KIDS THESE DAYS: THE AGE OF YOU AT MOCA

Exhibition Reviews | Mary Wallace 

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Toronto's Museum of Contemporary Art’s current show focuses on a very intimate and socially relevant topic: “You” or rather the concept of “you” in the face of the internet age. The Age of You examines what individuality means in an age where we have constant internet access and the internet has constant access to us. The show features work from over 70 artists in various mediums, curated by Shaman Basar, Douglas Copland and Hans Ulrich Obrist. Most of the show appears in the form of posters with images of art and related text; these posters are divided into thematic chapters. Many of my fellow editors and likely you reading this, have seen The Age of You and have probably formed a strong opinion of it. The show is divisive (I would guess intentionally so) which is why I was initially hesitant to write about it. I, personally, did not enjoy the show but I didn’t want to write a review that just amounted to venting. So after gaining some distance and taking some time to think about it, I am ready to share my opinion in my professional capacity as a critic.

I, personally, did not enjoy the show but I didn’t want to write a review that just amounted to venting.

(Photograph courtesy of Mary Wallace)

Well maybe with a little venting.

What is this exhibition saying? What is its Big Idea? I was not able to figure this out. Of course, the job of art is not always to inform; asking a question is a perfectly valid driving force for a show. However, The Age of You does not ask a lot of questions, it prefers to make statements.

(Photograph courtesy of Mary Wallace)

Lots of them.

(Photograph courtesy of Mary Wallace)

Most of the exhibition’s text is written in the second person, as though speaking to “you” directly. The use of the second person creates a sense of urgency but it has the unintended side effect of making the writers’ assumptions about the reader very clear, especially when those assumptions are wrong. For instance, the exhibition presents a very specific notion of what individuality is (or used to be) and does consider other potential versions of “the self” in a serious way. A good example of these incorrect assumptions appears in the chapter labeled “The New Crowd”.

The centre text reads: "Do you feel safe in a crowd? Do you feel in danger in a crowd? Do you feel alone in a crowd? Do you form bonds in a crowd? When does a crowd become a mob? Is a social movement a global crowd? Is it hard to be an individual when being in a crowd has never been easier?" (Photograph courtesy of Mary Wallace)

The text on the left reads: "What is the opposite of you? ...me? ...a crowd? ...a machine? ...some yet-unnamed entity?" (Photograph courtesy of Mary Wallace)

At the very least this section asks questions of the viewer. I found the question "what is the opposite of you?" very compelling but I did feel the same way about the exhibition's answer. The Age of You is deeply nostalgic for a lost sense of “classic individuality”. Classic individuality in this case is presented as some kind of Golden Age of the self; one that I don’t think has ever existed. Was the opposite of “the self” ever “the crowd”, was the opposite of “man” ever “nature”? I would hope not. To consider the notion of individuality as simply being separate from the world around you and from other people, to me is a deeply cynical position. I myself find the prevalence of social media anxiety inducing, but to long for separation from everyone and everything is not a healthy response to that anxiety.

Was the opposite of “the self” ever “the crowd”, was the opposite of “man” ever “nature”? I would hope not.

There are also sections where the text is outright mean-spirited.

The small text reads: “Dating sounds as old fashioned as courting. Chaste, consequence-free messaging, communal laptopping, asexual cuddling and body contact negotiated through legalistic consent dialogs, all followed by ghosting. The relationship’s never over, because it never really started.” (Photograph courtesy of Mary Wallace)

It sounds like this poster was written after a disappointing Tinder date or maybe the writer is upset that they had to do consent training at work. Once again, I could not relate to the exhibition’s nostalgia for a time when “consent dialogue” was not considered in the dating scene; I know very few people who would. Maybe if I knew what “communal laptopping” meant I could relate more.

The small text reads:"For a few centuries, smart people— who, being smart— more or less ran the world. The flattening effect of the internet has allowed the world to be run by people with an IQ of 100. It is the revenge of the bell curve." (Photograph courtesy of Mary Wallace)

Similarly, I could not understand this poster's longing for a time when smart people "more or less ran the world". When was that exactly? I cannot think of a time, much less a few centuries, when intelligence was the only determining factor in running the world.

