying marks or labels is activated by visitors to MOCCA’s website thus This project returns to the topic of the power of the gallery), the words are converted through were removed, leaving only the layout of the build- calling attention to the physical structure’s of the institution, in this case, to act benevolently audio software to produce the unaffected voice ings. These simplified plans were then reproduced temporal existence. on the behalf of artists. that sputters, repeats and sticks, creating an effect as screen prints. The space used by each gallery Alerting Infrastructure! gives viewers the unusual that teeters between utopic and dystopic. for its gift shop has been indicated with red ink. Offsite: option of manipulating apparatus within the physi- From September 15-October 15, 2014, Billboards Dax Morrison’s Shop series enters the dialogue cal space of the gallery. In essence, viewers’ actions for Curators and Artists will appear as electronic of institutional critique through the architecture visibly and immediately effect the institution. Michelle JaJa Chang billboards in select locations in Toronto, Vancou- of the gallery to demonstrate the strategies Buckminster Fuller’s Geometric ver and Montréal.Modelled after the prayer form Another interpretation sees the artwork as a and instrumentality entwined with the design known as a litany, Burns’s petitions in billboard measure of popularity. Visits to the gallery’s web- Explorations of space. Through these works the artist highlights form include: site act as motions for its destruction—popularity 2008 the gift shop, a conventional feature of galleries Beatrix Ruf Pray for Us and the populist obliterating culture. Animation (3 minutes, 11 seconds) and museums, linking the expectations for Jeff Wall Watch Over Us Buckminster Fuller’s Geometric Explorations culture to accommodate consumer desire. Hou Hanru Hear Us This requisite accoutrement signals the belief presents the geometry that is the basis of many that cultural institutions can encapsulate an Hear Us and Protect Us is a series of entreaties of Fuller’s key ideas and concepts. experience into an easy takeaway souvenir. in several languages. The entreaties are made Works: Main The first visual proposition from the entryway is to powerful people. Although these names are not Shops operated by small to mid-sized museums an animation of R. Buckminster Fuller’s Dymaxion household names the idea of making entreaties Space East and galleries rarely return notable profits; there- map. Unlike conventional world maps, Fuller’s to people in power has universal appeal. fore, their function can be read as extending and vector equilibrium map represents the world without the hierarchy of a right side up. Fuller “enhancing” visitors’ experiences. This approach The series of off-site billboards by the artist Steven Chodoriwsky to the enhancement of experience, alongside will evoke the names of influential art world attributed the north on top/south on bottom habits of cultural consumption, become essential figures—in essence a cheeky gesture towards My Submission conception of the world to cultural bias. concerns in light of the often meagre resources for making Burns just as noteworthy as these heavy- 2014 Instead of serving as “a precise means for seeing free or financially accessible public programmes. hitters. Those whom Burns asks intercession Audio (5 mins, looped) the world from the dynamic, cosmic and compre- In the case that financial profit is not returned from remain unknown personas outside the field hensive viewpoint,” the maps we use still cause Arabella Campbell’s Ways of seeing by walking Brew Pub Journal enormous crowds and international scope—Brew humanity to “appear inherently disassociated, blurs the line between art and life while suggesting Brew Pub #3: Gina Badger: Pub is small, discreet, intimate and concertedly remote, self-interestedly preoccupied with the that art and viewing are not limited to the space local, both in its publicness and in its process political concept of its got to be you or me; there of the gallery. The destination that you are headed Relanding from Mugwort of creation. is not enough for both.” toward is not necessarily where you’ll find what (with Eric Emery, cheyanne turions and the STAG Brew Pub redefines publication, something that is —Buckminster Fuller Institute you seek. This work encourages the gallery visitor Library) typically understood to be comprised of a type of to integrate active looking into day-to-day life and As an example of decentring and reconceptualiza- Performances and publication book or journal. What elements of a contemporary to consider where art resides and how it is defined. tion, Fuller’s map initiates the question of how we art institution can similarly be transposed, shifted The STAG Library (artists Aja Rose Bond and can re-prioritize and re-map to differently navigate Ways of seeing by walking subverts the viewer’s or reordered to