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Oct 23 - Dec 19, 2008
curated by Kent Archer

Ellen Moffat's work spans multi-media installations, public art and cultural work. Since moving to Saskatchewan in 1992, she has facilitated interdisciplinary and public media art events including the SPASM Public Art Festival, the University of Regina Student Public Art competition, and community-based projects in urban and rural Sask. She has participated in exhibitions and residencies nationally with public galleries and artist-run centres and has worked as an independent Curator, sessional instructor and writer. She is currently based in Saskatoon.

Moffat's presentation will focus on her multi-track audio installation projects. Over the past 5 years, her audio work has expanded from 3 to 16 outputs of sound, incorporating spoken word and urban field recordings to explore language/meaning, the spatial possibilities of sound, composition and free-form experimentation. Her most recent work uses phonemes as semantic and sound units and a mapping interface correlating the phonemic sounds, a MIDI keyboard and a sampler program to create a linguistic musical scale to produce a composition of manipulated sounds, somatic rhythms, repetition and phasing. The recorded, disembodied voice reflects the mediated communication of contemporary experience. Multiple voices (polyphony) suggest the cacophony and schizophrenia of daily life, but may also be
a trope for democracy and equity, and a metaphor for the logic of community. The relationship between voice/language, experience and communication is the connection of the parts to the whole.


Jul 11 - Oct 3, 2008
Curated by Carla Garnet & Corinna Ghaznavi, circulated by the Included in this exhibition are some of Canada's most luminary artists' Stephen Andrews, Kenn Bass, Janet Bellotto, Dana Claxton, Tom Dean, Stan Denniston, Sarindar Dhaliwal, Reuel Dechene, Luis Jacob, Bill Jones, Micah Lexier, Bernie Miller, Sheila Moss, Lisa Neighbour, Ed Pien, Chrysanne Stathacos, Sharon Switzer, and Tim Whiten. 

18 Illuminations is an exhibition of eighteen artists conceived around the organizing principle of light. Light in its many connotations: warding off darkness, embodying wisdom, offering insight, and keeping memory alive. Light as literal and joyful as well as metaphorical and illuminative.

The exhibition germinated in Walter Benjamin’s Illuminations, a work of collected essays by a man who honed the critical essay into an art and profession, who used countless quotations as a basis, not support, of his texts, and thus resurrected the past in renewed and newly usable form. The exhibition, recalling Walter Benjamin’s ‘gift of thinking poetically’1 can be likened then to a Benjamanian manuscript in which thoughts and citations are rowed together to create a chain of many lights illuminating a central topic. We understand curation as both analogous to this process of selection and citation and as organic: beginning with the organizing principle and focussing more and more on the works and the relationships they form around the principle and amongst themselves.


 Hannah Arendt, “Introduction: Walter Benjamin: 1892-1940,” in Walter Benjamin, Illuminations, edited and with an introduction by Hannah Arendt, trans. by Harry Zohn, New York: Schocken Books 1968: 50.








Apr 4 - Jun 27, 2008
Presented by Scotiabank Group and circulated by Tom Thomson Art Gallery

John Hartman has painted cities both large and small, from Parry Sound, Port Severn and Owen Sound on shores of Georgian Bay, to London, New York, Toronto, Montreal and Glasgow.  The artist is particularly interested in cities that are also ports. His paintings of imagined aerial perspectives look down on the intricate contours of the urban space where towers, cranes and docks meet the open blue of an ocean, lake or river.  He writes: 'The water reflects the sun and creates an intensity of light above these places. This light in the sky is so different in feeling from the material density of the cities themselves, but both are full of possibilities for painting.'


Hartman sets out to combine his own memories of cities with a collective understanding informed by many factors: history, politics, film, literature, technology, and the media. What results is a multi-faceted mapping that may not be geographically exact, but is immediately recognizable.  Hartman says, 'Because my experience of a place is generated over a continuum of time and by circling the place and seeing it from many viewpoints, the final images often have multiple viewpoints and often contain small vignettes of peoples' lives that were lived in that place.'


Born in 1950 in Midland, Ontario, John Hartman studied Fine Art at McMaster University.  Over the past 25 years, he has exhibited his paintings internationally including exhibitions in Canada, Great Britain, Denmark and Germany.  His paintings and prints are included in numerous public, corporate and private collections in Canada and around the world.  The artist is represented in Canada by Nicholas Metivier Gallery, Toronto.


Feb 15 - Jun 1, 2008

Love, Leisure, Labour is a themed collection show, inhabitting all three university galleries, happening in conjunction with the launch of the current issue of Black Flash Magazine. Each gallery has been designated a term with the works in the space corresponding to that term. Love is in the Main Level of the College Gallery, Labour is in the lower level and Leisure is in the Kenderdine Art Gallery.