Daniel Faria Gallery

Join us next Saturday July 27th from 3-6 PM, for the opening of "In Concert," a group exhibition organized by Madeleine Taurins, featuring works by Claire Greenshaw; HaeAhn Paul Kwon Kajander; Jenni Crain; Katie Lyle & Shelby Wright; Leisure (Meredith Carruthers & Susannah Wesley); Robin Cameron & G. William Webb; Robyn Brentano, Andrew Horn & Andy de Groat.

This exhibition hinges on the idea of collaboration, bringing together works by artistic duos, artists in romantic partnerships collaborating for the first time, artists who engage directly with the work of other artists, and those whose works are made with friends, students, or children. In Concert refers both to these collaborative processes, but also to the temporality of performance. While some of the works in the exhibition are more traditionally tied to performance and its documentation, the very activity of creating a work with another, or many others, is itself a kind of dance, and the resulting works bear those histories of their making.

Image: Robin Cameron & G. William Webb, "Monument to Reproduction" (detail), 2023.

It's the final week to see Nadia Belerique's solo exhibition "I Love You This Much" on view through this Saturday, July 20th! Run!!

Photos: LF Documentation

Nadia Belerique
I Love You This Much, 2024
Tables, cast aluminum tuna cans, figurines and eggs,clay pipes, mason jars
70 x 89 1/2 x 44 1/2 inches
Photos: LF Documentation

Nadia Belerique's solo exhibition is on view for one more week, closing Saturday, July 20th!

In I Love You This Much, a series of tables are placed one inside the next, like nesting dolls. Some of them are missing their centres, as if split open and mirrored, recalling the doubled faces in the photographs. A self-portrait of sorts, the expanding, spreading and splitting allude to a personal expansion and refraction in Belerique’s own identity as a woman, artist, and mother. The construction and constraint of her own sense of personhood occurs in relation to the family members that came before her, and those that will follow. In creating this work, Belerique’s process was experimental, using objects found around the studio as place-holders to prop up the tables to a certain height: tuna cans, clay pipes, mason jars. In some cases, these place-holders remain in the finished sculpture, and in others they are sand casted and made into aluminum copies. One such item is a pastiche figurine standing on a tiny platform, next to a small tray for loose change, with the text “I Love You This Much” underneath. The figure’s arms are stretched above his head, spread wide. The spread of his arms echoes the spread of the tables, holding space in a way that suggests a gap to be filled.

Nadia Belerique
House, 2024
Wood veneer, glass, photograph
86 x 62 1/4 x 2 1/2 inches

Photo: LF Documentation

On view in "I Love You This Much" through July 20th!

From the exhibition text:

The house is a symbol of deep ambivalence for the artist, where the creation of “selfhood” occurs for good or for bad. In a reversal of façade and interior, House is made from wood veneer, a material usually reserved for furniture. Multiple types of wood and finishes create a series of stacked frames, growing smaller towards the centre, much like the nesting tables in I Love You This Much. The framed image— a photograph of the pond visible from Belerique’s studio—appears miniature compared to its container. A recurring subject in her work, the pond never fully fills up, it just rises and falls with the water table, a reflection of the season, rainfall, or drought, like an x-ray of what’s happening under our feet. The duck in the pond is a stand-in, a plastic duck decoy, staged to attract more ducks. Dug by a machine, and with a cord winding out of the image to pump air from a nearby windmill, the pond, too, is a staged scene.

Installation views of Nadia Belerique's work in the group exhibition "Thank you, I'm rested now. I'll have the lobster today, thank you." at Pangée (.pangee) on view through July 26th!

This exhibition unfolds in two parts across Pangée in Montreal and Margot Samel (.nyc) in New York. Nadia's works are on view in both locations.

Photos by William Sabourin.

Nadia Belerique
Coming Soon Forever
Marquee, c-stand, sand bags
85 x 57 x 24 inches

Photo: LF Documentation

Included in her current exhibition "I Love You This Much" on view through July 20th!

