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Carleton University Art Gallery takes a new approach to art exhibition – The Charlatan

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4 years ago

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Carleton University Art Gallery takes a new approach to art exhibition | The Charlatan, Carleton’s independent newspaper

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Flower arrangements by Benny Nemerofsky Ramsay (left) and Vincent Edet in conversation with Kat Kosk
(right), created in response to “A Hum in the Library” featured in Benny Nemerofsky Ramsay: I Don’t Know
Where Paradise Is. [Photo by Benny Nemerofsky Ramsay (left) and Jason Laguerre (right)]

The Carleton University Art Gallery (CUAG) opened its doors on Sept. 24 after six months of closure to display in-person and virtual exhibitions.

When the building shut down in March due to COVID-19, CUAG staff came up with new ways to exhibit art. Online modules available on CuLearn were a starting point.

Exhibitions will be presented through a hybrid format in which visits can be booked in advance. Course modules for the season’s artwork will be developed for digital access.

The reopening model allows visitors to choose their experience based on their comfort level during the pandemic. Online public programming is also accessible to people outside of Ottawa.

A maximum of 10 visitors per time slot can book one-hour visits to the gallery. The hours are limited to Wednesday through Saturday from 1:00 p.m. to 5:00 p.m. 

The Carleton University Art Gallery (CUAG) has re-opened to the public after months of cloure due to Covid-19 [Photo By: Saarah Rasheed]

Registration is contactless and can be completed at the mezzanine level of the gallery, where CUAG has added a second reception desk guarded by a plexiglass covering. Visitors must wear masks at all times while inside and follow a one-way route through the gallery to encourage physical distancing.

Heather Anderson, CUAG’s curator and adjunct research professor of art history, said the new ways of engaging with art during the pandemic were introduced by public programs coordinator Fiona Wright and programs assistant Danielle Printup. 

“Even prior to COVID, Fiona had made an audio tour of the exhibition with [artist] Shannon Finnegan because Shannon is interested in alternate ways that one can engage with an exhibition,” Anderson said.

Wright and Finnegan’s exhibition model inspired an audio tour for the March exhibition “They Forgot That We Were Seeds,” an exhibition created by a variety of artists to portray Black and Indigenous female history. The audio tour formed the model for CUAG virtual visits.

Fall at the gallery features two new exhibitions focusing on queer history and identity. 

The first exhibit, “To Be Continued: Troubling the Queer Archive,” has been developed by various artists from the Ottawa area. 

The second, Benny Nemerofsky Ramsay’s “I Don’t Know Where Paradise Is,” is a multi-chapter audio work featuring visual elements including floral arrangements, photographs and epistolary collages. The work is narrated by Nemerofsky and an ensemble of voice artists. It reflects teachings from the libraries of gay scholars. 

Born in Montreal, Nemerofsky is an artist, diarist and researcher currently completing an artist residency with Fondation Fiminco in Paris.

Anderson said that Nemerofsky originally planned to create pieces for the exhibition and bring them to Ottawa to install in the gallery, but the pandemic forced a new approach.

Instead, local queer artists and Nemerofsky creating floral arrangements that correspond to a chapter of the audio each week. 

After each arrangement has been presented, CUAG will send out an email highlighting local participants behind the work. 

On Wednesdays, local artists work with florist Kat Kosk on site at the gallery to conceive their arrangement. This process enhances visitors’ exhibition experience when they arrive at the gallery.

“I hope my exhibition poses questions about how legacies of queer identities, histories and feelings are transmitted from one generation to another,” Nemerofsky said in an email. 

Laura Taler ‘Song #3’ [Image by Dagmar Morath].

Upcoming exhibits for the winter season will begin in the new year on Jan. 27 and run until May 16. Among the new artworks is Laura Taler’s exhibit, “Three Songs.”

Taler is a Romanian-born filmmaker and visual artist based in Ottawa. Her work has been recognized internationally in a number of festivals, exhibitions and publications.

As she began her career as a contemporary dance choreographer, Taler created dance films which eventually translated into visual art made for gallery spaces. Efforts to translate the physicality of dance into new mediums is a key practice for Taler.

“Three Songs” focuses on issues of the “foreign” identity, mourning and migration—topics tied to Taler’s past as an individual who has lived in different cultures. The ongoing global refugee crisis is also featured throughout the work.

The exhibition was scheduled to open in May 2020 but was postponed until the winter due to COVID-19.

An immersive quality is added to the film by the gallery space, Taler added.

