{"id":186593,"date":"2023-05-01T16:40:00","date_gmt":"2023-05-01T21:40:00","guid":{"rendered":"https:\/\/esse.ca\/compte-rendu\/supply-chain-issues\/"},"modified":"2023-05-05T12:06:08","modified_gmt":"2023-05-05T17:06:08","slug":"supply-chain-issues","status":"publish","type":"compte-rendu","link":"https:\/\/esse.ca\/en\/reviews\/supply-chain-issues\/","title":{"rendered":"Supply Chain Issues<\/em>"},"content":{"rendered":"\n
Above and beyond the human toll of the virus itself, the COVID-19 pandemic has exposed already-existing social disparities and stresses on the global economic system. Supply Chain Issues<\/em> at Toronto\u2019s MKG127 took this ongoing crisis as an opportunity to amplify the work of artists whose explorations of fraying infrastructures similarly predated the World Health Organization\u2019s declaration of an international health emergency in March 2020. The exhibition\u2019s West Coast roster of artists was a canny materialization of the logistical stakes of long-distance distribution.<\/pre>\n\n\n\n
The mock pathos of Vancouver-based artist Germaine Koh\u2019s Roadkill <\/em>series (2013\u2013\u200a17) draws attention to car culture and recreational hunting as vectors of ecological comorbidity. Recovered from far-flung roadsides and mounted like trophies, Roadkill<\/em>\u2019s tortured shreds of rubber tire elaborate a poignant poetics of environmental degradation. <\/p>\n\n\n\n
\"Germaine-Koh_RoadkillTransCanadanearMerritt\"
Germaine Koh<\/strong>
Roadkill: Trans-Canada near Merritt<\/em>, 2013, from the series Roadkill<\/em>, 2013-2017, installation view, MKG127, Toronto.
Photo: Toni Hafkenscheid, courtesy of MKG127, Toronto<\/figcaption><\/figure>\n\n\n\n
Multidisciplinary artist Hank Bull likewise repurposes the by-products of transportation in his Painted Boxes <\/em>(2018\u2013\u200a\u200aongoing). In this series, unfolded carboard containers of varying dimensions and complexity serve as the unlikely supports for gnomic paintings whose muted palettes reference the restricted range of hues found in the work of Danish artist Vilhelm Hammersh\u00f8i. Mining the aesthetics of packaging, Bull reveals readymade forms simultaneously reminiscent of ritual masks and early videogame graphics. <\/p>\n\n\n\n
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\"Hank-Bull_Ishtar\"
Hank Bull<\/strong>
Ishtar<\/em>, 2018, installation view, MKG127, Toronto, 2023.
Photo: Toni Hafkenscheid, courtesy of MKG127, Toronto<\/figcaption><\/figure>\n<\/div>\n\n\n\n
<\/div>\n<\/div>\n\n\n\n
Whereas Bull\u2019s reuse of carboard waste gestures toward rapid deforestation driven, in part, by an insatiable demand for disposable packaging, Paul Walde\u2019s Tempus Fugit:<\/em> Arborum Cadunt (after Man Ray)<\/em> (2021) proposes a sonic measure of the logging required to produce such containers. Walde substitutes a cut-out of an old-growth tree for the photograph of an eye paperclipped to Ray\u2019s metronome in Object to be Destroyed <\/em>(1923). Alarmingly, the anxious tempo of Walde\u2019s arboreal memento mori is indexed to the rate of deforestation in British Columbia. <\/p>\n\n\n\n
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<\/div>\n\n\n\n
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\"Paul-Walde_TempusFugitArborumCadunt(afterManRay)\"
Paul Walde<\/strong>
Tempus Fugit: Arborum Cadunt (after Man Ray)<\/em>, 2021, installation view, MKG127, Toronto, 2023.
Photo: Toni Hafkenscheid, courtesy of MKG127, Toronto<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
Following a different path, Los Angeles-based artist Josh Callaghan humanizes the post-industrial landscape with his arresting assemblages of toolkits and twigs gleaned on urban walks. The absurdly standardized dimensions of the tree branches methodically arranged by Callaghan recall Duchamp\u2019s facetious exercise in measurement, 3 Standard Stoppages<\/em> (1913\u200a\u2013\u200a\u200a14). Duchamp\u2019s Fountain <\/em>(1913)is the absent centre of Vancouver-based Khan Lee\u2019s Everything Flows\u200a\u2014\u200aCarbon Copy: Copy 1\/7 <\/em>(2023). Lee\u2019s meticulous facsimile of a trade catalogue for the J.L. Mott Iron Works plumbs art historians\u2019 intricate attempts to trace the iconic bathroom fixture submitted for exhibition with the Society of Independent Artists in 1913. Fountain<\/em>\u2019s pseudonymous signature, \u201cR. Mutt,\u201d is presumably a nod to the New Jersey-based hardware dealer and manufacturer from whose New York showroom Duchamp may have selected his urinal readymade. Everything Flows <\/em>is a persuasive demonstration of the potential for supply chains to yield art-historical insight\u200a\u2014\u200aas well as perplexity. <\/p>\n\n\n\n
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\"Sonny-Assu_HollowApologiesWillBeTelevised\"
Sonny Assu<\/strong>
Hollow Apologies Will Be Televised<\/em>, 2022, installation view, MKG127, Toronto, 2023.
Photo: Toni Hafkenscheid, courtesy of MKG127, Toronto
<\/figcaption><\/figure>\n<\/div>\n\n\n\n
<\/div>\n<\/div>\n\n\n\n
Ligwilda\u2019xw of the Kwakwaka\u2019wakw Nations artist Sonny Assu\u2019s contribution to Supply Chain Issues<\/em> takes a longer view of current crises. The pulsating orange formline of Assu\u2019s Hollow Apologies Will Be Televised<\/em> (2022) forcefully rescinds former prime minister Stephen Harper\u2019s premature 2008 apology for residential schools following the discovery of 215 unmarked graves at the site of a former residential school in Kamloops in 2021. Assu\u2019s intervention is a timely reminder of the genocidal toll of extractivist economies.<\/p>\n\n\n\n
With a PhD from the University of Toronto earned in 2016, Adam Lauder has taught courses on Canadian art at OCAD University and the University of Toronto. In 2018, he organized an exhibition of Rita Letendre\u2019s public art at YYZ Artists\u2019 Outlet.<\/p>\n
Adam Lauder, Germaine Koh, Hank Bull, Josh Callaghan, Paul Walde, Sonny Assu<\/div>","protected":false},"excerpt":{"rendered":"MKG127,<\/strong> Toronto
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