This void emoji is calling to me, or maybe it's just the emergency exit. (Photograph courtesy of Mary Wallace) 

I had a hard time determining the level of irony in this exhibition; whether I was supposed to agree with these statements or if they were meant to be like the inflammatory statements of an internet troll. If that is the case then this exhibition is brilliant. It perfectly captures the feeling of reading a rant on an internet forum. One of the reasons I was hesitant to write about The Age of You was because I didn’t want to prove the exhibition right by ranting about it on the internet (the very thing that is supposedly robbing me of my very soul) but what is the alternative? Letting an artwork dictate my internet usage? Not exactly the actions of a classic individual either.

But don't just take my word for it. The Age of You will be on at MOCA until January 5, 2020.  

YOU ARE AN ART COLLECTOR: OWNING AND INTERACTING WITH INTERNET ART

Collections Corner | Jaime Meier 

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Photo courtesy of Jaime Meier

Earlier this week I had the pleasure of seeing "Age of You" at the Museum of Contemporary Art (MOCA). The exhibition is a fantastic dive into our complicated relationship with technology and its inseparable presence in our lives. A quote by Liam Young has continued to haunt me, "Ideology rarely evolves at the pace of our technology. As we turn our gaze towards the machine landscapes, we need to radically embrace our uncomfortable place in a world where we are no longer at its center." As an ever dedicated Musing columnist, I began to ponder the implication of this for collecting.

Traditional art collecting is considered to be different than simply owning art because creating a collection requires a plan for acquisition and an overarching theme. Advice for collecting typically comes down to knowing your taste and purchasing art you like, not just investment pieces. This guidance has been applied to traditional art forms for centuries but has began to be called into question by evolving technology. New software and technological advances have rapidly produced an artistic medium that moves beyond canvas and clay, the machine landscapes of the internet.

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Internet artist, Rafael Rozendaal, displays his web-based works online and in galleries. His art, typically priced at $7,500 has been purchased by private collectors and museums such as the Museum of the Image in Breda and Borusan Collection in Istanbul. Since his works continue to exist on the internet after purchase, anyone with an internet connection is able to view the art an unlimited amount of times. With the art's eternal presence, the collection is no longer at the center of containing the art work, but rather it belongs to the internet itself and the people who utilize its spaces.

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Loren Schmidt and Katie Rose Pipkin are also internet artists who take the ownership of internet art a step further. Their twitter project, @mothgenerator, allows users to tweet a word at them that signals a software generator to create a personalized moth using that word. People are given this personalized artwork that remains on display for the public, creating an intersection of ownership between artist, moth requestor, and the public.

To understand the role of the internet in our lives, we must re-evaluate our definition of collecting. Our ideology about the internet and its ownership are far behind where the internet has taken us. Traditionally, a majority of art collections exist in the shadows and only re-appear for an exhibition or special request.  Someone who possess art is a guardian and the art becomes integrated into a personal canon that expresses interests, desires, and fears. The internet does not allow for its art forms to hide or disappear from sight, instead they become a permanently accessible feature.

Many web-based art forms rely on an interaction to set it a part. Going through a randomly generated art website, such as"My Boyfriend Came Back From War" by Olia Lialina. No one will ever will the exact same webpage nor experience it in the same way, it is not a static art form you can return to again and again for consistency. How can someone own your unique experience? They cannot, this is yours and you get to own it.

As the world continues to criticize, analyze, and relish in the presence of web-based media in our daily lives, one thing becomes clear - we cannot own art the same way we once did. Each person is able to add or refuse art work into their personal collections. I have imbedded 16 links in different letters for you to explore and to aid in the formation of your internet art collection,  are you able to collect them all?

DO YOU BELIEVE?

Exhibition Reviews | Maddy Howard

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What do you believe in? 

To welcome you to their new industrial building, the Museum of Contemporary Art (MOCA) is displaying BELIEVE, an exhibition featuring 16 artists, exploring the beliefs and systems that shape our values and behaviours.

BE:LIE:VE by Kendell Geers. Photo Courtesy of Maddy Howard.

