Exhibitions

Truth’s Entropy is a text-based exhibition where the permanence of memory teeters at the edge of temporal inevitability. Mora’s artworks draw from the artist’s experience of geographic distance to invite contemplation of a subject's relationship to family and home.

InterAccess is pleased to present BETA in beta, the first exhibition in the InterAccess beta series. beta is a pilot project to showcase the work of our members and strengthen the connection between the production and exhibition phases of new media art at InterAccess.

THE DUALITY OF HUMAN DIGNITY: TWO SHORT ESSAYS ON MONIR MONIRUZZAMAN AND JACK BUTLER JOHN K. GRANDE

InterAccess is pleased to present The Watch Man, a new major video and sound installation by internationally acclaimed London-based artist Shona Illingworth. In the exhibition, the artist weaves together the physical and the psychological, creating an immersive environment where a complex sound composition surrounds the viewer. Using feonic audio technologies originally developed by the US Navy, the installation activates the gallery space, turning the floor into a speaker that resonates with sound.

InterAccess is pleased to present ZOO, an exhibition of three works by three artists that artfully integrate natural and artificial life, colliding the realm of living things with the genre of creative electronics. Artists Ingrid Bachmann, Garnet Hertz and Amy Youngs explore the complex relationship between technology, culture and nature. This exhibition includes a cockroach-controlled robot, a holodeck for house crickets and hermit crabs that surf the net!

Join the flock and play with our fuzzy balls at InterAccess . . . Curated by Caroline Seck Langill

Finnbogi Pétursson discusses his work and practice. In a time when the art and culture of Iceland holds considerable international appeal, Finnbogi Pétursson has emerged as one of that country's most respected and acclaimed contemporary artists. With a practice that spans more than 20 years, Pétursson has earned a solid reputation as an innovative artist whose work defies convention and easy categorization.

InterAccess is pleased to present Press Play an energetic showcase of dynamic new works in electronic media. The exhibit features six emerging artists who playfully intervene both old and new technologies in order to expose the cultural conditions that shape modern life. Exploring the sometimes humourous, sometimes dystopic theatre of the everyday, these artists investigate how our values and perceptions are infused not only in our behaviours but also in the technologies that we create.

InterAccess is pleased to present SCALE, an exhibition that thinks big on a small scale by delving into the realm of nanotechnology. Hypothesizing a world where matter is built one molecule at a time, SCALE explores innovative methods of making new structures, materials and ways of thinking possible. Curator Camille Turner brings together molecular scientist John Storrs Hall, architects Philip Beesley and Will Elsworthy, and artist collaborative Ælab (Stéphane Claude and Gisèle Trudel).

Walk Yonge Street from Dundas Square to the waterfront this spring and you will hear stories about the neighbourhood, revisit the old Bulova Clock Tower in miniature form, catch a glimpse of the great outdoors, see text messages translated into Morse code, and learn about the lives of urban pigeons.

InterAccess is pleased to present KODAMA, an interactive sound installation by Japanese artist Hisako K. Yamakawa that imagines "voice" as a physical object by illustrating how it floats through space. In the exhibition, Hisako has created a virtual forest inhabited by tree fairies that capture and play with the viewer's voice. KODAMA is presented in association with the 19th Annual Images Festival, April 13-22, 2006.

InterAccess is pleased to present Controller: Artists Crack the Game Code, an exhibit featuring the work of five artists that modify video games by exploiting glitches in the code, adding or removing elements in the game and isolating specific visual components. By hacking the game code, these works question the latent meaning of the gaming language: who designs the software and for what end, who's controlling whom?

InterAccess is pleased to present Reconnaissance, Toronto's first exhibition of the works of two internationally acclaimed artists from Finland. The exhibit features works that explore military issues, one through miniaturization and shadow play, the other through child's play- presenting a point of view on war seemingly removed from the current war on terror.

InterAccess has been home to new media art and artists for nearly 25 years. This exhibition brings together important new media artists in Canada who have, now or in the past, had a connection with InterAccess on the occasion of InterAccess's grand re-opening in a new and renovated location in the Queen West gallery district. Organized around a theme of interactivity, the exhibition looks historically at works addressing this idea inherent in electronic media art.

Six artists sit on a moving pulse. The pulse is a travelling wave of information and experiences that change daily. The pulse encourages us to adapt to our environment as quickly as it changes - as quickly as it offers an upgraded tool. Pulse groups together five projects from six young artists with an innate technological awareness. Their practice is informed by their childhood experiences of a constantly changing technological environment reflected in the proliferation of personal computers, portable music devices and home VCRs.

While the traditional practice of cartography is restricted to interpreting our physical and visible surroundings, electronic artists have long been exploring the notion of mapping alternate realities - physical and virtual, analog and digital. As an aesthetic medium, it provides direction and navigation beyond our immediate surroundings. Within the realm of the virtual, the possibilities for interpretation and classification are endless.

In the Charles Perrault fairy tale Peau d'Ane, a young princess, whose family riches are dependent on a gold-excreting donkey, orders impossible wedding gifts from her father to avoid marrying him: three dresses made of immaterial materials. The first is to be made of the "sky" and should be as light and airy as the clouds. The second is to be made of "moonbeams" and should reflect the same lyrical intensity as the moon at night. The third, and last, is to be made of "sunlight" and should be as blinding and warm as the sun above.

Ed Osborn's Harvester requires that visitors not touch the piece. For most people familiar with electronic art, the hesitation to actively experiment with installations has long been diminished and is in fact the most common denominator of the medium. Osborn's piece is part of a trend that explores how media art that is seemingly low-tech and code-free can be as significant as work that is visibly complex in both construction and meaning.

100(11) Instruction Works is a series of daily performances taking place during the 2004 7a*11d International Performance Art Festival. The instructive projects create an opportunity to explore the many architectures of Toronto—physical, virtual and mental. A wireless camera will be in use during performances to experiment with the notion of interfacing urban space with a performance piece, and in turn, with a global population. 100(11) Instruction Works is multidisciplinary artist kanarinka's continuing exploration of invisible things—spaces, frameworks and contexts.

Feedback provides and elicits response. Whether it is received from humans or machines, feedback is cyclical - looping over time, encouraging great debate and action. It is also a response that is subjective; but while we may conceive of mechanical and computational feedback as predetermined and therefore predictable, this exhibition hopes to demonstrate that it can be otherwise.

Curated by Heather Corcoran and Erin Peck. At some point every person has unexpectedly discovered a link to another with whom he or she previously had no relationship, an experience that has come to be known as "six degrees of separation." There is a concrete cultural notion that we are somehow all connected, a kind of underlying network governing our communities and influencing our attachments.