Friday, April 8th at 8:30 pm CST
IN-PERSON event in the gallery with Noa Bronstein joining us by Zoom.
Masks required. Snacks and cash bar.
Noa Bronstein is a curator and writer based in Toronto. Her practice is often focused on the social production of space and thinking through how artists disrupt and subvert systems including those registering across social, political and economic structures.Noa has held the positions of Executive Director of Gallery 44 Centre for Contemporary Photography, inaugural Senior Curator at the Small Arms Inspection Building (Mississauga) and Project Manager at the Art Gallery of Ontario. Her writing has appeared in publications including Artforum, PREFIX Photo, Canadian Art, Border Crossings, The Journal of Curatorial Studies and C Magazine. Recent curatorial projects include When Form Becomes Attitude at Contemporary Calgary, bust/boom at The New Gallery (Calgary), With an instinct for justice at Doris McCarthy Gallery (Toronto) and Aleesa Cohene’s solo exhibition I Don’t Get It at Gallery 44 (Toronto), The Rooms (St. John’s) and Western Front (Vancouver). Noa is currently the Executive Director of Gallery TPW.
About the Exhibition:
To meet the curve of movement with the rhythm of legibility / Erika DeFreitas, Tanya Lukin Linklater, and Cindy Mochizuki. Curated by Noa Bronstein.
On view at PAVED Arts March 18–April 22, 2022
No appointments necessary.
On view in the PAVED Arts gallery spaces is the exhibition To meet the curve of movement with the rhythm of legibility, curated by Noa Bronstein.
This exciting gathering of work brings together projects by Erika DeFreitas, Tanya Lukin Linklater, and Cindy Mochizuki. Curating work with an interest to develop underlying currents of aesthetic, social and political concern, Bronstein writes;
“To meet the curve of movement with the rhythm of legibility foregrounds artwork that translate texts, documents or language through movement, dance and gesture. Each project within this exhibition looks to create space for lived experiences by quite literally rewriting our relationship to words and dialogue, to certain terms and vocabularies, by way of the body itself. Gesture then becomes a form of knowledge production and a textual plane from which to speak and to listen, while articulation through motion complicates our connection to the written and spoken form.Shared between the works within this exhibition is that movement helps hold space for those who might otherwise be silenced, overlooked or actively erased by the dominant powering structures of race, class and gender. Taken as a whole To meet the curve of movement with the rhythm of legibility considers how meaning is generated in touch and movement and asks how language being transcribed through physical action might move us closer to more embodied ways of knowing.”