“It’s life-size—the screens are large and there are ten of them that you’re supposed to move around to create this sense of journey,” Taler said.

Taler said it is her hope that visitors will see themselves represented in her exhibit. 

“Even though the work is so much about my experience, I would love it if they found moments of connection in their own lives, moments of humour and moments of sorrow that they can connect with,” she said. 

As the community continues to live through strange times, Nemerofsky said the CUAG offers art that helps make sense of the world and our history.

“Art helps us make meaning of the world, and clarify the roles we each play in history,” he said.

Featured image provided by the CUAG.





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Hajime Sorayama on the erotic aesthetics of his sexy robot art – Dazed

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4 mins ago

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April 23, 2024

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Museum of Sex (2024)
Hajime Sorayama, Untitled (2020). Acrylic on illustration board H72.8 x W51.5 cm©Hajime Sorayama Courtesy of NANZUKA

We speak to the controversial Japanese artist about fetishism, his never-before displayed ‘hardcore’ paintings and Desire Machines – one of the inaugural exhibitions at the Museum of Sex opening soon in Miami

Museum of Sex (2024)15
Museum of Sex (2024)
Museum of Sex (2024)
Museum of Sex (2024)
Museum of Sex (2024)
Museum of Sex (2024)
Museum of Sex (2024)

Despite the omnipresence of sex in our lives, we dedicate very little space and time to it – in public, at least. Of the estimated 104,000 museums across the world, just 20, as per my Wikipedia calculations, are currently devoted to the topic of sex and eroticism. Yes, there are sometimes exhibitions about sex, but a topic that’s so culturally significant, versatile, and that comes with an infinite history needs more than just a few rooms for a few weeks in a few temporary homes.

So, it’s always worth celebrating on the rare occasion that a new sex museum opens – and especially when it’s from an institution as formidable as the Museum of Sex. First opened in New York in 2002, the Museum of Sex has so far curated over 50 exhibitions that delve into human sexuality within the realms of art, science, and culture. And now, after two decades of success, it’s bringing all of this over to Miami, too.

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“It’s super exciting for the institution to expand and open in Miami,” says Emily Shoyer, Museum of Sex’s curator-at-large. “Compared to New York, the space is much grander in scale and in spectacle.” Museum of Sex Miami’s inaugural program comprises three exhibitions. One is called Super Funland: Journey into the Erotic Carnival, and is a new iteration of its immersive, permanent, New York-based counterpart, which examines the sexual history of the carnival. Another is Modern Sex: 100 Years of Design and Decency, which surveys the cultural debates and societal impact of restriction on the design, marketing, and distribution of sexual health products from the 1920s until today. As Florida’s Supreme Court just approved the state’s six-week abortion ban – one of the strictest in America – the latter, as Shoyer puts it, “feels deeply important in Florida right now”. Also on the bill is Hajime Sorayama: Desire Machines, which explores the beauty and eroticism of human bodies and machines, and marks the legendary Japanese artist and illustrator’s first solo exhibition in the US.

If you haven’t already heard of Hajime Sorayama, the fashion girlies among you may have unwittingly come across his work via Dior. Specifically, via the fashion house’s AW19 men’s show, for which Sorayama created a giant robot pin-up sculpture (which was 11 metres tall and weighed over 9,000kg). These hyper-realistic android pin-ups or ‘sexy robots’ – with their gleaming but soft metal skins and exaggerated, hypersexualised female forms – are the artist’s signature aesthetic, and have been the focus of his career ever since he was first commissioned to draw one for a Japanese whiskey company back in 1978 (the brief was a sexy female character loosely based on Star Wars’ C-3PO). Shoyer say, “Our director Dan Gluck immediately thought of Sorayama for the inaugural Museum of Sex Miami exhibition because of his historic contributions to the field of erotic aesthetics and ongoing impact on popular culture.” 


Museum of Sex (2024)

Hajime Sorayama, Untitled (2020) Acrylic on illustration board H51.5 x W72.8 cm©Hajime Sorayama Courtesy of NANZUKA

Desire Machines and Sorayama’s work more broadly – which has always been, and still is, ahead of its time – is particularly relevant now. Technosexuality is booming, with AI companion apps and sexting chatbots continuing to grow in popularity, and all of us are becoming cyborgs, of sorts, ourselves. Did Sorayama envision this future when he started his work in the late 70s? Can sexual fantasy, beauty, and eroticism ever be found in these mediums?