expand the definition of a contem- Gabriel Saloman) in collaboration with artist and the contemporary art institution. expectations of an artist to produce objects and porary art gallery? writer Gina Badger, curator cheyanne turions and paintings, and instead fulfils the purpose of an brewmaster Eric Emery will be launching the 3rd exhibition, which is to provide an experience, edition of Brew Pub at MOCCA, a journal in the ch+qs arquitectos (CHURTICHAGA to challenge thoughts and ideas, and to produce Maggie Groat form of a beer whose contents, labelling and other + QUADRA-SALCEDO arquitectos) new ones. Fences Will Turn into Tables printed and online material constitute the contents 2010-2013 FLOWING MOCCA, (Be water, my of the publication. This edition explores a relation- Found fence boards, posts and hardware mocca) Jeanne van Heeswijk ship with Artemisia vulgaris, commonly known 2014 Mistaken Identities as mugwort, an invasive species that has spread Fences Will Turn into Tables is a large communal Video with sound (2 minutes) from Eurasia across Canada. table that the artist has fashioned from repurposed 2010 fence posts collected over a three year period. ch+qs arqitectos have successfully realized several Mixed media Through the development of a beer using wild- Here, Maggie Groat borrows pieces of an isolating projects re-employing existing structures to crafted mugwort from the city of Toronto—land Mistaken Identities represents the identity crisis structure, a literal barrier between private proper- become meaningful sites for art, culture and life. with which the Huron, Haudenosaunee and Anishi- of an internationally operating visual artist who ties, and reconstitutes them into an object that naabe people have a long, historic and profound regularly crosses the lines of her own field of is symbolic of dialogue, civility and shared space. For MOCCA, de Churtichaga and de la Quadra- relationship—these artists consider what and how work. The work consists of name tags and badges, Benches have also been constructed, and visitors Salcedo envision a FLOWING MOCCA. Utilizing mugwort can teach those exploring the conflict- appointed by others and received during participa- are invited to sit at the table while contemplating an abundance of decommissioned barges, ch+qs ual complexity of settlement. Mugwort can talk tion in exhibitions, lectures, visits, meetings, -sym the world Groat envisions, or rather, the world she propose a cultural destination on Toronto’s unin- to us about taking root in place, connecting with posia and so on, where each occasion brings on enables us to envision. spired, underdeveloped waterfront. The proposed traditions across distances and back in time, and barge/gallery would thus encourage a vital cultural a new role, occupation or specialty to be fulfilled how to cultivate these teachings in the present, The east or institutional potential portion of corridor. by a single artist. renewing our relationship to place and that which the exhibition culminates with Maggie Groat’s Mistaken Identitiesreveals the continually evolving grows here. Fences Will Turn into Tables. Groat’s literal and and difficult to compartmentalize work of many symbolic act of dismantling has furnished us with Arabella Campbell The public is invited to join the Brewtality of Fact contemporary artists. Jeanne van Heeswijk is a resting place, a place for gathering with friends Ways of seeing by walking Beer Club and attend any of a series of meetings an accomplished and prolific artist whose work and strangers. 2014 where members will drink, discuss and explore resides in an ambiguous place between visual the experience of Brew Pub #3. See programming This work is completed when the symbolism of Poster and postcard with walking instructions art and social practice.Mistaken Identities makes section of brochure for details. the table (dialogue, civility and shared space) is evident the confusion around the role of the artist, Based on the available wall space in MOCCA’s realized. Visitors will convene around the table artwork and its function within exhibitions and As a contemporary art institution, working Main Space gallery, Arabella Campbell has devised during exhibition programming. As a manifesta- greater society. with the journal Brew Pub engages with artistic a walk, to be executed by the viewer, 1643 paces tion of redefined power, symbolism and function, production explicitly at a contrary scale to that beginning outside MOCCA. Taking van Heeswijk’s lead, a creative entity does Fences Will Turn into Tables is a compelling support which is fostered by the increasing dominance not necessarily need to neatly define and easily structure to underlay the exhibition’s dialogues The poster, with text from Flatland: A Romance of the global contemporary art world. In opposi- understand that which it invents. Informed creative regarding the (re)definition of a contemporary of Many Dimensions, written by a Square (Edwin