Doris McCarthy Gallery
Installation view of The Flesh of the World at the Doris McCarthy. Photograph by Toni Hafkenscheid.
Installation view of The Flesh of the World at the Doris McCarthy. Photograph by Toni Hafkenscheid.
Ingrid Bachmann, Pinocchio’s Dilemma, 2007. Cast resin, 8 servo motors, 2 Arduino microcontrollers, metal, Plexiglas, plastic. Courtesy of the artist. Installed at the Doris McCarthy Gallery. Photograph by Toni Hafkenscheid.
Darrin Martin, The Divide, 2015. Two-channel video installation. Courtesy of the artist. Installed at the Doris McCarthy Gallery. Photograph by Toni Hafkenscheid.
Justina M. Barnicke Gallery
Installation view of The Flesh of the World at the Justina M. Barnicke Gallery. Photograph by Toni Hafkenscheid.
Installation view of The Flesh of the World at the Justina M. Barnicke Gallery. Photograph by Toni Hafkenscheid.
Raphaëlle de Groot, The Wait – Experimenting Expectation, 2015. Durational performance with audience participation, collection of materials, found objects and accessories; video documentation. Courtesy of the artist. Installed at the Justina M. Barnicke Gallery. Photograph by Toni Hafkenscheid.
University of Toronto Art Centre
Installation view of The Flesh of the World at the University of Toronto Art Centre. Photograph by Toni Hafkenscheid.
Installation view of The Flesh of the World at the University of Toronto Art Centre. Photograph by Toni Hafkenscheid.
Installation view of The Flesh of the World at the University of Toronto Art Centre. Photograph by Toni Hafkenscheid.
Catherine Richards, Shroud Chrysalis I, 2000. Glass table, copper taffeta, two female attendants. Dimensions variable. Collection of The Ottawa Art Gallery; Purchased with the support of the Canada Council for the Arts Acquisition Assistance program, Glen Bloom and OAG’s Endowment Fund, 2004. Installed at the University of Toronto Art Centre. Photograph by Toni Hafkenscheid.
Erin Gee, Swarming Emotional Pianos, 2012-ongoing. Aluminum tubes, servo motors, custom mallets, Arduino-based electronics, iCreate platforms. Approximately 68.6 x 30.5 x 30.5 cm each. Custom biosensors that collect heart rate and signal amplitude, respiration amplitude and rate, and galvanic skin response (sweat). Biodata collection software and affective data responsive algorithmic music software built in Max/MSP. Courtesy of the artistΩ, installed at the University of Toronto Art Centre. Photograph by Toni Hafkenscheid.
Helen Dowling, Breaker, 2008. Video installation. Courtesy of the artist. Installed at the University of Toronto Art Centre. Photograph by Toni Hafkenscheid.