Category Archives: Gallery 1313
May 9, 2016 GROWTH by Akemi Nishidera
Tags: Book Arts, Japanese Paper Art
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August 31, 2015 Reel Fashion – Paula John’s CELLULOID DRESS
“One hundred new revolutionary materials riot in the piazza, demanding to be admitted into the making of womanly clothes.” -Volt, Futurist Manifesto Of Women’s Fashion (1920)
Gallery 1313 is excited to have Paula John’s Celluloid Dress on display in the Windowbox for September 2015.
Celluloid Dress plays with the relationship between two technologies that creator Paula John uses in her art practice – sewing and 16mm celluloid filmmaking. Inspired in part by Volt’s “Futurist Manifesto of Women’s Fashion,” this wearable dress is made from over 250 feet of exposed 16mm film from one of John’s own films and nylon mesh. LEDs stitched into the skirt illuminate individual frames and project the images onto nearby surfaces for a truly stunning effect.
This amazing piece will be on exhibit in the Windowbox for September, during the period when the city’s attention turns to film with the Toronto International Film Festival. Celluloid Dress will provide viewers with an entirely different twist on what film can be, and stimulate their imaginations to consider other uses and convergences for familiar technologies.
Paula John is a multi-disciplinary artist and scholar based in Toronto. She has been exhibiting her work (including photography, film, textiles, installation, and performance) since 2003. She holds a Bachelor of Fine Arts degree in Photography, and a Master of Fine Arts degree in Documentary Media from Ryerson University, and a Master of Arts degree in Communication and Culture from York University. Some of the themes explored in her work include, gender, sexuality, feminism, and performance. Paula is currently working towards a Ph.D. in Theatre and Performance Studies at York University.
Paula will be giving an Artist’s Talk at the reception on Sunday, September 13th from 3-5 p.m. This will be an excellent opportunity to meet a unique artist and view one of the results of her creative vision.
-Lisa Anita Wegner, Windowbox co-curator for Gallery 1313
Artist Statement
Celluloid Dress is a performance-based installation that combines the mediums of sewing and 16mm filmmaking to explore the numerous similarities between the two technologies. I was inspired by the early twentieth century Avant-garde art movement Futurism, and in particular the 1920 Futurist Manifesto of Women’s Fashion by Vincenzo Fani (Volt). In it he declares,
Women’s fashion has always been more or less Futurist. Fashion: the female equivalent of Futurism. Speed, novelty, courage of creation… Fashion is an art, like architecture and music…Women’s fashion can never be extravagant enough… The reign of silk in the history of female fashion must come to an end, just as the reign of marble is now finished in architectural constructions. One hundred new revolutionary materials riot in the piazza, demanding to be admitted into the making of womanly clothes. We fling open wide the doors of the fashion ateliers to paper, cardboard, glass, tinfoil, aluminum, ceramic, rubber, fish skin, burlap, oakum, hemp, gas, growing plants, and living animals.[1]
The Futurists valued speed, dynamism and new technologies, and were interested in transforming all sensory aspects of life. This extended to art, literature, music, food, architecture, and even fashion. In the spirit of the Futurists I developed a project in which I could combine two technologies that I use in my art practice: sewing and filmmaking. I merged the two technologies by first sewing a dress out of film. The handmade dress was sewn entirely out of 16mm celluloid film and nylon mesh, using approximately 250 feet of one of my films. I stitched LEDs into the skirt, which illuminate individual frames and project the images onto nearby surfaces. I then physically linked the two technologies in a performance, using a film loop to connect the sewing machine and the projector.
There are a number of similarities between sewing and 16mm film making, the most explicit being that Singer, the leading manufacturer of sewing machines, also made 16mm projectors. There are also parallels between the machines themselves. Both a sewing machine and a projector are threaded; both machines have a spool and a take up; both machines make similar sounds; tension is important; and the presser foot and the film gate serve essentially the same purpose on their respective machines. Even the movements of the machines reflect each other with the spinning of the reels and of the balance wheel. The process of editing a film is also similar to sewing, where shots are stitched together. The type of 16mm filmmaking that I personally engage in shares strong similarities with the act of sewing. Both processes take place within my home at the kitchen table. Both sewing and analog filmmaking are highly tactile and laborious practices where the physicality of the medium is emphasized.
