Newsletter
401 UPDATE – SUMMER 2025
Read the Summer 2025 edition of the 401 Update for a Tenant Profile on painter Lindsay Chambers, tenant press and achievements, the Summer Gallery and Events Listing, and the Back Page artwork feature by April Hickox.
Community
SAVAC
SAVAC (South Asian Visual Arts Centre) is a non-profit, artist-run centre in Canada dedicated to increasing the visibility of culturally diverse artists by curating and exhibiting their work, providing mentorship, facilitating professional development and creating a community for our artists. SAVAC was founded to be an organization staffed by people of colour, committed to support…
Events & Exhibitions
QEOZFLXDNM by Lois Schklar
Red Head Gallery Jun 18, 2025 to Jul 12, 2025Wed-Sat 12-5 pm
Words can be confusing. It is not always obvious what someone means to communicate. Obfuscated is intended to perplex the viewer yet encourage their reflection and observation on how one interprets words and/or actions. Consequently, the work and instructions in this exhibition are intentionally ambiguous and somewhat difficult to understand. Originally, my intention in Obfuscated…
“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.