Rosalind Nashashibi: Bachelor Machines

Bachelor Machines
Wednesday, June 25, 2008 - 4:00am to Sunday, September 7, 2008 - 4:00am

Two films by internationally renowned artist Rosalind Nashashibi, Bachelor Machines Parts I and II, anchor the summer program of the OCAD Professional Gallery at the Ontario College of Art & Design (OCAD). The show runs June 25 to September 7, 2008.

"We expect movies to tell stories — these groundbreaking works both confirm and disrupt that expectation," said curator Charles Reeve, who organized the exhibit. "And the fact that they're on celluloid emphasizes the differences between digital and conventional technologies. Film, video and DVD are complements, not competitors."

Never before seen in Canada, Bachelor Machines Part I (2007) premiered at the Scottish pavilion in last year's Venice Biennale. The 16mm work was filmed on an Italian freighter sailing from Italy to the Baltic Sea. "Bachelor Machines I portrays the single-sex society of men aboard a cargo ship, and describes the machine that they serve as much as the men themselves," said Nashashibi, who calls the ship "a bachelor-maker, for the way of life it imposes."

Bachelor Machines Part II (2007), presented here for the first time outside Europe, comprises two simultaneously screened projections. On the left appears artist Thomas Bayrle and his wife Helke, while on the right are interwoven altered scenes from Nashashibi's earlier works. The soundtrack plays Bayrle's voice describing his apocalyptic vision of our machine-dominated world. Nashashibi describes the term 'Bachelor Machines' as encompassing something sexual — simultaneously masculine and emasculating.

Rosalind Nashashibi: Bachelor Machines is presented in conjunction with Skip, Divided: The Films of Rosalind Nashashibi, organized by Pleasure Dome to take place Saturday, August 16 at 8 pm
at Cinecycle, 129 Spadina Ave., Toronto
(for details please visit

Summer Gallery hours: Tues. to Fri., 1 to 7 pm.

OCAD gratefully acknowledges the support of the City of Toronto through the Toronto Arts Council.

About Rosalind Nashashibi
Group interactions and social rituals are the starting points for Rosalind Nashashibi, who primarily uses 16mm film. She is concerned with portraying the psychological atmosphere of locations and detecting subconscious projections, beginning from scenes filmed of everyday life. Born in Croydon in 1973, Nashashibi studied at Sheffield University and Glasgow School of Art, where she completed her MFA in 2000. Based in London, she is represented by Harris Liebermann, New York and doggerfisher/Susanna Beaumont, Edinburgh.

About the OCAD Professional Gallery
OCAD’s Professional Gallery is devoted to facilitating connections between, and the contemplation of, contemporary art and design. Since its launch in April 2007, it has featured exhibitions by Rirkrit Tiravanija, Karim Rashid and Mark Adams.

The films of Rosalind Nashashibi are currently the subject of an article in Frieze magazine. To find out more, visit "Looking Out" by Martin Herbert in the May 2008 edition of Frieze.

Venue & Address: 
OCAD Professional Gallery 100 McCaul St., Level 2, Toronto, Ontario


M. White
Friday, June 13, 2008 - 4:00am to Thursday, June 19, 2008 - 4:00am

Michèle White’s Planet is a speculation on the surface of Venus as an allegorical site. Through series of explorations in wax, the orb and the crater as form contain both the possibility of presence and absence, of love and its loss. Extruding colours through feminine matrixes, the artist manufactures an imaginative realm, where science is reformulated through the female hand.

Venue & Address: 
David Kaye Gallery 1092 Queen Street West, Toronto, Ontario

Odor Limits

Odor Limits
Friday, May 9, 2008 - 4:00am to Saturday, June 28, 2008 - 4:00am

Odor Limits is an exhibition that explores the potential of smell in aesthetic experience. While the sense of smell often serves as the negative example that justifies the conventional dominance of the visual, an increasing number of artists have been drawn to the distinctive qualities of scent – its evocativeness, variability and directness. The works in Odor Limits employ scent to innovatively rethink the traditional artistic genres of portraiture, landscape, reverie and abstraction. The visceral nature of scent also provides a sensorially immediate way to address pressing issues that are faced by today’s society. Because of the sense of smell’s inherent subjectivity and intimacy, these olfactory artworks generate thought-provoking insights into cultural difference, spirituality, and the philosophy of the body. The four artists included in this exhibition have each demonstrated a long-term commitment to investigating the nature of scent and have pioneered its use in installation, performance, video and relational artworks.

