Research & Development

Doing the Difficult Work

Montreal-based writer Amber Berson shares her reflections on the workshop titled “The Form of Violence / The Form of Exhibition” presented by Liz Park for Invisible Violence at CEREV (The Centre for Ethnographic Research and Exhibition in the Aftermath of Violence) at Concordia University on February 27.

Talking About
What We Talk About When We Talk About History

Posted March 20, 2013

Artist and writer Sharlene Bamboat responds to What We Talk About When We Talk About History, a screening series curated by Pablo de Ocampo. In this post Bamboat reflects the symbolic privilege of power’s gaze.

Curation as Interruption

Sara Matthews, Assistant Professor in Global Studies at Wilfrid Laurier University, responds to a conversation between Gabrielle Moser and Liz Park at the Toronto launch of Invisible Violence.

Laure Prouvost
The Wanderer

The Wanderer
April 13 - May 4, 2013
Gallery TPW and the Images Festival are pleased to co-present The Wanderer a newly commissioned video installation by French artist Laure Prouvost. Working from a mistranslation of Franz Kafka's Metamorphosis, Prouvost creates a chaotic mise-en-scène, repeatedly subverting cinema’s narrative tropes, playing the archetypal against the absurd in a series of uncomfortable scenarios.

The Expanded Image

Annie MacDonell’s third year Ryerson photography class came to TPW to engage with Oliver Husain’s mutable exhibition Pandy Ramada’s Bendable Displex. The students were asked to use the exhibition as a way to investigate the possible points of intersection between photography and sculpture.

Slippery Bond

Vancouver-based artist and writer Sean Alward responds to an artist talk by Marianne Nicolson to mark the Vancouver launch of Invisible Violence.

To Nobody

Part Four

Responding to some of the concerns embedded in artist Oliver Husain’s TPW R&D exhibition, Toronto writer, director and artist Alexander Wolfson contributes a series of posts to our growing research archive TPW R&D Online. The writing is conceived as a ongoing dialogue between two nameless figures questioning the boundaries of the accessible/inaccessible in relation to representation itself. The text explores the limits of what is transmitted by an artist to whoever encounters the effects of a work. As the accompanying exhibition progresses, so will the dialogue, emerging from what occurs from within the boundaries of the space.

What We Talk About When We Talk About History:

A series of discursive screenings organized by Pablo de Ocampo
March 13, 20 and 27, 2013, 7pm

Flaherty Seminar curator Pablo de Ocampo has invited six curators and artists to each offer one programming suggestion in response to a single source: a video document of civil rights activist Queen Mother Moore giving a speech during a “Community Day” event at Green Haven Prison in New York, 1973. The responses will be shown over three screenings with discussions lead by de Ocampo and Kim Simon.