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Upcoming Exhibitions



AGH Members receive Free Admission to all exhibitions.

One-Eyed-Rabbit: Jonathan Plante
On view February 21 to May 24, 2015
Young Gallery
Organized by VOX, centre de l’image contemporaine

One-Eyed-Rabbit is different. He has only one eye and would like to jump into his rabbit hole without chipping his teeth… He meets a worm that has no eyes but can navigate through holes in the ground! Together they will discover the power of imagination and the inner workings of sight: a little with the eyes, a lot with the brain, always with the heart.

In a playful atmosphere and through the story of a friendly rabbit, Montreal artist Jonathan Plante invites young people ages 4 to 10 (and kids of all ages!) to (re)discover the mysteries of visual perception in a variety of ways. The exhibition includes an animated video, original paintings, a giant didactic book, and mirror anamorphoses that will stimulate the imagination of little ones and grownups alike. These unexpected and interactive aesthetic experiences notably address abstraction, art history and optical illusions. Through the various works, viewers are invited to discover the mechanisms of vision and the role it plays in the arts, while developing the imagination.

One-Eyed-Rabbit is designed and produced by VOX, centre de l’image contemporaine. Jonathan Plante (b. 1976) lives and works in Montreal.


Illuminations: Italian Baroque Masterworks in Canadian Collections
On view February 28 to May 31, 2015
Co-curated by Dr. Benedict Leca, former Director, Curatorial Affairs, Art Gallery of Hamilton and Dr. Devin Therien, independent scholar

Italian Baroque painting is often discussed in terms of theatre and the creation of powerful visual spectacle through the dramatic use of light. Indeed, period painters probed the limits of artistic expression and reshaped the relationship between the illusionistic image and its audience through the development of new techniques that deployed dynamic optical effects. While investigating the manifold meanings of light, ranging from the functional to the symbolic, Illuminations allows for a comparison and contrast of religious, mythological, and popular imagery. The selected works highlight the different means of illumination and examine how they animate the conflicts between the secular and religious, public and private, national and international, and decorous and profane aspects of 17th-century life.

By transforming light, painters were able to control its role as a signifier of demeanour, emotion or religious symbolism, or use it to colour the biblical stories and classical mythologies that defined 17th-century Italian visual culture. In a detailed examination of works by Luca Giordano, Mattia Preti, and Jusepe Ribera amongst others, Illuminations explores how 17th-century audiences were confronted with pictures that frequently broke conventions by manipulating the sources and meaning of light, while depicting all types of subjects.

Many of the formal innovations made by artists working in 17th-century Italy can be related to characteristics of both the avant-garde and the more academic strains of modern art and beyond. This “recontextualizing” of the exhibition content is mirrored in the show’s self-critical accounting of the history in Canada of the collecting and presentation of Baroque art. Set in the context of Italy’s dynamic and international cultural capitals, and featuring some of Canada’s foremost Baroque paintings, Illuminations demonstrates how the representation of light was the expression of a culture—not unlike our own—that was captivated by theatrical display.


This project is generously funded by the Canadian Government through
the Department of Canadian Heritage Museum's Assistance Program


Robert Burley:
The Disappearance of Darkness
On view February 28 to May 24, 2015
Curated Dr. Gaëlle Morel, Exhibitions Curator, Ryerson Image Centre

Since 2005, Canadian photographer Robert Burley has documented the demise of film-manufacturing facilities and industrial darkrooms around the world. This exhibition and accompanying publication speak to a historical moment of no return, or what the artist calls “the dizzying moment in photography’s history in which technological changes redefined the medium forever.”

Robert Burley: The Disappearance of Darkness addresses the abrupt breakdown of a century-old industry, which embodies the medium’s material culture. Burley’s large-format colour prints visually record the major economic impact caused by the shift from analogue photography to digital technology. His investigation began when he was granted access to the Kodak Canada plant in Toronto. Following 18 months photographing the desertion, decommissioning and demolition of the facility, he turned to document the international disappearance of manufacturers Agfa-Gevaert, Ilford and Polaroid.

Burley’s project presents the industrial architecture of these facilities with an emphasis on the unique character of the buildings, specifically designed to fabricate products in darkness. As an artist working in photography for the past 30 years, Burley has been both an observer and a participant in this radical transition. As such, his work strikes a subtle balance between the commemoration of the demise of now obsolete materials – film-based photography – and the celebration of cutting-edge visual technology.


are you experienced?
Nadia Belerique, Jessica Eaton, Olafur Eliasson, Dorian Fitzgerald, Hadley+Maxwell, Do Ho Suh
On view June 25 2015 to January 3 2016
Curated by Melissa Bennett

The Queen stills falls to you 2014
Cinefoil, steel, magnets, 6-channel sound, LED light-programming
Dimensions variable, 20:54
Photo: Ros Kavanagh

Free admission courtesy of Orlick Industries.


The Jean and Ross Fischer Gallery
Free admission courtesy of Orlick Industries.




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