For the performance aspect of the piece I project a copy of that same film through a 16mm projector on a continuous loop. The film loops through the projector and physically moves throughout the space through the use of pulleys attached to the ceiling. Approximately fifteen feet in front of the projector sits a sewing machine, which has been modified to add a film gate, allowing the film to pass through it on its loop. During the performance, I sit at the machine while wearing the film dress and sew the film as the projector drives it forward. The film is projected on both the sewing machine and my body, and as I sew, holes are punctured in the celluloid abstracting the image. Eventually through this process as more and more holes are punctured in the film the filmstrip is completely destroyed and breaks apart.
Bio
Paula John is a multi-disciplinary artist and scholar based in Toronto. She has been exhibiting her work (including photography, film, textiles, installation, and performance) since 2003. She holds a Bachelor of Fine Arts degree in Photography, and a Master of Fine Arts degree in Documentary Media from Ryerson University, and a Master of Arts degree in Communication and Culture from York University. Some of the themes explored in her work include, gender, sexuality, feminism, and performance. Paula is currently working towards a Ph.D. in Theatre and Performance Studies at York University.
[1] Volt, . “Futurist Manifesto of Women’s Fashion.” Trans. Array Futurism: An Anthology. . 1st ed. New Haven: Yale University Press, 2009. 253-54. Print.
Tags: art, art exhibition, art gallery, Canadian Art, celluloid, dress, exhibition, fashion, feminist, gallery 1313, lisa anita wegner, paula john, performance, performance art, tiff, Toronto, women filmmakers, Women’s Fashion, York University
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April 27, 2015 Imaginarium: Mothgirl Goes Above and Beyond Expectation
When I was brought on to curate the Windowbox, Claire L. Correia was one of the first artists I approached. Nine months later Claire is unveiling her ambitious piece IMAGINARIUM: Mothgirl, a multi-media kinetic sculpture and automatic shadow-puppet installation at Gallery 1313.
Portrait of the artist, by Kevin Niu.
Join us at Gallery 1313 on Wednesday April 29th between 7.00 and 8.00 p.m. for an artist talk and screening of a film by Tarquin Richards. The piece will exhibit for the Month of May 2015.
Last July Claire and I had our first meeting about IMAGINARIUM:
Here is a short trailer as the piece was coming together:
Imaginarium :: Mothgirl for the month of May, 2015.
The sill of the display window is very high – 51”, and so eye-level is close to the base of the bottom theatre. We peer up and into the Imaginarium, as though we were children taken to see the department store Christmas panoramas downtown. Kinetic pieces inside the Imaginarium move because they are attached to strings; these strings are passed through strategically placed pulleys, which in turn lead them backstage where they are attached to the wire baskets of oscillating fans. As the fans rotate, strings are either pulled or released – causing movement in the puppets.
In the lower theatre, the Imaginarium uses theatrical set design and shadow-puppets to reveal the wonder of a young Inuit girl as she first sees moths on the land. Above the girl, the upper theatre reveals the busy Spirit world that surrounds her, she cannot see, but is there nevertheless. Although this piece comments on climate change (in the Arctic, as permafrost is melting and glaciers are receding, creatures previously unknown to that landscape are moving further and further into the North), here the viewer is invited use her imagination and simply enjoy the view, as she did when she saw those Christmas windows as a child.
Artist Claire Louise Correia
Curated by Lisa Anita Wegner for Gallery 1313 Windowbox
Creative Support by Don Brinsmead
Documentary and editorial support by Tarquin Richards
Claire Correia was born in 1961, and spent her first years in London, England. In 1968 – when she was seven years old, Claire’s mother took she and her sister hitchhiking across Europe to Ibiza, and on to Morocco.They lived on the road for some time – after which the two children lived with a guardian on a farm, and then with their grandparents in their large country house. Eventually the girls joined their mother and her new husband in Bermuda, where they spent their teenaged years.
Claire came to Canada and attended the Ontario College of Art in the early 1980s, stayed, and maintained a drawing and painting studio in Toronto until 2011.
Six years ago, while watching over a dying friend – Claire had a vision, during which she saw her friend’s vibrant spirit floating in front of the exhausted body. After this experience, Claire’s art changed ;The works of Mark Rothko and Jean Miro held new meaning for her as she saw connection between them and her own mystical experience. She began thinking about ways to evoke the invisible world with which we share space, and from this began Heaven’s Breath –
an ongoing major body of work for which she works with flameworked and cast glass, metal and wood, attaching thousands of tiny hot glass spheres and other elements to the heads of pins, and then assembling them into relief sculptures.