A. tion to a mode of production demanded by art risks, such as van Heeswijk’s, contribute to art institution. Abbott) (1884), suggests the relationship between fairs, biennials and large institutions—one which the growing field of contemporary art. the body’s actions, the act of looking and being emphasizes spectacular size, broad publicity, compelled to move in one direction or another. To Be Destroyed: A call for ideas Whitney Museum of American Art (Artport), Tomas Chaffe Jesse Harris Palais de Tokyo, Tate Modern, Ars Electronica, Tomas Chaffe born in Nottingham, 1980, lives Jesse Harris is a Toronto-based artist. His message- Wall installation from an open call for ideas Transmediale, and more. and works in Stockholm. Previous exhibitions oriented art practice is a platform for personal The east and west arms of the exhibition meet Bill Burns include 24 SPACES – A Cacophony, Malmö Kon- politics, direct communication and discussion at a wall of ideas that display responses to an open sthall, Malmö (2013); Of Parameters: Measurable of the limits to free expression in culture. Bill Burns is a conceptual artist based in Toronto call for architects to destroy existing paradigms Truths, Definitive Outcomes, Tenderpixel, London Harris produces paintings, sculpture, publications, and Dawson City. He studied at Goldsmiths College about art galleries. Participants were asked to (2013); The Possibility of an Island, Grand Union, clothing and objects concerned with art discourse, in London, England. Burns’s most recognized body re-conceive and imagine the museums and galleries Birmingham (2012); The Charter Of The Forest, do-it-yourself politics, sliding-scale distribution and of work is Safety Gear for Small Animals which has of the future. Chambers Wood, Lincolnshire (2011); A Strangers community-building. been shown widely, including at the MOMA, NY Window, Nottingham Castle Museum and Art The jury selected 69 ideas from over 130 propos- and at the Institute of Contemporary Arts in Gallery, Notthingham (2010); and Present Future, als that were submitted. Several common themes London. His current work is about life in the art Artissima 16, Turin (2009). Justin A. Langlois are visible including ideas about itinerant galleries, world and has been shown at MASS MoCA and Justin A. Langlois is an artist, organizer and educa- mobile units, condoization, everyday life as art, most recently, Hippolyte, Helsinki, Finland. tor working across media and social practice. accessibility, and utilizing already available spaces Michelle Chang He is the co-founder and research director of and structures. A number of unique and stand- Michelle Chang is the director of the gallery space Broken City Lab, and his practice explores collabo- alone ideas are also among the display. Arabella Campbell Department of Architecture (DoA). Her work has rative structures, critical pedagogy and custodial Arabella Campbell was born in 1973 in Vancouver, been shown at the Whitney Museum of American frameworks as tools for enacting divergent pos- Jurors where she lives and works. She holds a BA from Art and the Museum of Contemporary Art in sibilities for gathering, learning and making. He Brigitte Shim, Shim-Sutcliffe Architects Inc., the University of and a BFA from Chicago. She is a former MacDowell Colony fellow holds an MFA from the University of Windsor and Toronto, Canada; the Emily Carr University of Art + Design and the and has previously worked for the architecture is currently an Assistant Professor at Emily Carr Josemaria Churtichaga + Cayetana de la Quadra- San Francisco Art Institute. She was the winner offices of SOM NY and Preston Scott Cohen, University of Art and Design. Salcedo, ch+qs arquitectos, Madrid, Spain; of the 2007 RBC Canadian Painting Competition Inc. She graduated from Johns Hopkins University Su-Ying Lee, Assistant Curator, MOCCA, Toronto; and is represented by Catriona Jeffries Gallery, with a BA in International Relations and holds Jennifer Davis, architecture program and consulta- When Vancouver. Recent exhibitions include an M.Arch from Harvard University. Gordon Matta-Clark tion, TBD, Toronto Attitudes Became Form Become Attitudes, Museum Born in New York in 1943, Gordon Matta-Clark of Contemporary Art Detroit, Detroit (2013); is widely considered to have been one of the most An Appetite for Painting, ARSENAL and Galerie Steven Chodoriwsky influential artists working in the 1970s. He was de l’UQAM, Montréal (2013); and Color Shift, Steven Chodoriwsky is an artist, writer, and archi- a key contributor to the activity and growth of the Artist Mixed Greens, New York (2013). tect, and lives in Los Angeles. Chodoriwsky was New York art world in SoHo from the late 1960s educated in architecture at the Tokyo Institute until his untimely death in 1978. His practice Biographies of Technology and the University of Waterloo. introduced new and radical modes of physically ch+qs arquitectos His practice employs