separation penetrates

Emre Hüner, Jen Hutton, Steffani Jemison, Steve Kado, Anne Low, Josephine Pryde, Hassan Sharif

Curated by: Jacob Korczynski

1 December 2017 - 3 February 2018
Opening Reception 1 December 2017 7pm


Start together – then separate.

“One is inside
then outside what one has been inside
One feels empty
because there is nothing inside oneself
One tries to get inside oneself
            that inside of the outside
            that one was once inside
            once one tries to get oneself inside what
            one is outside:
to eat and to be eaten
to have the outside inside and to be
            inside the outside”[1]

While knots can be complicated to untangle they don’t always hold. Just a few years after publishing Knots (1970), his study of relationships through monologue and dialogue, R.D. Laing developed another book that traced exchanges between his two children. In the introduction to Conversations with Adam and Natasha (1977), Laing rejects the knot as relationship model in favour of the interweave – two or more subjects brought into proximity but not collapsed together or confused for the other.

In her introduction to the second collection of published interviews about her practice, Trinh T. Minh-ha describes the opening of the interval:

“Intervals allow a rupture with mere reflections and present a perception of space as breaks. They constitute interruptions and irruptions in a uniform series of surface; they designate a temporal hiatus, an intermission, a distance, a pause, a lapse, or gap between different states; and they are what comes up at the threshold of representation and communication – what often appears in the doorway…”[2]

As engaged by Emre Hüner, Jen Hutton, Steffani Jemison, Steve Kado, Anne Low, Josephine Pryde and Hassan Sharif, both interweave and interval act as caesurae – interruptions in an artwork, pauses that produce spaces where there can be a presence that is our own.

[1] Laing, R.D., Knots, Tavistock, London, 1970, p. 83.
[2] Trinh, T. Minh-ha, “Beware of Wolf Intervals,” in Cinema Interval, Routledge, London, 1999, p. xii.

Guest curated by Jacob Korczynski

Jacob Korczynski is an independent curator and the editor of Andrew James Paterson’s Collection/Correction (Kunstverein Toronto & Mousse Publishing). He has curated projects for the Stedelijk Museum, Oakville Galleries, If I Can’t Dance I Don’t Want to Be Part of Your Revolution and the Badischer Kunstverein. His writing has been published by art-agenda, Girls Like Us, Flash Art and Little Joe.


Public Talk

Join us Saturday December 2 at 2:30pm for a public conversation with Anne Low and Jacob Korczynski. Admission is free and all are welcome.

Anne Low acknowledges the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country.
Anne Low vous remercie le Conseil des arts du Canada de son soutien. L’an dernier, le Conseil a investi 153 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.





Photography by Toni Hafkenscheid

Image: detail from Anne Low, Greasy head, 2017. Cotton, etching on paper, feather pillow, hand dyed and woven silk, newsprint, paper, silver, walnut. Courtesy the artist. Photo: Blaine Campbell.