CLICK ON EVERYTHING

proximity · pleasure · plasticity. looking at performance From April 21 to June 23, 2022

© View of the exhibition proximity · pleasure · plasticity. looking at performance , Dazibao, 2022. Photo: Marilou Crispin.

© Freya Björg Olafson, CPA (Consistent Partial Attention) (2017). View of the exhibition proximity · pleasure · plasticity. looking at performance , Dazibao, 2022. Photo: Marilou Crispin.

proximity
pleasure
plasticity

looking at performance

© Chukwudubem Ukaigwe Courtesy of the artist

© Deanna Peters/Mutable Subject Photo: Reza Rezai

© demi-mesure (Clara Cousineau + Marion Paquette) Photo: alignements

© Every Ocean Hughes Photo: Tony_Rinaldo

© Francisco González-Rosas Photo: Cuto Reed

© Freya Björg Olafson Photo: Robbie Sweeny

© Hannah Wilke Courtesy of Electronic Arts Intermix (EAI) (New York)

© Manoushka Larouche Photo: Hamza Abouelouafaa

Past work: Manoushka Larouche, How far I can get from the Camera (2017)

As a response to the writings of conceptual artist Keith Arnatt, Larouche follows his instructions by “running away from the camera.” These instructions propose physical stamina as an alternate measure for examining the value of art. Instead of staying within view of the camera, however, Larouche attempts to exit the frame entirely, interrogating relations between the image of her as subject and as artist, and the impact that has on the potential “value” of the artwork.

Past work: Manoushka Larouche, How far I can get from the Camera (2017)

Past work
Tenderhands, a series of over 100 instructions for dealing with different social anxieties, is the third iteration of Ivetta Sunyoung Kang's research exploring anxiety and body movements.

In conversation with Chukwudubem Ukaigwe

**Every Ocean Hughes** in conversation with Catherine Wood

**Past work:** Chukwudubem Ukaigwe & Collective at Winnipeg Art Gallery

Past work: Wan Yi Leung, Be my quarantine (2020). Video excerpt.

At the onset of the pandemic, Leung, using various online platforms, sought out seniors who were willing to dance with her via Skype. As in many of her works, participants were invited to a situation without a script or plot to guide their actions. Somehow, this open-endedness, while revealing participants’ instinctive reflex behaviors, makes the situation all the more surreal.