What is our Role? : Artists in Academia and the Post-Knowledge Economy


What is our role? : Artists in Academia and the Post-Knowledge Economy

A symposium moderated by Jaclyn Meloche, PhD.
Saturday 30 April 2016 from 12pm 4pm

Please RSVP by April 28th, 2016: https://whatisourrole.eventbrite.ca

Auditorium, Lillian H. Smith, Toronto Public Library
239 College Street @ Spadina | 416-393-7746

What is our role? : Artists in Academia and the Post-Knowledge Economy

Curious about the changing economy of the university, the new kinds of structures that are characterizing fine arts departments in academia and the precarious role of the artist in the classroom, Jaclyn Meloche asks, does John Chandler and Lucy Lippard’s argument that makers must be thinkers, and vice versa still ring true today?; [s]ometime in the near future it may be necessary for the writer to be an artist as well as for the artist to be a writer. There will still be scholars and historians of art, but the contemporary critic may have to choose between a creative originality and explanatory historicism.[i] Although uttered thirty years ago, this notion is still relevant and considered amongst artist-scholars invested in academic debates about theory and practice. Why?

Research-creation. Practice-led research. Arts-based research. These are some of the terms being deployed within the academy to frame the ways in which practitioners are contributing to the production and dissemination of knowledge. Moreover, these terms have also become embedded within the rhetoric exploited by granting agencies and universities to fund art as research. In theory, much has been argued and written about in support of the changing economies surrounding artists and their contributions within academia. But are universities today truly embracing the notion that art is a method, or rather system through which to perform research? Furthermore, are monodisciplinary faculty supportive of said contributions within their departments? In response to the rising number of interdisciplinary PhD programs that are blossoming around the globe and the growing number of artists working within interdisciplinary practices, Meloche has curated a panel of artist-scholars, all of whom are at different stages in their academic career, to respond to the questions: why should an artist pursue doctoral research? How do artists with PhD’s fit into the traditional academic model of the university? And, what kinds of contributions can artist-scholars make to what Ian Angus calls the preservation of intellectual heritage?[ii] In the form of a day-long symposium, each speaker will consider, through personal definitions, experiences, and intertwined practices of art and research the ways in which [d]oing, reading and writing [qualitative] research are part of the same complex craft.[iii] YYZ invites a diverse audience that includes artists, professors, researchers, curators, students and anyone else interested in a discussion about the futures of artists, arts education, and pedagogical models of interdisciplinarity within the academy.

A publication will be available for purchase at yyzbooks.com.

Moderator: Jaclyn Meloche, PhD, Ottawa, ON



Shauna Janssen, PhD, Part-time Lecturer, Concordia University, Montreal, QC;

Dave Kemp, PhD, Assistant Professor, School of Image Arts, Ryerson University, Toronto, ON

jake moore, PhD Student, Art History and Communication Studies, McGill University, Montreal, QC;

Ryan Stec, PhD Student, Azrieli School of Architecture and Urbanism, Carleton University and Artistic Director at Artengine, Ottawa, ON.


Event is hosted by YYZ Artists’ Outlet, an artist-run centre.

140-401 Richmond St W, Toronto, ON M5V 3A8

416-598-4546 | yyzartistsoutlet.com


[i] John Chandler and Lucy Lippard, The Dematerialization of Art, Art International, Vol. 12, no. 2, February 1968: 31-32.

[ii] Ian Angus. Love the Questions : University Education and Enlightenment. (Winnipeg : Arbeiter Ring Publishing, 2009), 11.

[iii] Lynn Butler-Kisber. Qualitative Inquiry : Thematic, Narrative and Arts-Informed Perspectives. (London : SAGE Publications, 2010), 1.


Office of Creative Direction Toronto (CDTO) and YYZ to reanimate Canada Post’s community mailboxes

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UPDATE: Change of date for CDTO+YYZ events:
Due to growing interest for participation in this project, the Panel Discussion and Presentation have been combined into a single event.
June 25, 7:00pm-10:00pm RSVP
Panel discussion will begin at 7:30pm.

This event is 19+ and RSVP only.

The Problem
Canada Post’s big grey super-mailboxes have become a sad symbol of fiscal rationalization brought on by the demise of the tactile personal letter. In major cities there has been pushback from citizens, unions, and city councilors about why door-to-door service needs to end, where exactly these boxes will sit, and how they will affect their neighborhoods.