MOCA has found a new 55,000 square foot home in the Lower Junction. With all this new space, MOCA is able to further their collection and exhibition of contemporary art. BELIEVE utilizes this new space, spanning floors two and three of the building, with one installation on the first floor. The exhibition includes works from 16 Canadian and international artists: Can Altay, Matilda Aslizadeh, Carl Beam, Dineo Seshee Bopape, Awol Erizku, Meschac Gaba, Kendell Geers, Barbara Kruger, Nikolaj Bendix Skyum Larsen, Tuan Andrew Nguyen, Jeneen Frei Njootli, Rajni Perera, Jeremy Shaw, Nep Sidhu, Maya Stovall and Tim Whiten. 

Kendell Geers neon installation BE:LIE:VE is located on the first floor of MOCA, giving visitors their first glimpse of the exceptional art they will see throughout the exhibition as they enter the building. Artists installed on the second floor explore the past and the future. These installations look into the artists' experiences and cultural identities while also analyzing the histories, stories and technologies that help to shape our current beliefs. As the introductory panel states "We are what we believe."

The Columbus Suite by Carl Beam. Photo Courtesy of Maddy Howard.

The third floor of MOCA hosts artists exploration of how beliefs are created. Artists dig at the question of how belief systems shape how we perceive the world, but also how these perspectives influence our behaviours and relationships, both individually and within the community. 

(Untitled) Doubt + BELIEF by Barbara Kruger. Photo Courtesy of Maddy Howard.

Before seeing BELIEVE, I will admit that I was a little intimidated. I am the first to admit that I don't know a lot about art, especially contemporary artwork, but this exhibition blew me away. There was one reason in particular that this exhibition can speak to the artistically versed and the artistically illiterate-- and that was the labels!

The labels truly made the experience more enjoyable since there were artist statements attached to each piece of artwork. These statements got to the core of what inspired the artist and what message their artwork was trying to convey. This meant that for people who don't understand art (i.e. me) there was an opportunity to look through the artists' eyes and see what they saw. The labels also allowed those who might want the art to speak for itself to just enjoy the installations, as they were located near the installations but did not intrude visually. This means that visitors can easily skip over the labels and experience the artwork on their own.

And-In. The Light of This._, by Dineo Seshee Bopape. Photo Courtesy of Maddy Howard.

The exhibition also hosts a large number of artists but the space never felt cramped or crowded. Spreading the exhibition across two different floors and separating by theme, allowed for each piece to speak for itself and not be infringed upon by other installations. I also felt it gave me more time to look at the works. I could spend more time with each work before moving on and it didn't feel rushed. There was a natural flow to the space.

Each piece had its own story and perspective to share and each piece resonated differently. I was interested to see what drew me in and what confused me. There were definitely pieces that will stick with me for a long time. One piece in particular was "The Island" by Tuan Andrew Nguyen. The message resonated with me, but the video captured me. I was entranced by the story and the accompanying music was both hauntingly beautiful and unsettling.

The Island by Tuan Andrew Nguyen. Photo Courtesy of Maddy Howard.

BELIEVE gives visitors a chance to confront and question their beliefs. These 16 artists captured the past, the present and the future through different mediums and methods. Fans of contemporary art and those new to the field can find something that resonates and speaks to them. BELIEVE is an open and understandable exhibition because of the artists' ability to make us think about the beliefs that shape us.

BELIEVE opened September 22, 2018 and runs until January 6, 2019, so head over to MOCA to confront your own truth.

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TORONTO MUSEUMS AND GALLERIES YOU MAY NOT HAVE VISITED YET

THE GRAD SCHOOL GUIDE

BY: LAETITIA DANDAVINO-TARDIF

When we think of museums around Toronto, the first ones that come to mind are the Royal Ontario Museum (ROM) or the Art Gallery of Ontario (AGO). Yet, there are so many more. Here are just a few of my favorite cultural museums or art galleries in Toronto I bet you haven’t checked out yet. These institutions are all located in Toronto core and easily accessible by public transportation, so there is no reason for not visiting them in the upcoming months.

1. Gardiner Museum

111 Queen's Park, Toronto, ON M5S 2C7

The Gardiner Museum, the leading Canadian ceramics museum, is known worldwide as a great specialty museum. Although small looking compared to its neighbor, the ROM, the Gardiner holds a permanent collection of almost 3000 pieces. This collection includes ceramic and porcelain treasures from all around the world, and from Ancient to contemporary objects. Every year, the museum mounts three temporary exhibitions. Clay workshops are available, if you have a creative mindset or want to learn techniques. This past winter, it had a nationally acclaimed exhibition Yoko Ono: The Riverbed and, in 2019, it will hold the highly anticipated Ai Weiwei: Unbroken exhibition. Finally, the Gardiner Museum is at a 10-minute walking distance from campus. Admission is free using your OMA membership card.

