In the works that comprise 13 Moons and a Canoe, DeCoste takes up history as something living and breathing, the conceptual weight of his work lightened by its rich materiality. The installation pairs a canoe, retrofitted with a mast and sail, with a circular room of thirteen canvas walls – each painted with a large, colourful moon – strung across poles hewn from forest trees.
This room-within-a-room evokes a pastiche of environmental, cultural, and personal influences. It is, on the one hand, a monument to the Indigenous lunar calendar, an inner sanctum delineated by the thirteen full moons that mark the passing of each year, and, on the other hand, a kind of family portrait for the artist; the twelve walls represent DeCoste and each of his eleven siblings. The modified canoe, reveals the thirteenth moon on its sail, this white moon represents the baby who did not survive, the thirteenth child. The canoe sits outside the tridecagon room; it conjures up the genesis of the Métis people in seventeenth-century Nova Scotia, where DeCoste’s family has its roots. It is a potent symbol of First Contact between Europeans and Indigenous peoples – a hybrid object, deceptively quaint in appearance that literalizes the impact of cultures quickening against and into one another.
This exhibition features a selection of works from Burley’s remarkable photographic series, along with an aerial map, a video and other visualizations of landscape that reflect the artist’s interest in the City of Toronto’s parklands, waterfronts and ravine systems. The City of Toronto commissioned Burley to create this collection of photographs celebrating Toronto’s natural spaces as a way to both examine and promote our twenty-first-century relationship to nature. The exhibition accompanies Burley’s new book, An Enduring Wilderness: Toronto’s Natural Parklands, published by ECW Press, with texts by Toronto writers George Elliott Clarke, Anne Michaels, Michael Mitchell, Leanne Betasamosake Simpson, and Alissa York.
some landings/certains débarquements brings together five bodies of work that are informed by these issues and bracketed by two distinct approaches to the landscape: one that reduces it to an essentially topographic state, and one that portrays the effects of human intervention. The work of Jesse Boles, Robert Burley, L. E. Glazer, Sue Lloyd, and Lisa Murzin might at first glance appear to reflect a detached perspective, when in fact it is decidedly engaged, subtly revealing analytical vantage points.
In Across Boundaries, Diana Yoo brings together photography, video, installation and performance works to better grasp the separations between first and second-generation Korean immigrants, relating that, while many in the first generation may be more concerned with assimilating, the second and third generations are often more interested in reaching an understanding of the circumstances that led to immigrating, and they want to know about what was left behind.
Because the artist’s work explores living between the two cultures of South Korea, her ancestral home, and Canada, where she was born and raised, Yoo’s practice involves traveling back and forth between Canada and South Korea as a means of more deeply understanding who she is and how to best express asymmetrical world relationships through her creation of contemporary art.