Current Exhibitions

Liz Magor: One Bedroom Apartment

September 26 - December 19, 2020

As one of Canada’s most important artists, Liz Magor has been producing a broad spectrum of sculptural objects, installations, and photography since the mid-1970s. She is best known for sculptures made from both found and cast objects that quietly, yet intensely pull our focus to the things that surround us everyday. Often presenting delicate items in harsh places, Magor creates structures that support fragile and vulnerable things; a practice, one could say, of care. Her work reveals how ordinary objects contain latent qualities that are obscured by our intentions as we acquire, use, and discard these items. In her sculptural arrangements Magor allows things to form relationships with each other that reveal their emotional and historic burdens and strengths.

Samuel Roy-Bois: Presences

September 26 - December 19, 2020

Samuel Roy-Bois’ practice is concerned with the conceptual and material definition of space and the ways the built environment and manufactured things contribute to our understanding of the world. Through sculpture, site-specific installation, and photography, Roy-Bois examines relational networks of objects and their complex philosophical considerations: How do we define ourselves through the creation of structures? Is it possible to conceive of one’s existence outside any material linkage? We make things, but are things also making us?

Jon Sasaki: Killing One Bird With Half A Stone

September 26 - December 19, 2020

Jon Sasaki’s multidisciplinary practice delves into the potentially generative outcomes of failure and futility. Killing One Bird with Half a Stone centres around a selection of the artist’s videos from the past decade that depict the artist as a solitary protagonist who persistently, sometimes recklessly, refuses to accept the obsolescence, failure, or inadequacy of everyday objects. In To Change a Lightbulb (2017), Sasaki resolutely maneuvers a burnt-out lightbulb in the hopes of reconnecting the broken filament and re-illuminating the bulb, if only fleetingly. In Motivation (2013), he shakes a pendant lamp with a frayed cord, which illuminates briefly – tantalizingly – if shaken just so, before inevitably disconnecting again. When faced with the task of scaling a wall in Ladder Stack (2009), he perches multiple step ladders on top of one another, gradually and precariously climbing out of the camera’s view.

Kasia Sosnowski: SNEEK-E-PEEP’N

August 17, 2020 - January 31, 2021

Project Space

By turns playful, melancholic, and surreal, Kasia Sosnowski’s ceramic sculptures visually articulate the bodily experience of emotion — unease, anticipation, euphoria. In her new installation, SNEEK-E-PEEP’N, Sosnowski evokes the simultaneous anxiety and frisson of an accidental or uninvited glimpse into a neighbouring window. Her ceramic forms reside behind street-front windows, shrouded gently by a hand-drawn grid. Glimpsed through partially-obscured windows, Sosnowski’s ceramics exist in their own self-contained universe, connected by bonds that we can only intuit from a distance. The exhibition Kasia Sosnowski’s SNEEK-E-PEEP’N features new work made during Sosnowski’s recent Winter 2020 residency at Medalta.