Here’s something else I found stuck to the wall this afternoon (Church, south of Dundas). Could it be?

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Been a lot of buzz about British street artist Banksy on the Toronto wires lately. When I had a gander at the art I thought I’d remembered hastily snapping something like it last month — but that was last month. What do you think, Banksy or not?

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I’ve been sitting on this one for long enough; sorry, Kurt. May the exhibit be heavenly. Enlightening. Ascendant. Hey, whatever turns you on. :)

For the benefit of the reader who may not be familiar with the Queen West art strip, it’s a terrific place to exhibit work. The whole area is chock-a-block with galleries and people interested in seeing them. In July, tourist season in full swing, with the heat and oh-so-pleasant air con inside, it’ll be even more lucrative. Kurt’s been at this for a while so you’ll be in good hands and I didn’t see anywhere on there that it says “locals only”.

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“The Spirit Of The Thing” is an exploration of Art that deals with spirituality. I asked a friend if he was religious. His reply was one that is heard often now;”No but I am spiritual.”. I want this exhibit to reach for some explanation as to what the word spiritual means in this context. Does being spiritual have some loosely defined form of dogma? How is it practiced? Or is this just a way to avoid the matter of religion altogether? Have we as a western society become so jaded by our religious traditions that we have rejected their ways, but don’t want to be viewed as having no concept as to what is before and after these short stays in our fleshy carcasses? Has history showed us the political truth of religious societies; A truth of war, intolerance, and abuse in the name of their deities? Have we re-examined religious literature to come to the conclusion that indeed it is literature and not dogma? So we have on mass vacated the houses of religion, but what have we replaced them with? These are the questions I want to see your answers to.

The exhibit will take place in *New* Gallery in the middle of the Queen West art district, during the month of July. *New* gallery is an Artist collective as well as a rental gallery. The fees are very reasonable and with enough Artists involved to share the expense the cost would be nominal. For more information please e mail me, Kurt Rostek, lokart@sympatico.ca .

Submissions by email only. Send 3-5 jpegs of recent work, and an Artist Statement. All media acceptable. Send all submissions to Kurt Rostek, lokart@sympatico.ca

Deadline For Entry: May 15th 2010

I was the happy recipient of my first ever, bona fide media pass this weekend:

Yup, that’s my real last name. Kinda underwhelming, huh? And you wanna know the strangest thing? Never did the kids tease me with Patrick Gay when I was young. Nope, it was always, “So did you score a hat-trick, Patrick?” “Hells yeah, dumbass,” I’d reply in my best Czech-English hybrid, “everyone in my country plays hockey like stars. Don’t you?”

I remember being friends after that.

Sorry, I’m getting off track. The point was that I was invited to come see an exhibit as a rep of TCL. I went disguised as myself; totally got away with it! Neat :)

This time, security apologized to me for asking me not to take photos. “Oh, sorry, sir. Wish they’d make those tags bigger!” “Hehe, that’s okay. By the way, I need to speak to your superior regarding your atrocious behaviour, swine!”

The power. *shiver*

I would’ve been very interested to see this exhibit anyway, so getting an invite was like a cherry on the whipped cream. With my favourite dessert underneath. Alas, I received no remuneration, alcoholic beverages, or comely female accompaniment, so I feel my hosts could’ve done better in those areas. But good on the Science Centre for inviting a good cross-section of media, even the little guys. *sniff*

And I must say, it’s really nice to be able to share a few photos with you, dear reader, in a much more relaxed manner.

Yeah, not that relaxed. But close.

This was one of those things where I just needed to move slowly and take photos of everything; no rush. The exhibit was all about athletics. Or love. Or something. I think. There were lots of smaller bits in display cases interspersed throughout that provided close-up details of something or other, and always in full colour:

Those are real human body parts, dear reader. Preserved for a good long time through a process called plastination. To sum it up, the sliced-up body part is submerged in acetone which replaces the water in the cells. Under a vacuum, the acetone boils off while a polymer (plastic) gets sucked in.  The cell walls are basically filled in with plastic. Then they add soul-piercing eyes:

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I was having a chat with a colleague this afternoon about living in the city. He shook his head in rejection of it. He liked the burbs, he said. Didn’t like the hustle and bustle of the grit. I can honestly say that the entire time I’ve lived here I’ve not once been hustled, and bustled only on a handful of occasions.

