Jul 8 - Aug 6, 2005
Pulse―Adam Brandejs, Amy Learmonth + Brendan Wypich, Pearl Chen, Rob King and Ryan Pierce. Curated by Angella Mackey
Six artists sit on a moving pulse. The pulse is a travelling wave of information and experiences that change daily. The pulse encourages us to adapt to our environment as quickly as it changes – as quickly as it offers an upgraded tool. Pulse groups together five projects from six young artists with an innate technological awareness. Their practice is informed by their childhood experiences of a constantly changing technological environment reflected in the proliferation of personal computers, portable music devices and home VCRs.
May 26 - Jun 25, 2005
While the traditional practice of cartography is restricted to interpreting our physical and visible surroundings, electronic artists have long been exploring the notion of mapping alternate realities – physical and virtual, analog and digital. As an aesthetic medium, it provides direction and navigation beyond our immediate surroundings. Within the realm of the virtual, the possibilities for interpretation and classification are endless.
Feb 19 - Mar 26, 2005
In the Charles Perrault fairy tale Peau d'Ane, a young princess, whose family riches are dependent on a gold-excreting donkey, orders impossible wedding gifts from her father to avoid marrying him: three dresses made of immaterial materials. The first is to be made of the "sky" and should be as light and airy as the clouds. The second is to be made of "moonbeams" and should reflect the same lyrical intensity as the moon at night. The third, and last, is to be made of "sunlight" and should be as blinding and warm as the sun above.
Nov 11 - Dec 11, 2004
Ed Osborn's Harvester requires that visitors not touch the piece. For most people familiar with electronic art, the hesitation to actively experiment with installations has long been diminished and is in fact the most common denominator of the medium. Osborn's piece is part of a trend that explores how media art that is seemingly low-tech and code-free can be as significant as work that is visibly complex in both construction and meaning.
Oct 21 - 31, 2004
100(11) Instruction Works is a series of daily performances taking place during the 2004 7a*11d International Performance Art Festival. The instructive projects create an opportunity to explore the many architectures of Toronto – physical, virtual and mental. A wireless camera will be in use during performances to experiment with the notion of interfacing urban space with a performance piece, and in turn, with a global population. 100(11) Instruction Works is multidisciplinary artist kanarinka's continuing exploration of invisible things – spaces, frameworks and contexts.
Sep 9 - Oct 16, 2004
Feedback provides and elicits response. Whether it is received from humans or machines, feedback is cyclical – looping over time, encouraging great debate and action. It is also a response that is subjective; but while we may conceive of mechanical and computational feedback as predetermined and therefore predictable, this exhibition hopes to demonstrate that it can be otherwise.
Jul 2 - 24, 2004
(six) Degrees―Natalie Conliffe, James Mitchison, Aaron Phelan and Josh Raskin, Georgia Dunne, Alex Kurina and Stephane Beaudet
Curated by Heather Corcoran and Erin Peck
At some point every person has unexpectedly discovered a link to another with whom he or she previously had no relationship, an experience that has come to be known as "six degrees of separation." There is a concrete cultural notion that we are somehow all connected, a kind of underlying network governing our communities and influencing our attachments.
May 27 - Jun 19, 2004
InterAccess, in collaboration with the 2004 Subtle Technologies Festival, presents the premier public exhibition of Infrasense, a web robot installation created by Robert Saucier (Montreal) and art collective KIT (Canada, UK, France).
Apr 10 - 17, 2004
Instant Places is a series of installation performances that work with locally gathered audio and video to transform the host gallery into an immersive space. The raw materials of the particular place and time are transformed through a process of improvisation using live sampling, microphone and mixer feedback, voice, contact pickups and effects. The video work deals with the transformation of recently shot and edited footage, using the real-time manipulation tools VDMX, Isadora, and MAX/Jitter.