installation, performance, exploring and subverting urban architecture. CHURTICHAGA + QUADRA-SALCEDO arquitectos built form, photography and text. are an award winning architecture office based Jonah Brucker-Cohen in Madrid. The partners Josemaria de Churtichaga Dax Morrison Jonah Brucker-Cohen, is an award-winning and Cayetana de la Quadra-Salcedo promote Maggie Groat Dax Morrison completed his MFA at the University researcher, artist, writer, and Assistant Professor interdisciplinary ventures and collaboration. Maggie Groat is a visual artist working in a variety of Windsor and his undergraduate training at the of Digital Media and Networked Culture at Lehman of media including collage, sculpture, artists’ Ontario College of Art and Design. He has had solo Among their work with cultural spaces are the College/CUNY. He received his PhD in the Disrup- books, site-specific interventions and field stud- exhibitions at YYZ Artists’ Outlet, convenience, Diaz redesign of a space within a century-old slaughter- tive Design Team of the Electronic and Electrical ies. Forming an ongoing research-based practice, Contemporary, CSA Space, Access Artist Run Cen- house in Madrid to become Cineteca, a film centre Engineering Department of Trinity College, Dublin. Groat’s work explores studies for possible futures, tre, Art Gallery of Windsor and Open Studio. His within the larger arts complex Matadero Madrid, His work critically challenges and subverts salvage practices, and relationships and reconnec- work has also been presented in group exhibitions and Magic Carpet, an installation for Manhattan’s accepted perceptions of network interaction tions to Indigenous land and knowledge systems. at the Power Plant, Justina M. Barnicke Gallery, Pier 57 comprised of 36 shipping containers hanging and experience, and has been exhibited at venues Groat studied visual art and philosophy at York Uni- Gallery 44, Forest City Gallery and Centre3. 10 feet above the ground, floating in suspension. such as San Francisco Museum of Modern Art, versity before attending the University of Guelph, The functional, adjustable installation is to be the New York’s Museum of Modern Art, ICA London, where she received an MFA degree in 2010. support for a variety of events and exhibitions. Archer Pechawis Emily Fitzpatrick (Toronto) is a curator and writer. one 19 years of age and over and can be purchased Participants: Performance artist, new media artist, filmmaker, She has curated exhibitions at the Carleton Univer- online through www.mocca.ca. Xenia Benivolski, Kunstverein Toronto, Kim Simon sity Art Gallery (Ottawa), the Ottawa Art Gallery writer, curator and educator Archer Pechawis has *Note a limited quantity of beer is available Sounding off from the previous panel (The Build- and the Blackwood Gallery (Mississauga). exhibited across Canada, and internationally in at each meeting ers) the participants in The Innovators discussion Paris, France and Moscow, Russia. His practice Shannon Linde (Toronto) is an artist, designer, and will elaborate upon ways to contribute to commu- September 29, 7 p.m. (location TBA). examines the intersection of traditional First arts professional. She has exhibited work at the nity and culture and where the gaps may exist. Please RSVP (limited to seven guests). Nations culture and digital technology. Museum of Art+Design (Los Angeles), Nuit Blanche In the Toronto region, a number of initiatives that (Toronto), and the Gladstone Hotel (Toronto). September 30, 7 p.m. (location TBA). are modest in scale and significant in endeavour She has curated and coordinated exhibitions Jon Sasaki Please RSVP (limited to seven guests). innovate and expand upon contemporary art in Toronto and Montréal. Multidisciplinary artist Jon Sasaki borrows exhibitions, projects and platforms. Small groups, October 1, 7 p.m. (location TBA). conceptual art strategies to make works with an Patricia Ritacca (Toronto) is a curator and collectives and individuals are contributing to the Please RSVP (limited to seven guests). emotionally resonant core. Sasaki’s work has been arts professional. She has curated exhibitions creative and intellectual life of the city through exhibited in numerous solo and group exhibitions, at the University of Toronto Art Centre and Art October 3, 7 p.m., MOCCA. resourcefulness and a special acuity to new voices in Canada and abroad. Sasaki is based in Toronto, Interiors (Toronto). Presented with the support of No Reading After and opportunities. The participants on this level holds a BFA from Mount Allison University and the Internet. work through itinerant organizations, intimate Renée van der Avoird (Toronto/Barrie) is a writer is represented by Jessica Bradley Gallery. No reservation is necessary, and membership and discourses and experimental presentations to and curator. She has organized exhibitions at the attendance fee can be purchased at the door. invent new approaches and evolve definitions. MacLaren Art Centre, University