I think what he was referring to were the sometimes congested sidewalks, and usually congested roads downtown. The driving part can’t be helped much. Owning a car in the city is frivolous, if you ask me. Walking for half an hour to just about anything you need isn’t gonna kill either you or your kids — just look both ways. And the congested sidewalks are entirely avoidable — just walk over to the next parallel street. Or, if you don’t mind getting a bit more risqué, the next parallel alley.

Hang on to your hat, you’re never gonna believe what this place is called…

Graffiti Alley

Yeah, I know. I’m gonna go with Graffalley to try to salvage something from it. Maybe it should be District Graff, since it’s really crawling up each of the adjacent alleys too. And it’s on everything:

Okay, that’s kind of a crummy example. But you just have to turn around and travel backwards in time to see a slightly livelier one:

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Nuit Blanche was one of those rare nights when the “Bohemian” artist set get to … no, are encouraged to get their lazy asses out of bed extra late. Getting there at half past six in the evening is actually arriving early, ten at night is when things are just starting to get going, and two in the morning is about right to avoid the big crowds and still get a good walk in. I chose the third option and managed, with the assistance of my favourite energy drink, to stay up until closing time. I couldn’t think of any other night to do this than Saturday.

The event was both hoote and anny. It’s hard to know where to begin; so many strange things on the street that night.

First, there were the kids on acid who stumbled onto mindblowing, totally fucked up shit … oh man, this is too much man! it’s too much!

I made that part up. The imaginatively named “Rabbit Balloon” at the Eaton Centre only had a few tired-looking security guards around it.  The kids on acid (and E, and K, and all the other letters too), were freaking out on the edge of Grange Park behind a truck blasting out what sounded suspiciously like happy hardcore. I wasn’t partial to it back in my youth, I’m not partial to it today, whatever it’s being called now. Just a bit too spazzed out for me. I like my music a bit mellower these days.

Hmmm. Except not this mellow. This was called “Dirge for Dead Slang” and I guess it was supposed to be some sort of lamentation for outmoded language. It had this monotonous soundtrack playing over loudspeakers that was a tad too loud, so no one could really hear what the ghosts were listing off. Intended?

Just down the street at City Hall, was this:

This had the unfulfilled title “Beautiful Light: 4 LETTER WORD MACHINE”. I stood around for a few patterns; not letters. As I was leaving, some words … French? I thought this was supposed to be the “4-letter word” machine. I can think of a few to try maintenant, and they’re in English. For an English audience. I was imagining they would at least flash “bull” and “shit” in alternating sequences; isn’t that why it’s in front of City Hall?

My next stop was at this performance, the “Dead Philosophers’ Limbo”:

Radios were alternately brought out into the crowd (I kinda wasn’t paying attention to what was being read on them), and then brought into the center and piled onto one of the girls in the middle. Then, in slow-mo, the dancers came back and removed them. The middle girl jerked around a while, now surrounded by the other dancers, each holding a pose. They alternated between each other, taking turns to move in interesting ways.

I didn’t get it…

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Her: “No photos of the artwork, but feel free to take pictures of the architecture. Just make sure no one’s in the photo otherwise you need to get their permission.”

Permission?

Me: “So, basically, no photos.”

Her: “Sure! Just have to be patient and make sure there are no people in your shot.”

Me: “Okey dokey.”

I don’t know why I bother. I mean, I try to be polite and respectful, but why I don’t I just clamp my butthole shut while I’m at it?

First, they made me check in my bag because it was oversize. K, I can dig it. But I was told I could take it in if I wore it around my waist, as another lady with “exactly the same bag” as mine had done.

The bag is a Lowepro SlingShot, one of those single over-the-shoulder deals that’s more or less a thick, rigid backpack. I couldn’t work out the logistics of wearing it around the waist, especially since it would stick out just as far any which way I maneuvered it. “I’ll carry it”, I offered, lowering the bag into a shy, reclusive position between my legs.

The answer was still no.

“Can I at least take my camera?”, I asked. “Of course!”, replied the smiling guard. He had been almost absurdly friendly the entire time and I don’t think I would’ve thought twice about leaving my bag behind, but then his partner showed up. I don’t think a smile had creased her thin lips in years. Crab-ola!

It was a few minutes later as I was entering into the main gallery of the AGO that I had a second conversation with another (and considerably friendlier), female attendant. That’s the first part of this post. I thought that maybe swapping the denials chronologically would make them seem less harsh.

Nope.