Oswaldo Maciá’s first work imagines the scents that would have been encountered by the character Phileas Fogg during his circumnavigation of the globe in Jules Verne’s classic novel Around the World in Eighty Days. His second installation engages viewers to lift the tops of a series of garbage cans to inhale and guess the distinctive odors of the residents in an apartment complex in northwest London. Jenny Marketou offers a site-specific, interactive wall installation which invites visitors to walk around the neighborhood to record their olfactory experiences on a giant smell map. Back in the gallery, viewers can watch her video of speakers confiding their most intimate and vivid thoughts about smell’s relationship to memory, identity, death and eroticism. Chrysanne Stathacos’ Wish Machine offers gallerygoers an artist’s multiple that stimulates the sense of smell, inspires reflection on basic human desires such as love and health, and seemingly offers the possibility of transformation. Clara Ursitti’s video documentation portrays an inter-species performance in which the artist has herself tracked down by a specially-trained police bloodhound. Another video is based on her idea of olfactory portraits. Here Dr. George Dodd, a renowned scientist, sniffs her body and details the unexpected connections between human odors and those found in animals, plants, perfumes and gourmet foods.

About the artists:
Oswaldo Maciá (London) utilizes smells, sounds and synaesthetic experiences in his installations, which have been shown at institutions worldwide, including the Whitechapel Gallery, the Museum of Modern Art in Dublin, and biennials in Havana, Liverpool, Moscow, Shanghai, Tirana and Venice.

Jenny Marketou (Athens/New York) has worked in photography, video, public interventions, and networking technologies. Her works feature social processes that invite participation and have been exhibited at the Anita Beckers Gallery (Frankfurt), the Centre Pompidou, ZKM, the New Museum, Manifesta and the São Paulo Biennial.

Chrysanne Stathacos (Toronto/New York) is a multi-media artist whose site-specific installations and interactive public art works have been presented at museums, galleries and public spaces internationally, such as P.S. 122, Ludwig Forum Museum, Nature Morte New Delhi, The Power Plant and Grand Central Station, Creative Time.

Clara Ursitti (Glasgow) has created pungent installations for over a decade. Exhibiting throughout Europe and in Australia, New Zealand, Canada and the U.S., her work has appeared at the ICA in London and biennials in Venice and Gothenburg. She recently received a Helen Chadwick Fellowship and an IASPIS residency.

About the curators:
DisplayCult is a collaborative framework for interdisciplinary studies in the visual arts founded by OCAD Professor Jim Drobnick and Jennifer Fisher. Its exhibitions include CounterPoses (1998), Vital Signs (2000), Museopathy (2001), reminiSCENT (2003), Linda Montano (2003), Aural Cultures (2005), Do Me! (2006) and Listening Awry (2007), among others. Jim Drobnick is a critic, curator and Associate Professor at the Ontario College of Art and Design. He has published over a dozen articles on the artistic use of smell, as well as on such topics as audio art, performance and post-media practices. His books include the anthologies Aural Cultures (2004) and The Smell Culture Reader (2006). Jennifer Fisher is a critic, curator and Assistant Professor at York University. Her research focuses on exhibition practices, performance, and the aesthetics of the non-visual senses, especially the sense of touch and intuition. She recently edited Technologies of Intuition (2006).

Venue & Address: 
The Esther M. Klein Art Gallery 3600 Market Street, Philadelphia, PA

Selected Works: Five Decades

Ron Shuebrook
Friday, April 11, 2008 - 4:00am to Sunday, May 18, 2008 - 4:00am

This exhibition offers unique insight into the loops and knots, searching lines, and spatial planes that comprise the work of former OCAD President, Ron Shuebrook. Anchored by several recent, large-scale oil paintings, the exhibition traces back his concerns and achievements, sampling five decades of creative insights. From ink drawings made as a student, through charcoal works that are marked as much by erasure as by charcoal, to luminous exploratory watercolours, the exhibition traces his commitment to a rigorous abstract language.

Shuebrook’s work builds upon the insights of abstract modernist painters to develop material structures that reflect our current times. He has long aspired to integrate formal, pictorial, and material structures into evocative objects of contemplation that attest to human continuity and contemporary experience.