The Proposal
The Office of Creative Direction Toronto (CDTO) proposes to tackle this problem like a creative director would, by seeing it as an opportunity for reinvention: offering prototypes, evolutionary sketches and models for further research. To investigate the design of these boxes and the spaces around them is to discover how they could work better for people. We feel the best way to do this is not by online survey but by gathering a select group together to form a test office of creative direction. The group would include design thinking professionals representing the fields of theatre, technology, engineering, accessibility, alternative energy, small business and storytelling.

Form meets function
Design pushes us to consider super-mailboxes not just as deposit and retrieval objects, but further as animated spaces for shared communication, business, innovation, and community. Imagine that one of the compartments included a seed exchange. Another, a compartment that plays CBC radio podcasts. Another simply marked, ideas. Could the structure be retrofitted to include solar panels that powered a small espresso machine run by a local entrepreneur? Could the super-mailbox glow in the dark? What if there was a digital community board for micro-exchange between neighbors? What if the site of super-mailboxes became a forum for revitalized communication between residents and government? We feel the possibilities are endless and deserve more than an online survey they need to be sketched out.

When we will solve it
June 22 26 CDTO is setting up a test office at YYZ gallery in the 401 Richmond building (itself a successful cultural hub of city building and community innovation). Opening night will include a panel discussion. The workweek will be open to the general public who can observe focused design, rapid prototyping and ideation. Closing night will include a presentation of our findings and along with a comprehensive design proposal for Canada Post.

Who will solve it
We are in the process now of gathering together a team of specialists, thinkers and makers to work during the last week of June with the support of YYZ gallery as well implementing a 3D printer, and other presentation and prototyping hardware.


The Super or (community) mailboxes

By 2019 door-to-door mail delivery will be phased out throughout Canada. Because of population density and complexity the last areas affected will be the downtown core of large cities such as Montreal and Toronto. The community mailbox initiative is a five-year project with Canada Post beginning the conversion in every province, consulting with communities through online survey.

Office of Creative Direction (CDTO)

In the last ten years, Toronto has undergone a swift but surefooted cultural, artistic, and technological renaissance that has not always been met by a blossoming of innovation at City Hall. Following the lead of Mexico City, Manchester, New York, and Boston, CDTO proposes an Office of Creative Direction for the City of Toronto to help mobilize and facilitate cultural innovation while prioritizing design thinking and the way Toronto tells its story visually. Prominent early supporters of the initiative include Leslie Feist, Ken Finkleman, Shary Boyle, Shauna Levy, Sarah Diamond, Sarah Fulford, Richard Florida, John Macfarlane, Rotman CEO Jamison Steeve, and David Mirvish.

Jason Logan is a design strategist, creative director, author and educator. He was founding art director at the Walrus, creative director at Roger’s Publishing, a regular contributor to the New York Times and the founder of the Toronto Ink Company. He was chosen out of hundreds of applicants as a 2015 Agent of Change by The Centre for Social Innovation for his CDTO campaign.

YYZ is an internationally acclaimed gallery supporting artists since 1979 in Toronto. With a mandate to lead the advancement of Canadian culture through presenting and initiating critical and engaging projects YYZ is a publisher, enabler and space for contemporary cultural conversation.

Special thanks to our new sponsor Junction Craft Brewing.

Kevin Rodgers: A Point Expanded to a Plane


A new three-part print project that will be on view and available for pick up at the gallery.


The role of these three papers before you is a respectful challenge to the perpetuation of the myth of a lack of continuity in the Toronto art community, even if the myth is a compelling (albeit well-versed) one: the secrecy and whispered sounds, initiation and anticipation that something is accruing from below or from the sides, palpable but ungraspable. Histories have emerged (more remain on the cusp, gossiped about); presupposed continuities continue to be questioned. What is needed is an approach that develops a sense of time in discontinuity, a way to counter static chronological accounts (perhaps General Idea’s retrospective futurity) where material is recycled back into narrative to change or contradict: a self-image reimagined. The premise of the untimely can be seen as a way to reconsider the questions of representation, content and discontent that dot these pages.