In a conversation over email, Sorayama tells Dazed that he’s “not interested in other people’s fetishism”. “All the context in my work is very physical,” he continues. “My robotic body paintings are soft like human skin. For those who want to have sex with AI, that’s their thing, not mine.”

To curate Desire Machines, the Museum of Sex worked closely with Nanzuka Gallery in Tokyo, which represents Sorayama. The exhibition comprises paintings and sculptures from Sorayama’s ‘sexy robot’ series, though Sorayama doesn’t do the sculpting himself. “My beloved studio assistants do it under my strict direction,” he explains. “But they’ve stopped showing me [mid-process], as I check every single detail and keep changing [things].”

“All the context in my work is very physical. My robotic body paintings are soft like human skin. For those who want to have sex with AI, that’s their thing, not mine” – Hajime Sorayama

He also, it seems, takes no nonsense. Responding to being asked why he particularly likes working with chrome and what he finds so bewitching and erotic about it, he says: “Your question is like, ‘Why do you like diamonds and gold?’ We’re creatures all the same. Fish and birds love light. We react automatically to things that shine.” He also reveals, “Nanzuka, my gallery, forces me to draw robots as it makes money,” he tells me when I ask what continues to draw him to his android pin-ups. “My family and Nanzuka are partners in crime behind my back.”

Among the other artworks, there will also be 20 of Sorayama’s never-before-seen paintings on display, chosen for their focus on the erotic relations between machines, humans, and animals. “I have quite a few hardcore sexy paintings, but my gallery has never put them on view until now,” says Sorayama. “Many of those in the Western academic art communities are too afraid of something erotic and sexy being misinterpreted by society as social ills. So they don’t show my erotic paintings, as they think it’s taboo. I find it hard to understand because everyone knows that sex is our fundamental protocol for birth and life.”


Museum of Sex (2024)

Hajime Sorayama installation shot, Museum of Sex Miami (2024)©Hajime Sorayama Courtesy of NANZUKA

Shoyer adds: “I appreciate how Sorayama’s work engenders discussions about the real and the fantastic, the erotic appeal of the inorganic, and the porous boundaries between being human, machine, and animal, especially in relation to subjectivity or myths of consent.”  She says there’s one particular piece she wants to highlight – and one that ties the Museum of Sex Miami’s inaugural programme together nicely. “The painting [an untitled work painted by Sorayama in 2022] features a fembot using a vibrator,” she explains. “Gold halos hover over the robot’s head and the head of the vibrator, sanctifying both machines. The vibrator features a hand crank, referencing the early history of vibrators – a history that’s also on view in Modern Sex. Hand-cranked vibrating stimulatory machines were first invented during the industrial revolution. An object like the Vee Dee vibrator (1900-1915) features a similar hand-crank to the vibrator on view in Sorayama’s painting. As such, in this work, Sorayama seems to combine the early history of mechanical stimulators with a futuristic look at self-stimulation. Here, the past, present, and our visions for the future compound. The painting seems to ask, ‘How has erotic desire, self-stimulation, and the subjectivity of other-than-human figures manifested, and how will it play out going forward?’.”

By referencing the past in this way (see also his Marilyn Monroe android pin-up), Sorayama imbues his ‘sexy robots’ – who he refers to as his wives and daughters – with a past. They’re simultaneously human, with realistic, supple flesh and familiar histories, and yet disorientingly non-human, futuristic, and fantastical. At a time when we have more tools than ever than envision a different kind of eroticism – and yet people use AI to reinforce the same Western ideals of sexiness – Sorayama remains one of the few still really pushing the boundaries of what eroticism can look like. “I’m excited and very proud of how [Desire Machines] came together,” he concludes. “I can’t wait to see the viewers’ reaction. I just need to keep behaving myself so I won’t get arrested before the show starts.”

Visit the gallery above for a closer look at some of the artwork going on display at the Musuem of Sex in Miami.

Museum of Sex Miami opens in 2024. Follow their Instagram for updates.