Shuebrook exhibits his work nationally and internationally. More than 50 public galleries, museums, and corporations have acquired his paintings, drawings, prints, and wall constructions. He holds a B.Sc. in art education (1965) and a M.Ed. in art education (1969) from Kutztown University, PA., as well as an MFA from Kent State University, Ohio (1972). His work as an artist, professor, and academic administrator have had great influence on Canadian visual culture.

Venue & Address: 
Minarovich Gallery, Elora Center for the Arts 75 Melville St., Elora, Ontario

Gord Peteran: Furniture Meets its Maker

Gord Peteran
Friday, April 11, 2008 - 4:00am to Sunday, September 7, 2008 - 4:00am

Adjectives not normally used when describing furniture. But these are exactly the words one could use to describe the works of Canadian furniture maker, Gord Peteran, Professor at OCAD, whose works are on view at the Long Beach Museum of Art from April 11 through September 7, 2008.

Gord Peteran: Furniture Meets Its Maker, is a thoughtprovoking exhibition of 34 psychologically compelling pieces of, you guessed it, furniture.

It is furniture unlike any other. A table that doesn't hold objects, chairs not made for sitting, objects that appear to function as torture devices or for the sexually experimental. Despite the dubious functionality of many of the pieces in the exhibition, one can recognize, using Peteran’s word, the “furnitural” quality of the object. The accompanying exhibition catalog expresses it this way, “at Peteran’s
hands furniture dies a fascinating death, without ever quite going away.”

Death is a common, if subtle, undercurrent in many of his works. 100 is a pair of precisely machined tables, one of which disassembles into a carrying case like that used for a rifle. Ark has the qualities of both a confessional booth and an electric
chair. Untitled So Far appears as a shrouded or mummified corpse.
As if to balance the seriousness that permeates so much of his work, other pieces display an disarming sense of playfulness or whimsy, like A Little Table, a single joint that is, as Peteran puts it, “just approaching” being a table, or Musical Box (Glen
Gould Prize) a contraption that according to Peteran, “makes seven stupid sounds, all different.”

In all cases, Peteran's work pays homage to the traditional role of furniture while at the same time standing it on its head.

Venue & Address: 
Long Beach Museum of Art 2300 East Ocean Blvd, Long Beach, California

Karim Rashid: From 15 Minutes into the Future

Karim Rashid
Friday, March 14, 2008 - 4:00am to Sunday, May 18, 2008 - 4:00am

The Savannah College of Art and Design-Atlanta hosts “Karim Rashid: From 15 Minutes into the Future” by internationally renowned designer Karim Rashid, an exhibition originating at the OCAD Professional Gallery in the fall of 2007.

Venue & Address: 
ACA Gallery of SCAD, Woodruff Arts Center 1280 Peachtree St, Atlanta, Georgia

In the Mind's Eye

Saturday, March 15, 2008 - 4:00am to Saturday, April 19, 2008 - 4:00am

The Niagara Artists' Centre in St. Catharines presents work by Instructor Toni Hafkenscheid and Karine Gibouleau.

Venue & Address: 
Niagara Artists' Centre 354 St.Paul Street, St. Catharines, Ontario

Circles and Squares

Wednesday, March 5, 2008 - 5:00am to Friday, April 4, 2008 - 4:00am

In The Loop Cafe in Toronto presents work by Robin Kingsburgh, Instructor in the Faculty of Liberal Studies.

Venue & Address: 
In The Loop Cafe 1024 St. Clair West, Toronto, Ontario

Perfect Domain

invite image
Wednesday, March 19, 2008 - 4:00am to Saturday, April 12, 2008 - 4:00am

Alex McLeod, Anna Pantchev, David Kopulos, Monica Figueredo and Rachel MacFarlane present work that explores illusionary and physical spatial territories in conventional and unconventional painting media.

Venue & Address: 
Student Gallery 285 Dundas Street West, 1st Floor, Toronto, Ontario

Mnemonic Traces: Sarah Nind

Sarah Nind
Saturday, February 2, 2008 - 5:00am to Saturday, March 1, 2008 - 5:00am

Newzones gallery in Calgary presents new work by Faculty of Art Instructor Sarah Nind.

Venue & Address: 
Newzones 730 Eleventh Ave SW, Calgary, Ontario