Take 1984. It is the year of General Idea’s mythic work The 1984 Miss General Idea Pavillion (destroyed in 1977), when the Valentine’s Day Massacre was precipitated by Philip Monk’s reading of his essay Axis of Difference, and the exhibition Subjects in Pictures brought his Language and Representation trilogy to a close. Two years removed from the A Space putsch, the notion of Social Responsibility remained an issue at hand, found in (among other places) FUSE magazine’s exciting climate of cultural criticism. While Carole Conde and Karl Beveridge busied themselves in the type of pragmatic collaborative practices that would see renewed attention almost thirty years later, Joanne Todd and Shelagh Alexander emerged as two of the most compelling artists in the city (each with drastically different artist trajectories ahead of them). This is to say nothing of Brian Groombridge’s striking Balance and Power, nor Colin Campbell’s disquieting dramas like The Woman Who Went Too Far: words, works and images that need return to conversation, objects of experience that should be taken as a spirited intervention into the present.

These papers also acknowledge the ardent work of cultural producers who challenged the scope of respectable and accepted histories in the 1980s and influenced artists and writers today, from the writers in FUSE addressing a wide range of local and global practices and concerns, to The Women’s Cultural Building and feminist journals like Fireweed to the dynamic practices of artists like David Buchan and Shelley Niro. While these papers are adapted from a larger study on the tensions between political intent and formal experimentation specifically found in Toronto practices, it is a selective project using the YYZ Archives from an individual artist’s perspective. Accordingly, A Point Expanded To A Plane, has its own blind spots.

YYZUNLIMITED invites artists to imagine and reinvent the organization as a site of opportunity through a series of interventions, the presence of which serves as material evidence of a lasting community that is not determined by the duration or protocol of the exhibition structure at YYZ.

KEVIN RODGERS is a visual artist whose practice draws upon provisional formalism and political philosophy. In 2012, Rodgers received his PhD in Art and Visual Culture from Western University, and is a 2008 graduate of the master of fine arts program at the University of Guelph.
Rodgers has shown in several group exhibitions across Canada, the United States and Belgium, and his upcoming projects include Neutral Ground in Regina and at Dazibao in Montreal. His recent solo exhibitions include McIntosh Gallery, London; goodwater gallery, Toronto; and Galerie Tatjana Pieters, Ghent, Belgium. He has also written for numerous magazines, including FUSE, C Magazine, Border Crossings, and ART PAPERS, as well as curated two exhibitions: THE FOX (2011) and IF DESTROYED… (2010). In 2014, Rodgers will participate in a three month residency at the FLACC workspace in Genk, Belgium. He is currently the Artistic Director of Modern Fuel Artist-Run Centre in Kingston, ON.

Jacob Horwood: Detail Without a Drawing Board



Jacob Horwood developed this series of screenprinted one and two-off pieces with little emphasis on design. He wished to demystify the idea that in screenprinting, a piece of art is first designed in its entirety, and then produced. The execution of the work and its composition is completed almost entirely in the studio by the artist. This stresses the practice itself, relying on trial and error, as well as color harmony to create new work. Detail Without a Drawing Board is a more spontaneous practice, and utilized as little source material as possible.

JACOB HORWOOD is a Toronto-based visual artist who works in printmaking, publishing, and sound art. In 2004, he co-founded the experimental sound art record label Beniffer Editions. It has released over 110 hand-made artist multiples on various formats, including LPs, books, box-sets and cassettes. Horwood is the administrator of Punchclock Printing and works as a specialty screen printer, assisting other artists and designers interested in the full realization of their ideas. He is also one-half of music concrete duo Gastric Female Reflex, who have released music and toured internationally. Horwood’s work is informed by process based painting techniques applied to screen-printing, visual after image demonstrations, re-appropriation, and artist multiple presentation.

Jacob Horwood: Detail Without a Drawing Board, 2012. Photo credit: Allan Kosmajac

Stephanie Chabot: One Another



One Another is a two-part sculpture created for the vitrine and the lobby of YYZ Artists’ Outlet. What choice could be more obvious – and apparently meaningless – than to place a storefront mannequin in a vitrine? And what does that object become when transferred from the usual storefront window to the vitrine of an art gallery?

Stphanie Chabot’s deviant version of the mannequin deals with issues that are inherent to the familiar object: the manufacturing of better bodies, the morbid desire related to self-duplication, the strange force of the uncanny. In One Another, these issues expand and exceed themselves creating delirious new roles and perspectives for the large-scale doll.

STPHANIE CHABOT is a multi disciplinary artist that works primarily in painting, sculpture and installation. She received her Masters Degree from York University in 2008. Chabot’s work has been shown in many Canadian artist run centers including La Centrale Gallery Powerhouse and Clark Gallery in Montral. Her work has also been presented in the United States, Spain (Sala Riekalde, Bilbao), England (Sassoon Gallery, London) and in Australia (H-Block Gallery, Brisbane). She is a member of the curatorial collective L’Araigne, and has been involved at La Centrale Gallery Powerhouse as both a member of the selection committee (2008- 2011), and the interim artistic coordinator (2010). Chabot currently lives and works in Montral.

