Past

‘Cause I work so hard to make it everyday

Melissa General


Nov 2 - Dec 15, 2018

A large-scale multimedia work, ‘Cause I work so hard to make it everyday is inspired by a cassette recording of the artist and her cousins as children, she listened through the old cassettes of playing, singing and giggling. Focusing on her sister’s childhood rendition of the Pointer Sisters 1980s hit Neutron Dance (1983), General mixes this with location sound from Six Nations to create a textured layering of soundscapes. These tapes are audio documents of her childhood spent at her Uncle Dave’s house playing with her cousins. At that time their worlds were safe and encompassed the reserve surrounded by family and community. An understanding of movement between belonging and not belonging is a major pursuit symbolized or emblemized in General’s work, as her sense of home is porous to the social factors of moving between Toronto and the reserve.

Join us for Melissa General's Artist Talk on Friday, December 14 at 7pm. Reception to follow.

Tensions

Amy Malbeuf

Gallery 1
Sep 14 - Oct 20, 2018

Join us on Friday, September 14, 2018 at 7 pm for the opening reception of Amy Malbeuf's exhibition Tensions.

future generations

Tsēmā Igharas

Gallery 1
May 25 - Jul 14, 2018

future generations is an exhibition that considers the role of Indigenous futurity as a tool of survival and survivance. The work is rooted in artist Tsēmā Igharas’ understanding and embodiment of Tāłtān culture and tradition, alongside objects and materials firmly rooted in Western settler culture. Using Potlatch methodology - a ceremony of reciprocation and nation building, in which every performance of artmaking is a “ceremony that affirms and solidifies relationships to every thing and body” – Igharas challenges the colonial value systems and measurements of land and natural resources, and the impact these systems have on the cultural practices of Indigenous peoples and nations. future generations presents strategies and gestures of resistance to forms of neo-colonization – what the viewer may come to understand as acts of decolonization - and imagines possible future(s) for Indigenous peoples to exist within. Through the work in future generations Igharas encourages methods of care – for the land, and our bodies – that become modes of resistance for past/present/future generations.

I can’t make you those mitts because there is a hole in my heart and my hands hurt

Jeneen Frei Njootli

Gallery 1
Mar 15 - Apr 21, 2018

Vuntut Gwitchin artist Jeneen Frei Njootli’s artistic practice engages directly with Gwich`in territory and culture through the artist’s lived experience and land based practices. Frei Njootli defines this as bushed theory - “a radical, grassroots way of being; one that requires getting some caribou blood and fiss guts on your hands.” Frei Njootli realizes this land-based methodology in the gallery by working with sounds, dust, grease, and power tools. The traces and residues of Frei Njootli’s sonic landscapes and physical markings remain once the artist’s body leaves the gallery space, reminding us of the artist’s labour, presence, and motion.

Performance
Thursday, March 15, 2018
8pm

Presented in partnership with Public Energy,  Peterborough, Ontario’s animator of contemporary dance, theatre, performance, and interdisciplinary work.

Phantom, stills & vibrations

Lara Kramer


Feb 26 - Mar 9, 2018

Artspace and Trent University present
The 2017-18 Trent University Ashley Fellow Artist In Residence

Lara Kramer

Phantom, stills & vibrations
Lara Kramer (Oji-Cree) of Lara Kramer Danse, is the 2017-18 Trent University Ashley Fellow Artist In Residence. The two-week residency will see Kramer present the immersive installation Phantom, stills & vibrations at Artspace. In addition to the installation, Kramer will host a series of free workshops, teachings and lectures that are open to all members of the public.

hochelaga rock

Hannah Claus

Gallery 1
Jan 12 - Feb 17, 2018

hochelaga rock highlights the fluidity of Indigneous knowledge and time, and the constraints imposed upon this understanding by Western structures of chronology and record. Utilizing the image of the Hochelaga Rock, the commemorative stone for the village and people encountered by Jacques Cartier in 1535 that sits at McGill campus in Tioh’tiá:ke / Montreal, I wish to interrupt its solidity to express the dislocation in time, space and understanding between Western and Indigenous worldviews. This new body of work repositions the interplay of Hochelaga Rock, its plaque and the plaque’s text, to let through glimpses of other voices, times and seasons. In this way, I hope to deconstruct colonial truths and question ways of knowing and remembering.

 

 

A National Test Market


Oct 13 - Nov 17, 2017

Please join Artspace on Friday, October 13 from 7-10pm for the opening of A National Test Market, a new exhibition featuring work by Meagan Christou, Charlotte DiCarlo, Calla Durose Moya, Robin Love, Amber Helene Muller St Thomas, and Jemma Woolidge. 

[in]SITES Woven Wires Performance

Vanessa Dion Fletcher and Pearl Marie Salas

Peterborough Square, Lower Level 340 George Street North, Peterborough, ON
Sep 23 - Sep 23, 2017

DATE: September 23, 2017
TIME: 8PM, 8:45PM, 9:15PM

In Woven Wires Vanessa Dion Fletcher and Pearl Marie Salas use video, projection and performative actions to respond to the statement: “Media is changing our past, presents, and future selves. How in this world of electronic communication do oral traditions and personal narration navigate and drive our lives and consciousness?”

Pickard Quarry Transpose

William Robinson

Gallery 1 / Gallery 2
Jul 28 - Sep 9, 2017

Pickard Quarry Transpose explores the Mount Allison University Chapel’s design, material, and industrial history and components through musical composition, documented musical performance and art objects. Pickard Quarry Transpose opens Friday July 28 at 7pm.

Aanikoobijiganag

Dylan Miner

Gallery 1 / Gallery 2
May 26 - Jul 14, 2017

Aanikoobijiganag is the latest installation of Dylan Miner’s ongoing exploration and reconnection to his gichi-aanikoobijigan’s (grandfather’s grandfather) arrest for hunting deer in November of 1906 in the Georgian Bay territory.