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Staging
Open Space, Toronto ON
June 17, 2016 to July 16, 2016 Exhibtion text by Kendra Ainsworth StagingVisibility can be understood in a broad context, oscillating between prominent and impressive displays to the desire for withdrawal and deferral. Throughout the culture industry there is an increasing demand to generate work that performs, whereby transparency and legibility allows it to be speedily and easily consumed.1 Reversing this approach is the foregrounding of work that hides—that obfuscates. Through mechanisms of misalignment, layering and transparency these prints intend to conceal; in doing so they attempt to delay perception, complicating immediate and spectacular consumption.
1 Adorno, Theodor. “Culture Industry Reconsidered.” In The Culture Industry: Selected Essays on Mass Culture, edited by J. M. Bernstein, 98-106. New York, New York: Routledge, 2001.
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Semiopaque with Tegan Moore
G Gallery, Toronto ON
May 12, 2016 to June 25, 2016 Exhibition text by Karina Irvine Momentary Arrest In order for cultural commodities to function expediently, legibility and transparency act as a conduit that permits these items to reach an expanded audience, whereby clarity ensures that meaning is directly and immediately translatable. As a result, these strategies widen the scope of commodities and simultaneously allow for ease of consumption. This facilitates the logic of capital and promotes an ever-expanding marketplace.1 Things that prefer to be quiet. Things that refuse to be visible. Semiopaque considers the implications that arise from the act of producing works imbued with a deliberate characteristic of reticence. Latency is not a refusal; it does not mark immobility or illegibility, but rather it functions as a site of contestation.2 Reticence can work both within and beneath a system of inquiry, producing meaning through an intentional restraining of one’s own actions. The self-limiting quality of the quiet or hidden object can allow it to elicit unexpected defiance, affecting and exposing the fragility of expectations. Muffled audibility and blurred visibility requires attentiveness in order to hear or a straining in order to see. The self-reflexive nature of these strategies provides an avenue to critique the demands of consumerism and high performance culture. ___________________________________________________________________________ 1 Adorno, Theodor. “Culture Industry Reconsidered.” In The Culture Industry: Selected Essays on Mass Culture, edited by J. M. Bernstein, 98-106. New York, New York: Routledge, 2001.
2 Verwoert, Jan. “Exhaustion and Exuberance: Ways to Defy the Pressure to Perform.” In Art Sheffield 08: Yes No and Other Options, 89-112. Sheffield, UK: Sheffield Contemporary Art Forum, 2008.
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A kind of graphic unconscious Susan Hobbs GalleryLiz Deschenes
Eileen Quinlan
Erin Shirreff
Erika VogtJuly 4, 2015 to August 15, 2015
Organized by Moire
A moiré effect can be understood as "a kind of graphic unconscious: a basic condition of blur, out of which temporary effects of sharpness are occasionally won."¹ Temporary, because as a primarily optical phenomenon, the effect is dependent on two superimposed patterns or screens becoming askew. What becomes apparent through this slight shifting of two-dimensional planes is a previously indiscernible three-dimensional space. Taking the effect as cue through the convergent practices of Liz Deschenes, Eileen Quinlan, Erin Shirreff, and Erika Vogt — this exhibition considers how a relationship between the material and immaterial becomes permissible through the accumulated crossing of singular paths.
image: Eileen Quinlan, Acting Out, 2014, courtesy Miguel Abreu Gallery, New York
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Either A New Or Existing Character
MKG127, Toronto ON
February 14 to March 14, 2015 For her second solo exhibition at MKG127, Eurich will be presenting work that: emphasizes negative space, is hollow, has a faceted surface, contains other work(s), is concealed, is layered, has multiple components, is not a multiple, is like a drawing, incorporates text, is stationary, has reticent characteristics, is monochromatic, uses straight lines only, references Agnes Martin, is fragile, consists of more than three materials, is made of ceramic, was built, is freestanding, requires a plinth, uses keyholes, uses a French cleat, is in its third iteration, is in a series of three, is positioned adjacently, is architectural, references something from an Ikea catalogue, is functional, is recognizable, does not resemble an animal, was almost omitted.