There is a sense of freedom and purpose with Claire’s art today that was not present in her earlier drawing and painting. She feels guided in the work she is producing now, and is excited to constantly push herself into the territory of unfamiliar media. Her most recent piece, Imaginarium Mothgirl – a kinetic sculpture & shadow puppet theatre project, revealing life on both the visible and invisible planes as a young girl watches moths at dusk – exemplifies this push, as Claire begins to explore the possibilities of making art that moves.
Claire L. Correia Lives in downtownToronto with her family. She is a member of the Akin Collective art studio, and is also a design educator at Seneca College of Applied Arts & Technology.
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April 13, 2015 Art Therapy by Angela Chao at Gallery1313
In 2003, when I was just starting to make films, Angela Chao was in the camera department of my first two projects. After reconnecting last year, I fell in love with Angela’s fanciful painting and drawing on social media. Angela had found art-making as therapy and I was moved by her story as well her art. Her work was bright, bold and authentic and she created endlessly and freely. And Angela herself is so sweet and authentic – I particularly love how she snaps a picture to remember all her buyers.
“Mindless Doodles” is the second therapy installation that I’ve brought to my curation at 1313. I find that this type of work resounds with me as my own art career was born in the trauma therapy art room, and my daily art practice is what keeps me functioning. Angela and I have an understanding of art as something we need on a daily basis, to nourish our souls and stay connected to our true selves. And though the stories of our traumas are so different, the way we use our art is very similar. We understand each other’s specific trauma-based needs and refer to each other as Brain Buddies; and we’re both keen to spread awareness and help others discover art as a viable option as therapy.
When the April Windoxbox became open unexpectedly, I was thrilled that Angela was able to bring a selection of her ceramics and her “20 minute” feeling paintings to fill the window gallery at Queen Street’s Gallery 1313.
As well as bringing her work to Gallery 1313, Angela and I have started a series of collaborations including working with my performing persona, Thin(k) Blank Human. This summer is our inaugural exhibit together for The City of Toronto, for The Pan Am/Para Pan Am Games. Our collaborations will be under the moniker Art Saves Lives.
I invite you to come to Angela’s opening this Thursday at 1313a Queen Street West at Brock Ave. 8pm – 10pm is open to the public. If you want to come at 7pm and have a drink, you have to private message me. Angela’s work will be shown until April 28th 2015.
About the “Mindless Doodles” Exhibit:
The installation “Mindless Doodles Art Therapy” in Gallery 1313’s Window Box space for the month of April dives into the life of Canadian filmmaker, Angela Chao, who uses the term Mindless Doodles to denote the images she sees that are not pre-conceived or arranged. These doodles come straight from the emotions and sensations of her current “crazy brain,” the result of three on-set concussions she has suffered over the past one and a half years.
After trying many types of therapy, she found HandsForHealth.ca and cranio-therapist Edwin Galeano, with whom – after just one session – Angela found herself able to think freely and begin to escape the personality and mental changes, PTSD, depression and anxiety that had plagued her since her accidents. Even more exhilarating, she could sit still and accomplish things, an ability to that had been taken from her. She started doodling and discovered her hidden artist, and a place where she can leave behind mental challenges and be free to create.
Angela Chao’s work can be seen at Mindlessdoodle.ca For private viewing or commission art, please contact Angela at info@mindlessdoodle.ca.
Angela + Thin(k) Blank Human
Tags: angela chao, art, art as therapy, art saves lives, art therapy, canadian, collaborations, gallery 1313, lisa anita wegner, mindless doodles, pan am games, phil anderson, toronto art openings, Windowbox
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February 23, 2015 Canadian Artist Misses her Own Art Opening, Forced into (mī′grān′) Performance.
February 23 2015 Fritz Snitz for the haus of dada
Canadian Filmmaker Performance Artist, Lisa Anita Wegner was curiously missing from the opening party of Phil Anderson’s Sex Show V at Gallery 1313 on Queen Street West.
Still from Eva Gets a Better Job (2008)
This group art show includes Eva Gets a Better Job (2008) a short film of Wegner’s. The opening on January 19th was a booming success and it was a shame the artist wasn’t there.
Curator Fritz Snitz announced was forced to perform (mī′grān′) at haus of dada in Toronto and was unable to make the Gallery1313 event. 
The Following day Ms. Wegner performed as Thin(k) Blank Human “Tech Scout for The Fall and Rise if The Queen of Jupiter” at Walker Court at The Art Gallery of Ontario. Afterward she teleported to The Artist Project. Photos by Angela Chao.