Nadia Belerique "Central Casting" 2024, on view in her current exhibition "I Love You This Much" through July 20th.

A new series of photographs titled "Central Casting" are made from existing casting catalogues from 1988-1993, collected by Belerique over time. Images of aspiring actors’ headshots found throughout these catalogues are re-photographed on light tables, revealing both sides of each printed page, with two faces appearing simultaneously. Are they competitors, lovers, or a person and their shadow self? Sometimes smiling, other times serious, or an unsettling combination of the two, a new third figure uncannily swims to the surface. Despite their insisting fusion, the two faces flicker back and forth, becoming distinct as the viewer tries to separate them. This chorus of faces become both the main characters and an audience for the sculptures in the centre of the room.

June Clark's "44 Thursdays in Paris" (2004) is on view in the clerestory at the Power Plant as part of her survey exhibition "Witness" on view through August 11th.

Long known for her photographic work, Clark first began experimenting with the medium in the early 1970s when she started documenting her local Toronto community. Often writing over or incorporating other found elements in her photographs, she creates multi-dimensional images tied to a long lineage of experimental, avant-garde practice. This suite of works was made during a 2004/2005 stay in Paris. Every Thursday at 11:00 AM, Clark would visit a photo booth at various places around Paris and have an image of herself made. These photographs were then collaged onto large-scale prints of the artist’s diary entry of that day, becoming a novel type of portraiture.

Please join us this Thursday, June 27th from 6-8pm as we host this month's iteration of Last Thursdays, a rotating monthly event hosted by Toronto's contemporary art galleries.

On view:
Nadia Belerique "I Love You This Much"
June 6 - July 20, 2024

See you there 🥂

On view in the showroom: works by Kristine Moran, Andrew Dadson, Shannon Bool, Douglas Coupland, and Steven Beckly.

🔗 in bio for a preview, or stop by to see them in person!

It's the final day of Jennifer Rose Sciarrino's decade long publication "2015-06-21 – 2024-06-21"! A whole decade has passed!!

Installation views of Derek Liddington's incredible solo exhibition "the trees weep, the mountain still, the bodies rust" at Contemporary Calgary, on view through August 25th!

Photos by Victoria Cimolini.

From the exhibition text:

The trees weep, the mountain still, the bodies rust features a recent body of work by Derek Liddington in which the genre of landscape is the central focus. Having turned away from performance and drawing in recent years to explore the medium of painting, Liddington examines how we experience the landscape rather than how we see it. He challenges the material limitations of the canvas with strategies that seek to capture transformation and movement. By doing so, he confronts the historical canon of painting as a way to reconsider its legacy.

Installation views of Nadia Belerique's solo exhibition "I Love You This Much" are online now! 👀

Find more on our website.

Photos by LF Documentation.

While her solo exhibition at Art-Windsor Essex has come to an end, Elizabeth Zvonar's artwork "Old Happy" remains on the facade of the gallery through December 31, 2024.

Mounted to the façade of Pelissier Street Parking Garage and visible from Ouellette Avenue is a reproduction of an artwork by Vancouver-based artist Elizabeth Zvonar. Old Happy shows the turn-of-the-century car that won the Great Automobile Race of 1895 between Bordeaux and Paris. Zvonar is known for her large-scale works in collage, which she meticulously builds and then prints as large-scale, seamless images. Old Happy, presented on a parking garage near the river separating two automotive manufacturing centres, is a tongue-in-cheek nod to our cities’ origins during a transformative shift in the sector.

Mark Lewis' solo exhibition "Fin" opens tomorrow, June 15th at Musée d'art de Joliette and is on view through September 8th!

From the press text:

Since the 1990s, Mark Lewis has made films that explore the language of cinema and the mechanisms of image construction. Their minimalist narratives often allow room for the artist to explore different video recording techniques. And as silent works, their visual imagery completely absorbs the viewer’s attention. Lewis’s “slow-moving scenes” invite us to immerse ourselves in a specific setting to observe it in detail. Unfolding at a pace that is slightly slower than real time, the films create an uneasy temporality in which each person’s movements, and the real-life settings they occupy, appear suspended in time.