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15
Balloon / Portal / Starres / Fiends
DNA Artspace, London ON
October 09 to November 12th Curated by Kim Neudorf Liza Eurich
Paolo Fortin
Mackenzie Ludlow
Jenine Marsh
Jennifer Martin
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14
Why Can't Minimal Justina M. Barnicke Gallery, Toronto ON
September 2 to October 19, 2014 Curated by John G. Hampton Jennifer Marman & Daniel Borins
John Baldessari
John Boyle-Singfield
John Marriott
John Wood & Paul Harrison
Jon Sasaki
Ken Nicol
Tammi Campbell
Liza Eurich
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13
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Papier14
April 25 to 27, 2014
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Paravent
May 16 to May 24, 2014
Curated by Sky Glabush Jen Aitken
Vanessa Maltese
Tegan Moore
Jennifer Sciarrino
Mackenzie Ludlow
Liza Eurich + Kim Neudorf Opening reception: May 16, noon-5 pm
535 First Street, Suite #8, London, ONPrint collaboration with Kim Neudorf
View pdf
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MOIRE
www.moire.caIssue 2 / March 2014
Amy Brener: Crusty Crunchy Roundy SmoothyPhotograph by Colin Miner
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10
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Notes
FrameWork 12/13: Liza Eurich on Didier Courbot
Susan Hobbs Gallery
Table Works (14) by Didier Courbot
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09
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No Boys With Frogs
DNA Artspace
November 29, 2013 to Decemember 15, 2013
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08
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More than Two (Let It Make Itself)
The Power Plant Contemporary Art Gallery
September 21, 2013 to January 5, 2014Curated by Micah Lexier
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07
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Alignments
Neutral Ground Contemporary Art Forum
June 8 - July 12, 2013Curated by John G. Hampton
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06
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Semicolon Hyphen Bracket
MKG127
July 6 - August 17, 2013Cynthia Daignault, Ceal Floyer, Anna Kolodziejska, Kay Rosen, Kristiina Lahde, Roula Partheniou, Joy Walker Laurel Woodcock and Liza Eurich.
Curated by Michael Klein, Elle Kurancid and Jennifer Simaitis
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MOIRE
www.moire.caMoire is an artist publication established by Liza Eurich, Ella McGeough, and Colin Miner. Each issue focuses on a specific artistic practice through the production of texts, interviews, photographs and collaborative projects. The content exists and is made available in pdf format for download at www.moire.ca
For Issue 1: Tape Fade Reveal we are excited to have collaborated with Vancouver based artist Raymond Boisjoly, whose work engages issues of Aboriginality, cultural translations, language, and experiential aspects of materiality. The essay for this issue is authored by Henry Adam Svec who is a writer and performance artist currently residing in London, Ontario.
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04
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The Work Of It
McIntosh Gallery
August 16 - September 22, 2012
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03
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A Paper A Drawing A Mountain
The Banff Centre, Banff AB
June 17, 2012 - July 27, 2012 With Silke-Otto Knapp and Jan Verwoert
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02
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It Exists In The Cut
MKG127
April 20, 2012 - May 19, 2012
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01
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Like-Minded
Plug In Institute of Contemporary Art
January 28, 2012 to March 25, 2012Artists: Romas Astrauskas, Robert Bean, Martin Bennett, Paul Butler, Maryanne Casasanta, Martin Creed, David Dyment, Liza Eurich, Brian Groombridge, Aleksander Hardashnakov, Jesse Harris, Nelson Henricks, Joel Herman, Jeremy Jansen, Matt King, Jake Kosciuk, Stéphane La Rue, Kelly Lycan, Euan Macdonald, Arnaud Maggs, Sara MacKillop, Jennifer Marman and Daniel Borins, Sylvia Matas, Niall McClelland, Mathew McWilliams, Ken Nicol, Roula Parthenou, Mitzi Pederson, Margaret Priest, Susana Reisman, Alison Rossiter, Hugh Scott-Douglas, Michael Snow, Josh Thorpe, Joy Walker, and Laurel Woodcock
Curated by Micah Lexier
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