The Artist Project with Adrienne Dagg
Coming soon: Thin(k) Blank Human BadAss.
Tags: adrienne Dagg, angela chao, art gallery, art openings, Fritz Snitz, gallery 1313, lisa anita wegner, migraine, performance art, performance artist, phil anderson, queen street west, sex show, the artist project, thin(k) blank human, Toronto
February 20, 2015 Gallery 1313’s March Windowbox looks into lineages in Canadian photographic history
February 20 2015
TINY [a group show] was in the works for six months for the Windowbox at Gallery 1313 and as I was imagining hanging all the glorious miniature work so high and far from viewers eyes, I realized that I was lost in my own cleverness. I decided to take these twelve artists’ amazing work to a new social art space being built now. A Whisky/ Bourbon/ Expresso Bar that I will be curating next season is a good fit where I can hang it in a corner or place it in a nifty cabinet. There it makes sense. Not as clever but so much better.
As if by magic the day the March Windowbox slot was open artist Phuong Nguyen (who seems to know everyone) emailed me and asked if I’d be open to a proposal for that very space. Why yes I would Phuong, yes I would.
I immediately enjoyed artist Greg McCarthy and his work. http://www.gregmccarthy.ca/
His pieces feel free and I resonate with the artiface and playfulness combination. When I saw his set ups, I felt confident that he could craft a great idea into the unusually shaped gallery space for me. When I went to his studio and he showed me his colleagues’s work and his very open and enthusiastic attitude to his art, I knew I made the right decision. A fellow life enthusiast, he is just as stoked about other artist’s work this makes me feel comfortable.
I was tickled when the piece he wanted to bring to Gallery1313, was the very piece that I chose to post for my announcement that I was working with him. Fake snow!
Not having had a great experience in my own artistic education (I am a York Theatre School drop out) it was a breath of fresh air to see the Thesis Studio at OCAD and all the unbridled creativity being fostered in there. 
My last two Windowbox pieces were non-traditional: collaboration with Nolan a five year old child and an Anonymous and an out-patient at Women’s College Trauma Therapy Department. I am happy to present a dyed-in-the-wool artist, Greg McCarthy. I am proud to present his re-imagining of his piece SPECTRE.
Original Piece by GregMcCarthy
The installation Spectre in Gallery 1313’s window space looks into lineages in Canadian photographic history and how they affect the present. By creating collaged and edited versions of William Notman’s original studio setups and presenting them in a way that highlights the artifice of the image, the works look to re-examine the way in which we relate to our own histories, and the role that they play in shaping the present.
Notman’s images and others like them are so ingrained into Canadian culture that I feel as though they are due for a second appraisal, an examination into all that they connote in a contemporary context. From the iconic images of blissful figure skaters to intrepid caribou hunters, these images not only carry with them a romanticized view of a bygone era, but a history of how many Canadians chose to be depicted in the nation’s early years. They speak to the performativity of national identity and an idealization of what it meant at the time to be Canadian.
Spectre takes the provisional quality of Notman’s original setups and takes it to a hyperbolized extreme, the verisimilitude of the original falls away leaving the viewer with a stripped down copy of the original, a failed attempt at recreating the past. As gallery goers pass the figure looking down on them from the window they are asked to consider the history of what they will see inside and to consider what changes will need to be made as we move forward.
Lisa Anita Wegner, curator for Windowbox Gallery1313
Tags: art, canadian photography, Expresso Bar, gallery 1313, greg mccarthy, lisa anita wegner, ocad thesis, photography, phuong nguyen, Windowbox
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January 17, 2015 Toronto Artist Shocked When Asked to Prepare Stadium Performance by Mentor.
Lisa Anita Wegner is a filmmaker, producer, curator and performer who is accustomed to working in small local art galleries and screening venues in Toronto Canada. Working with established curator Patrick MacCauley, Wegner got a taste of working large-scale when she was the 26 foot tall Queen of the Parade in front of an enormous audience for Scotiabank’s 2013 Nuit Blanche.
This led to several seasons working with performance in multi media environments, exploring soundscapes as well as video. In 2014 Wegner played a lead role in a scripted film, her first in six years, acting as the Caucasian Agent in Will Kwan’s http://www.reelasian.com/festival-events/if-all-you-have-is-a-hammer-everything-looks-like-a-nail/ commissioned by Reel Asian International Film Festival. She brought her team back to create a Ten Foot Queen of the Parade the Partners in Art Annual Fundraiser, which Wegner says felt like her coming out party, meeting the Toronto Art World.