The artist gratefully acknowledges the support of the Canada Council for the Arts.

Special thanks to Pierre Terzian, Yam Lau, Kristi Ropoleski, and Nomi McComber.


Read STPHANIE BERTRAND‘S The false prophecies of the false idols in the flesh, an essay about STPHANIE CHABOT‘S exhibition.

Canada Council for the Arts

IMG_7167smallIMG_7184small Stephanie Chabot: One Another, 2011. Photo credit: Allan Kosmajac

Shannon Gerard: UNSPENT LOVE, or, Things I Wish I Told You


Originally drawn and written as a series of online vignettes for the comics publisher Top Shelf Productions, Unspent Love addresses themes such as hope, fear, and human frailty. The project was later produced as a multi-media bookwork with the support of Open Studio’s Nick Novak Scholarship (2010).

This third iteration at YYZ will evolve the project in a series of narrative images, unfolding between November 2010 and October 2011 as part of its YYZUNLIMITED program. The experimental space of the wall allows imaginative storytelling possibilities to develop through layering, time-lapse animation and wheat pasting. Gerard will modify the wallwork on a weekly basis for the duration of the project.

SHANNON GERARD received her Bachelor of Arts and Bachelor of Education Degrees from York University in 1996, where she completed her Masters Degree in 2007. In 2008 she received the Visual Arts (Emerging) Grant from the Toronto Arts Council. Gerard has exhibited her work in Canada and the United States including Green Lantern Gallery in Chicago (2009), Open Studio in Toronto (2008), and also took part in the MoCCA Festival in New York City in 2007. Gerard currently teaches courses in print media and nano-publishing at OCAD University.

For more information and to track the project, check out Shannon Gerard’s blog at unspentlove.tumblr.com.

David Court & Josh Thorpe: Around YYZ

This year-long project, part of our YYZUNLIMITED programme, consists of a series of four audio tours of the built environment around YYZ. These tours are informal, meandering conversations, offering a casual but analytic inquiry, beginning at YYZ and moving out from there. Each lasts approximately an hour and can be encountered in three ways: 1) on an MP3 player borrowed from YYZ (allows the listener to walk the tour while listening), 2) over a set of speakers at the threshold to YYZ, and 3) on the YYZ website. Taking YYZ as the point of departure, the walks extend the mode of attention of the gallery into its surrounding contexts, seeking to draw attention and add complexity to the experience of public space.

For the first of these walks, Thorpe and Court are joined by architects and artists Scott Sorli and Flavio Trevisan.

Click here to experience Walk No. 1 now. To download and listen on your mp3 player, right click and select ‘Save As.’ [95.45MB mp3]

* Please note that approximately 8 minutes into the tour, what is describe as Richmond and John should be corrected to Richmond and Peter.

The second tour of the area surrounding YYZ features a conversation with Michael McClelland and Phillip Evans from ERA Architects. The walk begins at 401 Richmond, heading east to the business district, and then back to Spadina. The conversation focuses on contemporary and historical aspects of Toronto’s built environment.

Click here to experience Walk No. 2 now. To download and listen on your mp3 player, right click and select ‘Save As.’ [77.18MB mp3]

The third walk features a conversation with transportation engineer Margaret Briegmann and architect James Brown. The tour begins at 401 Richmond, heading south to the lake in honor of the approaching summer.

Click here to experience Walk No. 3 now. To download and listen on your mp3 player, right click and select ‘Save As.’ [87.7MB mp3]

David Court and Josh Thorpe present the last in a series of four audio tours of the area surrounding YYZ. This tour features a conversation with Scott Srli and Flavio Trevisan about YYZ itself.

Click here to experience Walk No. 4 now. To download and listen on your mp3 player, right click and select ‘Save As.’ [19.1MB mp3]

DAVID COURT is an artist and writer living in New York. He has exhibited solo and collaborative projects across Canada and in New York, with current and upcoming projects for Printed Matter (with Josh Thorpe) and the 2011 CAFKA Biennial. David was involved as a contributor for the publication ‘Gordon Lebredt: Nonworks 1975 2008,’ co-published by the Center for Contemporary Canadian Art and Plug In Editions. He has written reviews and catalogue texts for publication in Canada, China and the US, including C Magazine, Fillip, and Art Papers. In 2008 he participated in the residency Making Artistic Inquiry Visible’ at the Banff Center. David holds a Masters in Visual Studies from the University of Toronto (2009) and a BFA from NSCAD University (2006).

