Newsletter
401 Update – Spring 2025
Read the Spring 2025 edition of the 401 Update for a Tenant Profile on ceramicist Bill Greaves, tenant press and achievements, the Spring Gallery and Events Listing, and the Back Page artwork feature by painter Lindsay Chambers.
Community
Dylan Glynn, Jillian Tamaki
Lower Level
Dylan Glynn is a filmmaker, painter, and animator. Jillian Tamaki makes comics, picture books, editorial illustrations and teaches.
Events & Exhibitions
Are you buying these with loonies or toonies? – Soheila Esfahani
Red Head Gallery May 21, 2025 to Jun 14, 2025Wed – Sat, 12-5 pm
Are You Buying These With Loonies Or Toonies? is a continuation of Esfahani’s research and art practice which investigates the terrains of cultural translation through the theoretical framework of Homi K. Bhabha. In this exhibition, Esfahani is particularly exploring stereotype as otherness and Bhabha’s notion of ambivalence, which manifests as a split between appearance of…
“One step still moves us forward” by Morisha Moodley at Tangled Art Gallery
Virtual Window Gallery
“One step still moves us forward” by Morisha Moodley at Tangled Art Gallery on until July 18th
Morisha’s practice begins with video and time. Through works spanning moving image, sculpture, and installation, they explore the inextricable and intricate link between these two concepts. One step still moves us forward explores the introduction of crip time into the medium of video.
Crip time – our lagging, repetitive, absent-minded kind of time – has become an important tool to interrogate the impulse to enforce time as teleological, burdened by capitalist ideals. It asks what does it mean to move through time without the goal of advancement [/of an ultimate end] and without the expectation of a clear, sequential route?
The mediums of video, sound, and narrative that make up the moving image move forward in time, adhering to this idea of a necessary linearity: the video approaches the end of its playback; the sound, the end of its tape; the narrative, the end of its story. To crip these mediums has meant working against this, embracing tactics like glitch aesthetics, repetition, and what filmmaker and writer Trinh T. Minh-ha calls the “blackouts” and “silences” of everyday life. The works in the exhibition propose that forward movement doesn’t have to be linear. Time is experimented with as something layered rather than linear, dispersed rather than sequential.
Crip time – our lagging, repetitive, absent-minded kind of time – has become an important tool to interrogate the impulse to enforce time as teleological, burdened by capitalist ideals. It asks what does it mean to move through time without the goal of advancement [/of an ultimate end] and without the expectation of a clear, sequential route?
The mediums of video, sound, and narrative that make up the moving image move forward in time, adhering to this idea of a necessary linearity: the video approaches the end of its playback; the sound, the end of its tape; the narrative, the end of its story. To crip these mediums has meant working against this, embracing tactics like glitch aesthetics, repetition, and what filmmaker and writer Trinh T. Minh-ha calls the “blackouts” and “silences” of everyday life. The works in the exhibition propose that forward movement doesn’t have to be linear. Time is experimented with as something layered rather than linear, dispersed rather than sequential.