You can understand why I was starting to get a bit miffed, especially since just beyond the attendant, in the main lobby, a woman was chasing a guy in a Sasquatch suit snapping pictures randomly and yelling, “Stop, Sasquatch! Stop!” Strangely, he did, while the girl pushed her way through the crowd that had suddenly formed behind him. As soon as she was through, he lumbered off again past cowering, horrified children. Snappity snap McSnap all the way.

Not to mention the sign I found just around the corner. Visitors were advised that they may have their photos taken at any moment for use in promotional material. Only by actively approaching any guy or girl with a big lens and notifying them of your wishes would you be assured that this wouldn’t happen.

So I broke the rules. But after I had wandered a bit, I realized that, probably, that’s what was necessary in a place like this. Some unfettered appreciation. Do you think the artists would mind?

Like a digital reproduction could ever do it justice! I mean, you can actually commit a heinous crime and totally wreck some major artwork, that’s how close you’re allowed to get to it. And, to keep you interested, each new room is fronted by an outstanding piece from the collection:

Once inside, the pieces are respectfully spaced but I have to say, the signage s-u-c-k-s! They’ll have two paintings side by side, four labels next to each one, and one in between just for good measure. Halfway through the Impressionists, some young girl went to great lengths to embarrass herself to her friend as she described the flowing, smooth style of Gauguin in the painting in front of them. Wrong label. Wrong painting too.

But I shouldn’t be overly critical. There were a number of pieces on display that I didn’t particularly get but that had genuinely excited buzz around them:

Yup, there’s a lot of stuff to see; the Art Gallery is actually quite large. The piece that runs along Dundas is just for show; the building behind it is the actual gallery and it runs upward about five storeys via that crazy spiral staircase in the lobby. And it’s art all the way up; old, new, and stuff that I sat on.

I should probably take a bit of that back. I didn’t mean to imply that the part along Dundas is totally wasted:

The inside is genuinely impressive, but I still think the architect is a hack. I saw a documentary where he demonstrates his creative process: He’ll take a stiff card of cardboard, then crumple it (not too tightly), then flatten (not too much). Then point to it and say, “okay, now you guys build me that.” The team go sprinting out the door while Gehry leans back in his chair and takes a sip of his coffee. Hack-ola!

Ha! Listen to me go on like I paid for the experience or something! No, dear reader, Wednesday evenings are free. I think they probably have special exhibits that are off-limits to all us freeloaders, but since this was my first visit since the reno, it’ll be a while before I get bored.

In the meantime I’m going to work on getting my bag to wear like a fanny pack. I’ll show them!

Phew!

What a weekend. As you’ve probably already guessed by the previous posts, I spent much of Saturday at Caribana ingesting all sorts of solar radiation, and much of Sunday recovering from heat stroke and examining the contents of my stomach. Today, I feel like a new man:

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It’s not that I forget about giant red balls or apartment hunting, it’s just that I take a relaxed attitude to writing TCL. Some have described it as procrastination. Others, laziness. Others still, too much banana leaf. Who knows?

Sometimes it’s just because the big red ball needs a day off. That was yesterday. Today, it was up bright and early at the Ryerson campus Podium.

The location was perfect because it allowed the sunlight to hit the ball’s sumptuous, silky surface in the most striking way:

Clearly the glorious red vision was designed to attract because, like flies, children were soon buzzing around it, touching it in inappropriate ways:

I’m sure you’re asking, did I meet the genius behind this wonder? No, I did not. In fact, I don’t believe he was there. The same guy that had crushed my spirits two days ago was the same guy now in charge of the current display. He had a female assistant, but please trust me when I tell you that neither one of them was the artist. They just weren’t Caucasian enough. No, that guy’s probably sitting on a sailboat lighting cigars with hundred-dollar bills.

But I did get an attractive brochure:

I’m gonna wax a bit here and posit my own personal belief as to the ball’s purpose. That would be to highlight sections of the city that you may pass daily but wouldn’t otherwise notice if a giant red ball wasn’t wedged in there. It’s a sort of way of saying, take back your city, explore those strange little alleys between buildings, have another look at something you pass every day. And for God’s sake, you can’t see it from over there! Come closer! Come!

It draws attention. Gets noticed. Not afraid to show it’s ass in public. I mean, that’s the very definition of “photogenic”.

So if this was the artist’s aim, I give it two thumbs up. The ball has shown us sacred ground. Maybe it’ll even be visible from a satellite. Maybe it’s a Google marketing ploy. Who knows? I’m still glad it came and allowed me to bask in it’s glory for one brief moment before I had to trudge off to work.

*sigh*

Oh wait, it’s still around all weekend!