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Absolute Beyonce

 

Avantika Bawa, Absolute Beyonce 01 (detail of Absolute Yellow installation for 011+91 | 011+92), 2013, Silk screen on digital print, 58 x 86 cm.
Photo by Josh Dannin. Original photo by Tom Arban.

* Absolute World Towers designed by Yansong Ma.

 

 

 

 

July - September 2013 Exhibitions
at the Art Gallery of Mississauga


July 18 - September 5

 

 

 

 

 

 

Sponsored by:

RBC

 

 

ART GALLERY OF MISSISSAUGA
300 City Centre Drive, Mississauga ON L5B 3C1
905 896 5088
M, T, W, F 10-5 Thurs 10-8 Sat, Sun 12-4

artgalleryofmississauga.com


 

011+91 | 011+92

Telephone calling codes of India and Pakistan initiate a critical discourse on Locational Identity and home.

 

Meera Sethi

Meera Sethi, Mariam Maharaj (Mary), (Foreign Returned series), 2013, acrylic on canvas, 122 x 183 cm

 

ARTISTS
Khadija Baker, Avantika Bawa, Sunil Gupta, Dipna Horra, Eshan Rafi, Meera Sethi, Sumaira Tazeen, Joshua Vettivelu

 

MISSISSAUGA, ONTARIO, 24 June 2013 – 011+91 | 011+92  is a curatorial research project that aims to initiate a critical discourse and presentation on locational identity as explored and presented by first and second generation Canadians who hail from South Asia.  What part does a geographical divide play in notions of home, place and being?  The dial codes from Canada to India and Pakistan open the dialogue.

 

Mississauga represents the diaspora of many cultures – an estimated 58% of citizens speak Hindi, Urdu, or Punjabi as a first language.  The artists in this exhibition respond to the act of communicating to, from or about home, framing contemporary artists at the forefront of a social conversation where identity may or not be central to the work, whereas life experience and humanistic values are at the forefront.  In an age of when we are everywhere at once, how can being and displacement create a homing instinct? In the Canada of tomorrow, home to an ever-increasing global diaspora and to heterogeneous, urban immigrant communities, can the hierarchical, colonial past be erased with emergent identities giving a new face to our nation? With the interface between ethnicity and the arts in Canada in the future being unpredictable, only one reality seems certain: a growing number and variety of artistic expressions of multiple and cross-cultural ethnicities comprise a strong future where a sense of home in conjunction with a connection to the new form a richer construct of self.

 

P Mansaram    Past | Present

Print, collage, photography and drawing from 1966 - 2013 explore the experience of reinvention and “being.”

 

On the Way to Udaipur

P. Mansaram, On the Way to Udaipur, 2009, Acrylic accentuated Mansamedia giclee on canvas, 51 x 117 cm

 

"As the West loses its intense visual preference and enters the iconic world of sculptural and acoustic values, the painterly and graphic idiom of India gains steadily in western habits and acceptance. The work of Mansaram brings the mosaic forms of T.S.Eliot and James Joyce to the Orient in the very moment and by the same means that Mansaram enables us to contemplate the Orient as a variant modality of The Waste Land. In short, Mansaram is kind of a two way mirror, living simultaneously in the divided and distinguished worlds of the East and West."
- (signed) Marshall McLuhan, January 1973

 

P. Mansaram     Past | Present is the first retrospective exhibition of acclaimed Canadian artist Panchal Mansaram and includes examples from all facets of his career. Tracing Mansaram’s considerable artistic output, the exhibition features more than 20 preparatory drawings, sketches, collage studies and panels relating to his early work from the 1960’s through to 2013. Mansaram was born in Mount Abu, in Rajasthan India. He studied at the Sir J.J. School of Art in Mumbai from 1954 – 1959, and from 1963-64, he attended the State Academy of Fine Arts, Amsterdam, Netherlands on a Dutch Government Fellowship. Mansaram first came into contact with the Toronto art world in the late 1970s, when he also met Marshall McLuhan, and the two formed a life-long friendship built upon ideas, art and dialogue.

 

The exhibition features several early pieces, among the first of Mansaram’s exhibited works, which offer a glimpse into the artist’s struggle to channel cultural commentary into layered, subversive observations of Canadian life. The exhibition also includes a selection of Mansaram’s collaborations with McLuhan.  Drawing on the artist’s interest in the image, palimpsest and colour, the exhibition presents a range of artistic styles and strategies and explores how Mansaram developed dynamic new ideas within the field of digital, painting and collage.