JOSH THORPE has a Master’s in Visual Studies from University of Toronto and he teaches at Ontario College of Art and Design and U of T. His work has been shown in Canada, the US, and Europe. Thorpe’s involvement in publishing has produced interviews, articles, and books, including Dan Graham Pavilions: A Guide publish by Art Metropole and Gordon Lebredt: Nonworks 1975 2008, co-published by the Center for Contemporary Canadian Art and Plug In Institute of Contemporary Art. He lives in Toronto, Ontario.

YYZ Art Collection Brooch

YYZ is excited to introduce Art Collection Brooches, handmade for YYZUNLIMITED by Elle Usui using surplus invitations for past YYZ exhibitions. Each brooch is meticulously handmade, one-of-a-kind, and specially packaged by the artist.

These brooches are available for $20 + shipping. Paper and flat back metal pin, edition of 20 plus artist’s proof, 2010. Email Ana to place an order.

Read what STEPHANIE MURG has to say about ELLE USUI‘S Art Collection Brooches in the February 2011 edition of ARTnews.

Bill Burns: Two Boiler Suits and a Playlist: A Primate Guide


YYZ is pleased to announce the publication of BILL BURNS‘s latest book Two Boiler Suits and a Playlist: A Primate Guide. The book is published as part of the YYZUNLIMITED initiative. The elegant guide describes the chattels given to prisoners and the music that is played to them at the prison camps in Guantanamo Bay, Cuba. Designed by Shannon Griffiths, the 52-page guide includes 18 line illustrations and two colour plates.

Bill Burns thanks the Leon Levy Foundation in New York for its generous support of this project.

This book is part of a trilogy. The other two books in the series are Bird Radio, published in 2007 by KW Institute for Contemporary Art in Berlin, KWAG in Kitchener and Walther Koenig in Cologne and 0.800.0FAUNA0FLORA published in 2008 by the Institute of Contemporary Arts in London, England. Bird Radio describes how to recreate the songs of birds of Iraq, Iran, Syria, Jordan and parts of Turkey, Chechnya, Uzbekistan and Afghanistan while 0.800.0FAUNA0FLORA: The Guide to the Flora and Fauna Information Service describes how to help preserve and protect plants and in the same part of the world.

All three books will be available in a limited boxed edition in Fall 2010. Limited edition inquiries are welcome at animalsafety@gmail.com.

The Playlist:

1. Shoot to Thrill by AC/DC
2. Gold by Matchbox Twenty
3. Stayin’ Alive by The Bee Gees
4. Born in the USA by Bruce Springsteen
5. Dirrty by Christina Aguilera
6. Sesame Street Theme Song by Joe Raposo
7. March of the Pigs by Nine Inch Nails
8. American Pie by Don McLean
9. Die Mf Die by Dope
10. Bodies by Drowning Pools
11. Raspberry Beret by Prince
12. White America by Eminem
13. All Eyes on Me by Tupac
14. Fuck Your God by Deicide
15. Enter Sandman by Metallica
16. America by Neil Diamond
17. We Are the Champions by Queen
18. Killing in the Name by Rage Against the Machine
19. Click Click Boom by Saliva
20. I Love You by Barney the Purple Dinosaur

BILL BURNS‘s work about animals and civil society has been shown and published widely including solo projects at the Institute of Contemporary Arts in London, England (2008); KW Institute for Contemporary Art in Berlin (2007); the Wellcome Trust in London, England (2002); and 303 Gallery, New York (1994) and group shows at the Kunsthallen Nikolaj in Copenhagen, Denmark (2009); Museum of Contemporary Art and Design in Lausanne, Switzerland (2006); Museum of Modern Art in New York (2005-06); the Seoul Museum of Art in Korea (2002); and the Stedelijk Museum in Amsterdam (1995). He has published numerous books including When Pain Strikes, a scholarly anthology, (Burns, Busby and Sawchuk, editors and contributors, University of Minnesota Press, Minneapolis, 1999); Bird Radio, (Walther Koenig, KW|AG, and KW Institute for Contemporary Art, Berlin, 2007) and 0.800.0FAUNA0FLORA, (Institute of Contemporary Arts, London, England.) His books and editions are included in collections at Tate Britain in London, the Museum of Modern Art in New York and the Getty Center in Los Angeles. His critical writing has been published in Re/search, Art Monthly, Fat, Publicsfear and Parachute. Bill has read or performed his work about animals at the Institute of Contemporary Arts in London, England (2008); The Museum of Modern Art, New York (2008); the Bienal del fin del Mundo in Ushuaia, Argentina (2007); the Americas Society, New York (2004) and the Forum Arte y Vida 8th Havana Bienal in Havana, Cuba (2003).

