(Jan.05-Feb.04) Andy Convery ‘UNTITLED’ (Toronto): video installation

Detail of one of Andy Convery’s works from the “Untitled” exhibition.

“Following Descartes’ distinction between body and mind, and his definition of a human being via consciousness, we have come to a point in the late twentieth century when the body is no longer considered an instrument of knowledge.” — Bill Viola
Each of us have an inward and an outward image. One which we carry privately and one which we present publicly. In a body of work entitled “Fear <–>Desire”, my concerns have focused upon the point where the inner world meets the world beyond, and how we slip back and forth across this point of fear and desire. As and interface between artist and viewer, the work not only narrows the gap between public and private, body and mind, but also examines the point at which the two may meet. It is thus far a project with hope: for connection to other, connection of inward and outward images of self, connection of body and mind in a world that has continuously widened this gap, so that both may be considered “instruments of knowledge.”


(Feb.01, 08, 12, & 22) David Rimmer ‘FILMS AND TAPES’

Vancouver artist David Rimmer’s work is among the most innovative and unique in Canadian film and makes a formidable contribution to film as an art form. His use of different styles– from structural practices in the late 1960s to his latest endeavours –often involves a crossover between film and video. Rimmer explores issues that range from formal concerns raised by the nature of film but the artist’s manipulation of the film material and by the viewing experience of film, to such broader issues as the representation of gender and the nature of representation in general.


(Feb.09-Mar.10) ‘Telling Tales: Women’s Stories, Women’s Lives’ (group); a cross cultural cross organizational cross spatial & cross temporal experience

Telling Tales
In conjunction with the 1996 International Women’s day on March 8, Artcite hosted “Telling Tales….”, an exhibit celebrating Women’s experiences and lives. The exhibit consisted of 4 parts. Firstly, women were invited to create 35 mm slide works that were projected onto Artcite’s front windows. These storefront windows are street level and the works were highly visible by night to the Windsor public. Next, fax and e mail transmissions were also called for and were submitted for display in the gallery space. No length or frequency restrictions applied to this aspect of the exhibit. As with the previous submissions, there was no jurying, all works were accepted. Fourthly, FEmail art– art via the mail, were accepted in similar fashion, from around the county around the corner.


(Mar.15-Apr.14) Laurel Woodcock ‘CROSSED WIRES’ (Montreal): video installations

Detail from Laurel Woodcock’s “Crossed Wires” exhibition

Undercurrents brings together three recent video installations by Laurel Woodcock; pink noise (1995), vinyl(e) 1995, and the i of the storm (1996). the works act as mediators between technology, popular culture and our individual subjectivities. Technological forms of communication that people interact with in their everyday lives are diverted in these works to accommodate desires and new ways of speaking, rather than dictate and detect them. Empathy and humour are employed as both empowering and disquieting devices. Wind currents, electrical currents and current trends within popular culture are all at play in these installations.


 (Mar.23) ‘ARTISTS+MODELS VII– Going Baroque’: Art Fashion for the “Common Sense Revolution”

Going Baroque


(Apr.26-May.18) Mark Laliberte ‘COLLISION’ (Toronto/Windsor): photo/sound installation

“Through my work I am exploring the consumption of the image. I am concerned with how humanity defines itself through popular culture, and how this relates to art. By reflecting elements of sexuality, violence, and technology (and their inherent meanings) in my visual imagery. I attempt to create what I might describe as a “well-rooted parody” of contemporary culture. ” –excerpt from Artist’s statement


(May.24-Jun.23) Toni Hafkensheid ‘PHOTOGRAPHS’ (Amsterdam)

Detail view of Toni Hafkenscheid’s works

“Toni Hafkensheid is a voyeur; his seductive colour portraits are windows into private moments in his subjects’ home environments. Toni is particularly drawn to individuals who are unable or unwilling to fit into the narrowly circumscribed roles of the dominant, heterosexual economy” — Scott McLeod


(Jun.28-Jul.27) Trevor Mahovsky ‘If I Told You Once I Told You A Million Times’ (Calgary): paintings and drawings

Painting from Trevor Mahovsky’s exhibition “If I Told You Once I Told You A Million Times”

This exhibition, featured several hundred of Mahovsky’s ongoing series of drawings and paintings; it was installed as a kind of obsessive salon hanging of one artist’s work and working process. Mahovsky produces a painting or drawing every day (sometimes every hour); “inspirations” for his work range from the sublime to the banal, ie. his ‘Pontiac Acadian’ to the ‘Apollo 11 moon landing’. To document the special demands his rigorous process entails, the artist makes a journal entry detailing each work as it is completed: materials, time, date and particular circumstances of production. The combination of the artist’s drawings and written journals combine to create a perpetual, unfinished diary that “races through time, place and myth on personal, cultural, and art historical levels.” Past work, as it is recorded in the journals, becomes an ersatz history upon which all of the artist’s future work is built. In his obsessive repetition of images and phrases in throughout the work, Mahovsky also attempts to introduce “a new lexicon of visual and written language”.


(Sep.06-Oct.05) David Clark ‘109’ (London, ON)

Detail from David Clark’s exhibition “109”

For the past several years, David Clark’s installation work has been centred around the periodic table of elements. While the artist states that his ongoing project has developed as an investigation into scientific processes and the history of science, Clark’s work also wryly examines the chance occurrences and strange coincidences which seem at odds with –but are integral to– the scientific method. Clark was particularly interested in Artcite as a specific centre to install his work (in part) because the gallery address (109) is the same as the total number of elements in the periodic table (109).


(Oct.15-Nov.02) ‘ARTSEEN IV’ site I: offsite/ site II: gallery


Over the past four years, this exhibition has served as a kind of laboratory for new and experimental work by local artists. Originally, the intent was to create the atmosphere for dialogue about new work by organizing a studio crawl and a reception. More recently, the event has been moved to a single, off-site location. This year, the programming committee decided to present an invitational component in an off-site location. During the same programming period, a day and evening self-directed studio tour featuring selected artists was planned. In order to encourage a dialogue about the work there was an “afterglow/after the crawl” following the studio visits. In conjunction with this event, Artcite presented a ‘noise-fest’ of local audio artworks. This was presented in a local bar during the festival.


Gallery Closed (RENOVATIONS)


…Artcite’s annual, unjuried Christmas fundraising exhibition