“Follow that swagger and dream a breakout show. I can see a collaboration. There might be an opportunity soon, and I’d work with to bring it to life.”
Wegner and her team are currently preparing to lift the curtain and to prepare the world to meet Thin(k) Blank Human Faceless RockStar. Lisa Anita Wegner wants to make her mentor proud.
-Fritz Snitz for Haus of Dada *The Fictitious History of the Haus of Dada* 2015
Another project from the Haus : Lisa Anita Wegner collaborating with a five year old artist on TARGET:
Tags: art gallery, artrageous in motion, Gallery1313, haus of dada, large scale art installation, lisa anita wegner, mentorship, partners in art, patrick maccauley, performance art, Queen of the Parade, reel asian film festival, the black cat, therapy art, thin(k) blank human, think blank human, Toronto Canada, Trauma Therapy Art, will kwan
January 4, 2015 Knight Nolan hits his Target
Target is a piece by Nolan Georgakopoulos
When I undertook curating a series of installations for Gallery 1313’s Windowbox gallery, I made a conscious decision that I wanted to go off the usual path to find some of my artists.
As with the November Windowbox installation This Is What It Feels Like, Target does not come from a traditional source; rather than work with an established artist, I chose to work with a five-year-old boy who had never done anything for public display before.
I’ve known Nolan since he was a baby, and have always been taken with both the originality and specificity of his artistic ideas – for shapes, and colours, and how things fit together – that made him myfirst choice when I wanted to feature a kid’s art in the Windowbox.
With a collection of found objects that I thought Nolan might find interesting, and free reign to create whatever he wanted, what has emerged in Target is a true reflection of him – a self-portrait in a way, that features King and Queen representations of his parents, as well as himself in a Knight’s role.
What was fascinating to me in working with Nolan to create his piece, is that the process was exactly how I might collaborate and communicate with artists of any age. Target may be his first effort to create something for what he calls an “art stadium,” but it’s clear that he’s already tapped into a universal artistic urge.
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November 13, 2014 (We Could Belong Together: Looking for) Tiny Art and A Tall Thin Man.
Call for Submissions: GALLERY1313 (http://g1313.org)
Lisa Anita Wegner, who has always loved unexpected sizing, is looking for extremely small art of any medium for TINY: a group exhibit which will on display for a month entirely in the Windowbox at 1313 Queen Street West. Please submit a jpeg with dimensions or the existing or proposed pieces.Call for Performance Artists HAUS OF DADA: (www.mightybraveproductions.com)
Looking for a tall (6’2”+) slim male performer to perform with Thin Blank Human. Send us a picture, your height and performing experience.
http://lisaismightybrave.com/2014/10/31/performance-artists-perceived-gender-affects-audience-reaction/
Please contact Matthew or Patrick at hausofdadatoronto@gmail.com with TINY or THIN BLANK HUMAN as the subject line.
Tags: curator, gallery 1313, haus of dada, lisa anita wegner, small, tall thin man, tiny art, unexpected
November 11, 2014 Gallery1313 Shows Anonymous Trauma Therapy Art Piece in Windowbox
This is What it Feels Like: Mixed Media sculpture by Anonymous (A)
When I was brought on to Gallery 1313 to co-curate the Windowbox I was keen to bring work that is created through non-traditional means. November 2014 I am proud to show “This is What it Feels Like” by Anonymous, a woman I met in 2011 in The Women’s College Hospital Trauma Therapy Department. She told me how therapeutic making art is for her and she is happy to have been given art making as outlet in the SPEAKArt Program.
It resounded with me when A talked about feeling inhuman, like three unstable delicate floating balls, unable to ground herself without the help and approval of other people. She feels like she’s been put together like a delicate patchwork and despite trying to cover this with normalcy, her hiding was transparent. She feels her body is a flying machine too unyielding for her to steer. Her little useless limbs hanging there, taunting her. She needs so much support just to exist it’s like she can’t stand up without support. She feels that her loins, belly and heart are blown open for everyone to see into her. I could visualize this as she was talking. I encouraged her to create the piece for herself and asked her if she would feel comfortable showing her work in The Windowbox to help start a conversation and perhaps inspire with other abused women through making and appreciating art.
Tags: Anonymous Art, Gallery1313, lisa anita wegner, Trauma Therapy Art, Windowbox
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Lisa Anita Wegner 