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By referencing the past in this way (see also his Marilyn Monroe android pin-up), Sorayama imbues his ‘sexy robots’ – who he refers to as his wives and daughters – with a past. They’re simultaneously human, with realistic, supple flesh and familiar histories, and yet disorientingly non-human, futuristic, and fantastical. At a time when we have more tools than ever than envision a different kind of eroticism – and yet people use AI to reinforce the same Western ideals of sexiness – Sorayama remains one of the few still really pushing the boundaries of what eroticism can look like. “I’m excited and very proud of how [Desire Machines] came together,” he concludes. “I can’t wait to see the viewers’ reaction. I just need to keep behaving myself so I won’t get arrested before the show starts.”
Visit the gallery above for a closer look at some of the artwork going on display at the Musuem of Sex in Miami.
Museum of Sex Miami opens in 2024. Follow their Instagram for updates.”,
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Fragility on display at new Kelowna Art Gallery exhibition – Kelowna News – Castanet.net

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11 mins ago

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April 23, 2024

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Two Master of Fine Arts candidates at UBC Okanagan explore fragility in a new exhibition at the Kelowna Art Gallery.

Kelowna-based Victoria Verge and Salmon-Arm based zev tiefenbach are featured in the presentation titled “What is Fragile?” that runs until July 12, 2024. An opening reception is scheduled for Friday, April 26, from 6 pm. to 8 p.m. at the Kelowna Art Gallery, and admission is free.

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Verge’s works, titled Chasing the Echoes of Home, include interactive sculptures and a large installation featuring wallpaper and vintage furniture. Teifenbach’s collection includes photographs and videos called these are fragile days.

“Through their unique artistic explorations, Verge and tiefenbach shed light on how fragile the human spirit can be,” says curator Christine May. “Visitors to the exhibition are encouraged to think deeply about how art can transform us, and the important role that artists play in shaping today’s social and cultural stories.”

A pair of fellow MFA student from UBC Okanagan, Jessie Emilie and Troy Teichrib will also be showcasing their work at the Lake Country Art Gallery from May 18 to July 14.

“Through a range of mediums, these students are offering visitors the opportunity to explore the next generation of contemporary art across a variety of styles,” says Wanda Lock, curator at the Lake Country Art Gallery.

The Kelowna Art Gallery is located at 1315 Water Street. The Lake Country Art Gallery is at 10356A Bottom Wood Lake Road.

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'Lost' Gustav Klimt painting to be auctioned – BBC.com

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3 hours ago

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April 23, 2024

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Portrait of Fraulein Lieser
The painting is thought to depict a daughter of either Adolf or Justus Lieser

A painting by the Austrian artist Gustav Klimt that was believed lost for the past 100 years, is to be auctioned in Vienna.

There are many unanswered questions about the unfinished painting, Portrait of Fraulein Lieser, which Klimt began in 1917 – a year before his death.

There are also debates about who the woman in the picture is, and what happened to the painting during the Nazi era.

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The painting’s value is estimated at up to €50m ($53m; £42m), although it may fetch a higher price.

It is believed to depict one of the daughters of either Adolf or Justus Lieser, who were brothers from a wealthy family of Jewish industrialists.

Art historians Thomas Natter and Alfred Weidinger say the painting is of Margarethe Constance Lieser, the daughter of Adolf Lieser.

But the im Kinsky auction house in Vienna, which is auctioning the artwork, suggests the painting could also depict one of the two daughters of Justus Lieser and his wife Henriette.

Henriette, who was known as Lilly, was a patron of modern art. She was deported by the Nazis and died in the Auschwitz concentration camp during the Holocaust.

Her daughters, Helene and Annie, both survived the Second World War.

The auction house said in a statement that the exact fate of the painting after 1925 was “unclear”.

“What is know is that it was acquired by a legal predecessor of the consignor in the 1960s and went to the current owner through three successive inheritances.”

The identity of the current Austrian owners has not been made public.

The painting is being sold on behalf of these owners and the legal successors of Adolf and Henriette Lieser, based on the Washington Principles – an international agreement to return Nazi-looted art to the descendants of the people the pieces were taken from.

Ernst Ploil from im Kinsky told the BBC: “We have an an agreement, according to the Washington principles, with the whole family”.

The im Kinsky catalogue described this agreement as “a fair and just solution”.

However Erika Jakubovits, the executive director of the Presidency of the Austrian Jewish Community, said there were still “many unanswered questions”.

She has called for the case to be researched by “an independent party”.

“Art restitution is a very sensitive issue, all research must be carried out accurately and in detail, and the result must be comprehensible and transparent,” Ms Jakubovits said.

“It must be ensured that there is also a state-of-the-art procedure for future private restitutions.”

Klimt’s art has fetched huge sums at auction in the past.

His Lady with a Fan piece sold for £85.3m at Sotheby’s in June 2023, making it the most valuable work of art ever sold at auction in Europe.

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