He is a Research Associate of the Royal Society for the Protection of Birds in Cambridge, England (2002-present) and he received the Danish International Visiting Artist Award (DIVA) from the Danish Arts Agency in Copenhagen in 2009.

Gordon Lebredt: 2 colossi for YYZ (from the one to the other)


Gordon Lebredt: 2 colossi for YYZ (from the one to the other), Installation view

What is asserted to be a fixed Law that is in itself constant can only be a moment of the unity of which is reflected into itself, can only appear as a vanishing magnitude.
Georg Wilhelm Friedrich Hegel

Typically, to intervene means to enter, to come in as an extraneous or foreign feature in the course of some action. But what if the feature in question is in fact intrinsic to the scene or setup, a structural necessity whose presence is considered more often than not a liability, given that its function cannot be easily accommodated or incorporated as a positive addition to the scene concerned? Now YYZ’s principal exhibition space (but the smaller Z gallery and the lounge area could just as well stand as examples) sports not one but two such features in the form of a pair of structural columns that, due to their location, mark off an intermediate zone that is often difficult to negotiate in terms of its serviceability to the exhibition area as a whole. Aside from the interference that the physical presence of the columns incurs, the space between them tends to hold the overall space of display apart. It is in this sense of an inherent coming between, the effects of the aforementioned spatio-temporal pocket that works to divide the space from itselfa kind of auto-divarication if you like, that is of interest to me. My intervention consists, therefore, of simply cladding these two so-called divaricators with mirror, an operation that, to a certain extent, makes them disappear. Thus each column, insofar as it renders itself invisible, makes itself into a picture. In other words, each of these problematic elements inscribes itself in the picture, the very picture or scene that comprises its surround; thus each becomes surround to the extent that it reflects the available light qua surround.

So, even as each figure determines itself in its contour, lifting and separating its measure off/from the general surround, each, in becoming surround, in turn transgress itself towards the other, its double, the one in the otheren abyme.* Suffice it to say that such an intervention (if it is one) in each case, from the one to the other, the one in the other, takes place only along the line of the cut, the cutting edge that seams the sum total of the scene as nothing other than surround.

*Once mirrored, the columns reflect one another, encrypt or incorporate one another in a play of images (each image the image of an image), of cuttings that above all show the line of the cut that sutures:separates the one to/from the other.

PS: I’ve decided to give theses two things names: Boaz and Jachin after the names of the two freestanding columns that stood in the porch of the First Temple, Jerusalem (960586 BCE). Recall also that the left tablet of the Decalogue represented in part Boaz, the shadowy pillar of darkness, while the right tablet stood for Jachin, the white pillar of light.

– Gordon Lebredt

GORDON LEBREDT is an artist and writer living in Toronto. Recently, he exhibited at Diaz Contemporary (Toronto), YYZ Artists’ Outlet for YYZ Time Warp: a Thirtieth Anniversary Fundraiser (Toronto), Simone Interiors for Nuit Blanche (Toronto) and Convenience Gallery (Toronto). Recent publications include Afterthoughts: a monologue [to R.S.], published by YYZBOOKS (2007), “Notes from the Parergon: A few off-centre remarks concerning the artist-run facility as medium”, Lebredt’s contribution to Decentre: concerning artist-run culture/ propos de centres d’artistes, also from YYZBOOKS (2008), “Some Bad Timing: stance, stasis, and movement in the work of Tom Dean and Murray Favro,” in Espace Sculpture, Montral (2008), A few opening remarks, an exhibition text for Robin Collyer (2009), and “Into the bargaina parable in two parts: David Armstrong Six at goodwater,” in Espace Sculpture, Montral (2009).

2 Colossi for YYZ ( from the one to the other) was exhibited alongside KOKI TANAKA‘S Random Hours, Several Locations, as well as SARAH JANE GORLITZ & WOJCIECH OLEJNIK‘ S Everything Next to Each Other.