Installation views of Shannon Bool's work in the group exhibition "Spaces Embodied" at the Draiflessen Collection, Mettingen, on view through August 4th.⁠
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Photos by Henning Rogge.⁠
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Artists: Absalon, Shannon Bool, Heidi Bucher, Eileen Gray, Do Ho Suh, Mary Mattingly, Tracey Snelling, Francesca Woodman⁠
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SPACES EMBODIED brings together artistic positions that look at the spheres of humankind and space not as independent entities, but rather as part of complex processes of interdependence. In a number of ways, the selected works depict the fusion of humans and space: as a bodily experience, emotional dependency, or instinctual need for protection. Using sophisticated connections between space, textile, body, and skin, the artists point to the metaphor of architecture as the human body’s “third skin” and demonstrate the close relationship between it and the human body. In the process, they work with techniques sometimes developed by themselves and with established art forms, including photography, film, weaving, and installation art.⁠
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We are pleased to announce the acquisition of two June Clark vintage photographs by the National Gallery of Art in Washington, DC.

June Clark
La Parisienne Barber Shop (Bathurst St.),1977
Silver gelatin print

June Clark
The Wig Shop (1080 Bathurst St.), 1976
Silver gelatin print

Installation views of June Clark's solo exhibition "Witness" at the Power Plant, on view through August 11th. This is not to be missed!

Photos: LF Documentation

Please join us for the opening reception of Nadia Belerique's solo exhibition I Love You This Much, next Thursday, June 6th, from 6-8 pm. Artist in attendance!

Daniel Faria Gallery is pleased to present I Love You This Much, Nadia Belerique’s fourth solo exhibition with the gallery.

As with much of Belerique’s work, this show is made up of real things and their representations, stand-ins, and surrogates, exploring the slippery lines between “acting,” “being,” and “becoming.” Domestic symbols such as houses, doors, and tables, mingle with those referencing the theatre or cinema. The language of the stage takes on multiple meanings. Actors pose for the camera hoping to be cast in a role, their collective desire to become someone else echoing throughout the room. Objects are cast in aluminum, allowing for a potentially endless multiplication, the “original” lost amidst its replicas. Objects are both stage props and physically used to prop up other objects. References to the weather, climate change, and existential safety threats, continue to leak their way into Belerique’s work; the sculptures in the exhibition rest on cast aluminum cans, raising them just high enough to clear a small flood.

It's the final week to see Andrew Dadson's solo exhibition "Colour Field" at the gallery, which closes this Saturday, June 1st!

Central to Dadson’s work is a deep interest in the social contracts shaping the natural world, from which he creates artworks that reflect on the landscape and highlight a constantly changing environment. On the surface, his language of abstraction references the history of the monochrome, bringing to mind Malevich, Ryman, or Rothko, but underneath that surface runs an affinity with performance. Evidence of process, duration, and time all play an integral role in his work.

Andrew Dadson
Drifting Peak, 2024
Oil and acrylic on linen
74 x 59 inches
187.96 x 149.86 cm

Currently on view at the gallery in Dadson's solo exhibition "Colour Field" through June 1st.

It's the final week to see Elizabeth Zvonar's solo exhibition "Cracks in the Clockwork" at Art-Windsor Essex!

Image:
Elizabeth Zvonar
Samari, 2018
Baryta on ibond
25 x 18 inches

Andrew Dadon's solo exhibition "Colour Field" is on view at the gallery through June 1st!

In his recent photographs, Dadson focuses on urban areas where nature is either threatened by development, or has persevered despite development. He uses a natural biodegradable pigment to paint patches of grasses, weeds, or flowers, which he then photographs, the evidence of his mark making eventually washed or blown away by the elements. The four photographs in Colour Field feature grasses from a Vancouver farmland that is under threat of development due to the expansion of the nearby highway. Around each painted patch is a frame of green, untouched landscape, a brief suggestion of scale beyond the camera’s lens. The horizon is only visible at the very top of the image, which has a flattening and abstracting effect, pushing the viewer right up against the literal field of colour. Displayed in a row, they create a more expanded view, as though offering window-glimpses at a larger world beyond.