A post shared by Gardiner Museum (@gardinermuseum) on Jul 12, 2018 at 7:17am PDT

2. Textile Museum of Canada

55 Centre Avenue, Toronto, ON M5G 2H5

In the heart of downtown Toronto, the Textile Museum is the only museum in Canada that dedicates its collection, research and exhibitions to the media of textiles. The TMC’s 13000 artifacts from around the world cover nearly two millennia. It is a fascinating way to explore, discover and understand various cultures. A past exhibition I personally enjoyed was Artistry in Silk: The Kimono of Itchiku Kubota, which made one discover Japanese culture and landscapes through Kubuta’s Kimono designs. Finally, entrance is also free with your OMA card.

A post shared by Textile Museum of Canada (@textilemuseumofcanada) on May 10, 2018 at 8:41am PDT

3. Ryerson Image Centre

33 Gould Street, Toronto ON M5B 1W1

The Ryerson Image Centre is in Ryerson University’s School of Image Art’s building. It focuses its collection, exhibitions and research on photography and related media. I recommend going to see the Scotiabank Photography Award: Shelley Niro, 2017 winner, before it closes on August 5, 2018. In addition to the main galleries, the RIC has a Student Gallery that showcases the artworks and curatorial practices of Ryerson University’s students or recent alumni. The RIC is walking distance from the Eaton Centre and its admission is free to all.

A post shared by Ryerson Image Centre (@ricgallery) on Jun 11, 2018 at 2:58pm PDT

4. The Power Plant Contemporary Art Gallery

231 Queens Quay West, Toronto, ON M5J 2G8

The Power Plant is Canada’s leading non-collecting public gallery dedicated to contemporary visual art. It is located at the Harbourfront Centre in a mid-1920s powerhouse. The Power Plant is pro-active in showcasing diverse living artists and engaging with a variety of audiences, thus fostering a local-global dialogue related to contemporary art practice. The gallery holds three shows per year (fall, winter and summer). Many MMSt students attended its Summer Opening Party, last month, to see the exhibitions of Ellen Gallagher, Abbas Akhavan and Grada Kilomba. The Power Plant also offers a large programming of lectures, film screenings, and holds a Sunday Scene speaker series. This art gallery is free to all.

A post shared by The Power Plant (@thepowerplantto) on Jun 26, 2018 at 1:22pm PDT

5. 401 Richmond

401 Richmond Street West, Toronto, ON M5V 3A8

If you are in a different mindset, take time to discover an arts-and-culture hub: 401 Richmond Street West. Located in the heart of the Fashion District, this restored heritage industrial building is home to a mix of over 140 creative minds. It has twelve art galleries and thirty artists' studios, which hold many events throughout the year such as performances and exhibitions. Galleries I recommend checking out include Abbozzo Gallery, Open Studio and Gallery 44. As one can see, visiting 401 Richmond is a full day of great and diverse discoveries, and is free!

A post shared by 401 Richmond (@401richmond) on May 26, 2018 at 8:23am PDT

BONUS: Museum of Contemporary Art Toronto

158 Sterling Rd, Toronto, ON M6R 2B2

You have probably not visited the Museum of Contemporary Art Toronto Canada (MOCA) recently as it has moved to a new location in the Junction in the landmark heritage Tower Automotive Building. Save the date: opening day is September 22nd, 2018. The MOCA builds upon the experience of the former Museum of Contemporary Canadian Art (MOCCA) having held 200+ exhibitions with works of over 1,100 Canadian and international artists. The moving from its previous location on Queen West to a larger space accommodates the museum’s ever-growing aspirations and significance. In its new 55,000 square foot home, the MOCA integrates artist residency studios and workshop space for educational programs. I had the chance to visit the new building, under construction, during the Doors Open Toronto and I am looking forward to its opening. Admission will be free to the permanent collection and student memberships are $20.