A significant portion of the exhibition is devoted to collages, a medium that in its myriad forms has consumed the artist throughout his career. Produced between 1978 and 2011, this body of work highlights the commitment and vision of a senior artist.  The exhibition also includes research material, preliminary sketches, photographs and storyboards related to the evolution of Mansaram with images, pages and publications that reveal the artist’s legacy.  

Mansaram’s work is held in the public trust in numerous collections, including the Royal Ontario Museum, Air India, Marshall McLuhan estate, Art Gallery of Hamilton, Art Gallery of Mississauga, Government of Ontario Art Collection, National Gallery of Canada, and Modern Art New Delhi.

 

Paisley is a Street in Mississauga

 

Paisley Shawl

Shawl, Europe, mid-19th century, wool, 315 x 157 cm. On loan from the Textile Museum of Canada (T92.0113).

 

Textile Museum of Canada

 

In this exhibition, the paisley shawl designates the extraordinary craft from the valley of Kashmir in the Himalayas. The form of a paisley is often described as a droplet, kidney or leaf motif originating from India, Pakistan and Persia. The pattern however has appeared in textiles throughout Europe, and later on, the rest of the world. Both woven art and a cultural document, the shawl has a history that references technical ability, conceptual thinking and a distinctive aesthetic narrating a design genius that has impacted global trade for centuries.

Paisley is also a street name in Mississauga. 58% of the social fabric in the city speaks Hindi, Urdu, Punjabi among other global languages. In Mississauga, therefore, the form of the paisley references a kind of cultural history to some of the population, as well as may serve as a homing device. Even the city streets are emblematic of this pattern; Mississauga is seen by many as a suburban landscape, where the cul-de-sac creates a paisley or mango shape in the urban fabric of the city. The paisley shawl and the ensuring manufacturing address in a conceptual manner the travel, as well as the locational shift, from its origin in the Kashmir to Scotland and beyond. A truly global traveler, paisley is a potent metaphor for the cultural fabric of Mississauga.

 

XIT-RM | Alice Wang: The fallacy of misplaced concreteness

Tenses speak to each other in artist Alice Wang'svideo. An XIT-RM project by guest curator Erik Martinson.

 

Alice Wang The fallacy of misplaced concreteness

Alice Wang, The fallacy of misplaced concreteness (video still), 2012. Courtesy of the artist.


The video considers the artist's family history in China, from her grandfather's secret operative work for the Chinese government during WWII, with a masquerade of wealth as his cover in Hong Kong, to the violent reforms of the 1960s, and the perception of this privilege that lead to his family's torment. Memory and history come in and out of focus, across generations. The backdrop of a Cultural Revolution set in Zhenbeibao Western Film Studio, a site of artifice, allows an interrogation of how we see history. A tour of a lens factory furthers this line of questioning, the mechanical construction of sight laid bare before us.


About the XIT-RM

Emerging artists and cultural producers in the Greater Toronto Area and the Mississauga region are showcased in the XIT-RM. Six artists annually are selected with a published catalogue and accompanying critical text. Exhibitions that honour the Mission and Mandate goals of The AGM are selected by the Curatorial team.

 

The emphasis is on contemporary art and critical engagement. The exhibition space is dedicated to the vision of highlighting regional talent. The exhibition features its own opening/vernissage and also ties closely with regional universities and link in with the educational components of the AGM Resource Centre and the Artist Professional Practices Series.

 

The XIT-RM is sponsored by The RBC Foundation.

 

 

About the Art Gallery of Mississauga

 

The Art Gallery of Mississauga (AGM) is a public, not-for-profit, art gallery located in the Mississauga Civic Centre, across from Square One Mall. The AGM is proud to admit people free of charge, serve communities, and provide positive visual art experiences for all visitors.

Engage. Think. Inspire. This phrase opens the dialogue at the AGM. In line with its Mission, the Gallery connects with the people of Mississauga through the collection and presentation of relevant works from a range of periods and movements in Canadian art. Expressing multiple ideas and concepts, this visual art translates into meaningful cultural and social experiences for all audiences. The mandate of the Gallery is to “bring art to the community and the community to art.

Directions to the AGM, as well as transit routes and other information, can be found on the website.

For more information, please contact the Art Gallery of Mississauga at 905 896 5088 or visit artgalleryofmississauga.com.