Elizabeth Zvonar and Iris Häussler both offer advice for the CBC's "Think Like An Artist" cards, where you can draw a card online for inspiration from some of Canada's best-known artists, musicians, authors, and more!

Link in bio to try it out!

Stephanie Comilang will be included in the Sharjah Biennial 16, with the second part of her diptych "Search for Life," commissioned by Sharjah Art Foundation and the Vega Foundation and curated by Amal Khalaf.

The Sharjah Biennial 16 will run February - June, 2025.

The first part is currently on view at the Thyssen-Bornemisza National Museum in Madrid, presented by TBA21, and curated by Chuz Martínez.

Congrats Stephanie!

Installation views of June Clark's solo exhibition "Unrequited Love" on view at the Art Gallery of Ontario through January 5, 2025.

This exhibition is organized in tandem with the Power Plant Contemporary Gallery, where Clark's survey exhibition "Witness" is now on view through August 11, 2024.

In Unrequited Love, by American-born, Toronto-based artist June Clark, the American flag is both symbol and material. Growing up in Harlem and attending school there for eight years, Clark remembers being told that she was lucky to live in “the greatest, strongest, most compassionate and free country in the world.” In this installation of nine artworks, first exhibited in 2020, Clark harnesses the abstract and illusory associations of the American flag – freedom and equality among them – and through repetition and material inventiveness, re-imagines it until it feels unfamiliar. Materials, Clark writes, “are the grammar of my visual language,” a grammar that here reveals itself in work made from rust, tea stains or found objects.

Photos by Craig Boyko

June Clark's solo exhibition "Witness" opens tonight at the Power Plant from 8-11 pm!⁠
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Join us in celebrating the opening of this important survey of Clark's career!⁠
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More info via the link in bio⁠
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A huge congratulations to June Clark and Oluseye Ogunlesi on being long listed for the Sobey Art Award!

June Clark's solo exhibition "Witness" opens at the Power Plant tomorrow, May 2nd.

Oluseye's solo exhibition "BLACK EXODUS: WINTER ARRIVAL" at Daniel Faria Gallery was on view from February 29 - April 6th.

Stephanie Comilang will be participating in the Hawai'i Triennial 2025 "Aloha nō," taking place from February 15 - May 4, 2025.

From the press release:

Now in its fourth iteration, Hawai‘i Triennial 2025 (HT25) is the largest, periodic exhibition of contemporary art in Hawaiʻi, involving dozens of artists, key venues and organizational partners. For the first time, HT25 will also expand beyond the island of Oʻahu, to the islands of Maui and Hawaiʻi. ALOHA NŌ invites all — native islanders, settlers, immigrants, and tourists — to experience and un/learn how to enter and center a place called Hawaiʻi. ALOHA NŌ is a call to know, an invitation to form new understandings of love as acts of care, resistance, solidarity, and transformation.

Stay tuned for more info!

Stephanie Comilang and Simon Speiser's collaborative exhibition "Piña, Why is the Sky Blue?" opens at Silverlens Manila tomorrow, April 26th from 4-7 pm, and is on view through May 25th.

From the exhibition text:

Previously exhibited in major institutions including the Tate Modern in London, UK and Mackenzie Art Gallery in Regina, Canada, Piña, Why is the Sky Blue? is an affirming techno-feminist vision of a future in which ancestral knowledge and new technologies converge. The centerpiece of the exhibition is a video/virtual-reality installation of the same title, a speculative documentary that narrates the story of a spiritual medium known as Piña. As a form of artificial intelligence, Piña is able to receive and collect inherited knowledge, messages, and dreams from people around the world in order to secure their survival.