of Toronto Art Jeanne van Heeswijk Centre and Susan Hobbs Gallery (Toronto). How can an artist be an instrument for the collec- The Builders: a panel OPEN SESAME: Critics Forum tive reimagining of daily environments, given the Monday, October 6th, 7:30 p.m. Saturday, October 18th, 3-5 p.m. complexity of our societies? This is the question that artist Jeanne van Heeswijk considers when de- Programming Panelists: MOCCA is hosting the 7th installment of LUFF ciding how to employ her work within communities. Jill Birch, CEO, Canadian Art Foundation; Gail Art+Dialogue’s Critics Forum. Based on David Dexter Lord, Co-President, Lord Cultural Resources; Cohen’s Review Panel at the National Academy Van Heeswijk’s work has been featured in Liver- Brewtality of Fact Beer Club Alfredo Romano, President, Castlepoint Numa; Museum in New York City, three critics will review pool, Busan, Taipei, Shanghai and Venice bien- Meetings: Part of Brew Pub #3 Matthew Teitelbaum, Michael and Sonja Koerner three current Toronto exhibitions, after which nales. She has received a host of accolades and director, and CEO, Art Gallery of Ontario questions and dialogue between critics and recognitions for her work, including most recently Brew Pub #3: Gina Badger: Relanding from audience will be facilitated. A moderated panel, The Builders is comprised the 2012 Curry Stone Prize for Social Design Mugwort (with Eric Emery, brewmaster, and of community and culture builders on the level OPEN SESAME in Toronto was founded in 2013 by Pioneers and the 2011 Leonore Annenberg Prize cheyanne turions; the STAG Library, editors) for Art and Social Change. of CEOs, consultants and property developers. Xenia Benivolski, Christine Atkinson and Thomas The public is invited to join the Brewtality of Fact The participants on this panel have the ability Payne, in direct collaboration with Thomas Payne Beer Club and attend any of a series of meetings to influence the development of the community Architecture studio. Aisle 4 where members will drink, discuss and explore as well as local, national and international culture OPEN SESAME is generously funded by the OAC. Aisle 4 is a curatorial project consisting of Emily the experience of Brew Pub #3. The first three from their positions at the top. Fitzpatrick, Shannon Linde, Patricia Ritacca, Renée meetings will be hosted in a private location and Responding from within the context of their van der Avoird. members will be taken through an intimate ritual experiences, roles and responsibilities, panelists No Art Tours with Aisle 4 of introduction to mugwort by Gina Badger. The Aisle 4’s mandate is to bridge the gap between will identify and discuss the issues they consider Sunday, October 19th, 12 p.m. and 3 p.m. fourth meeting will be held at MOCCA and will art and the everyday by promoting thoughtful, urgent for contemporary art institutions locally, include presentations from Gina Badger and The A series of tours in which viewing the exhibition provocative and meaningful art experiences. nationally and globally. STAG Library, moderated by cheyanne turions. in a traditional context is avoided. Through collaborations with artists from all creative disciplines, their work focuses on social Membership and Meetings 12 p.m., Blindfolds Tour engagement and site-specific projects that ignite Beer Club memberships ($5) will allow members The Innovators: This tour will lead visitors through the gallery public imagination and animate unsuspecting to attend any or all of the meetings. Each meeting A public discussion blindfolded, experiencing the exhibition through spaces. The goal is to connect communities. costs $5 to attend. Memberships are open to any- Thursday, October 9th, 7:30 p.m. the remaining heightened senses, and exploring the differences in cultural consumption and artistic Jeremy Jansen understanding when vision is omitted. Kara Logan Walter Procska 3 p.m., Walls + Outlets Tour Andrzej Tarasiuk This tour offers audiences an opportunity to learn about the structure of MOCCA, both architecturally and institutionally. In looking past the art, literally, mocca.ca the guide will illuminate the institution’s intimate exhibition, building, and bureaucratic histories, with which only its employees or longstanding members would be familiar.

Acknowledge- ments

Copy editor, cheyanne turions Designer, Atanas Bozdarov Exhibition vinyl, Saman Design Inc.

MOCCA

Staff David Liss, Artistic Director & Curator Julia Dow, General Manager Katy Laird, Manager, Membership & Development Su-Ying Lee, Assistant Curator Leah Rakopoulos, Assistant, Membership & Development Mark Savoia, Head, Marketing & Communications Rachel Solomon, Executive Assistant, Office of the Artistic Director & Curator Michael Vickers, Manager, Finance & Events

Gallery Brett Despotovich, Head, Gallery Operations & Visitor Services José Talavera, Gallery Attendant Rohan Ramsay, Gallery Attendant

Installation Team John Kennedy, Head Technician Marina Gugliemli