A post shared by MOCA Toronto (@mocatoronto) on Jun 23, 2018 at 10:20am PDT

I hope you will take time to visit these museums and art galleries and make the most out of their great events and programming! As MMSt students, it is important to visit a variety of cultural institutions to broaden your knowledge of museum practices, as well as complement with and make the most of your graduate experience. Follow up on events organized by MUSSA to learn about other opportunities to visit these museums and more!

FINDING NEW OPPORTUNITIES IN CLOSED MUSEUMS

HERITAGE MOMENTS

BY: AMY INTRATOR

This December, Torontonians and CBC-lovers from all over the country received some sad news: the small CBC Museum was closing its doors for good. Many Canadians weren’t even aware of this tiny gem of a museum in the CBC headquarters, but many others loved the small museum dedicated to Canadian broadcasting and radio history. The museum housed everything from historic microphones to puppets from beloved Canadian television shows.

Vintage sign from the now-closed CBC Museum. Source.

Museum closures aren’t frequent news. Lately, it seems like Toronto is full of new museums. Last month alone, we received two exciting announcements: the Museum of Contemporary Art (MOCA) will open its doors in May, and City of Toronto staff recommended that Old City hall be converted into a museum. In a time of museum openings and expansions, the closure of smaller museums sometimes goes unnoticed, but what does it mean to lose institutions dedicated to representing pieces of our national heritage? In this edition of Heritage Moments, I will be exploring a couple of the recent museum closures in Canada, and trying to find hope in the sad fate of these institutions.

The CBC Museum (permanently closed on December 22nd, 2017)

The CBC Museum opened its doors in 1994, but the collection was started decades before, as early as the 1960s. The small museum housed important pieces of broadcasting history, but the space was also home to some beloved Canadian characters. The museum included several iconic props from Canadian children’s television shows such as Mr. Dressup’s Tickle Trunk and The Friendly Giant castle set. You may not be familiar with these shows, but many generations grew up with these Canadian classics.

Exterior shot of the former CBC Museum. Photo courtesy of Serena Ypelaar.

The museum's closure was announced rather suddenly, but the collection wasn’t left in limbo. The group Ingenium, which oversees three museums including the Canada Science and Technology Museum, will take over the collection. In many ways, it makes sense to house part of the collection in this museum. Visitors of the Canada Science and Technology museum will have the chance to see pieces from the CBC collection alongside other historic technologies. A new home for part of the collection might allow the collection to remain relevant, but breaking up a collection is always risky. If the technology in the collection is separated from the collection's props, sets, and characters, the objects might lose some of their value as icons of Canadian cultural development.

Image of the microphone collection displayed at the CBC Museum. Photo courtesy of Serena Ypelaar.

The Museum of Inuit Art (permanently closed on May 29, 2016)

The Museum of Inuit Art was founded in 2007 and remained a small but active museum in Toronto for nearly ten years. The museum filled a gap in the heritage sector by promoting awareness and support for Inuit art. The museum ran workshops organized by Inuit artists, and maintained a large collection of pieces created by Inuit artists.

Image of the now-closed Museum of Inuit Art. Source.

The museum’s closure in 2016 left a significant void in the heritage sector. While museums are beginning to recognize the importance of including Indigenous voices, the Museum of Inuit Art was unparalleled in its dedication to Inuit culture and heritage. The loss of the museum is enormous, as the museum did not just exhibit Inuit art, it also helped visitors engage with Inuit culture and heritage. There is, however, potential for institutions to help fill the void left by the loss of the institution. The Winnipeg Art Gallery recently unveiled its plans to create an Inuit Art Centre, a “world-class cultural landmark that is home to the largest public collection of contemporary Inuit art on earth.” The closure of the Museum of Inuit Art means new organizations, like the Inuit Art Centre, are under increased pressure to represent and preserve Inuit art in Canada.

It is hard to find opportunities in the loss of heritage institutions. When a museum closes, the public doesn’t just lose access to the space, they lose access to history, art, and culture. I never made it to the CBC Museum or the Museum of Inuit Art, and I’ll always be left wondering what I missed because no picture will stand in for the experience of visiting those museums. I am hopeful, however, that museums can work collaboratively to carry on the legacy of closed institutions, whether that means assuming ownership of a museum’s collection or taking on the museum’s mission to support under-represented voices in Canadian arts.