a soft landing:
Alyssa Alikpala, Erika De Freitas, Rihab Essayh, Eve Tagny and Alize Zorlutuna
Curated by Jaclyn Quaresma
June 29 – August 6, 2022
Closing reception: Thursday, July 28th, 6-8pm, curator walk-through at 6:30pm
This exhibition considers the reparative and restorative potential of slowness through ideas of tenderness and transgression. Though soft in aesthetic and theme, showcases artworks by critically lauded, so-called Canadian artists who consider the effects of global events–such as the pandemic–on mental health and personhood. The exhibition will house multi-disciplinary work ranging from installation and sculpture to, video. With compassion at its core, a soft landing celebrates the slow process of coming together while adjusting one’s comfort levels to the current phase of the pandemic.
Presented at Gallery TPW in partnership with Images Festival and Scotiabank Contact Photography Festival
Fugitive Rituals: July 30 – December 4
Curated by Myung-Sun Kim
Presented at Agnes Etherington Art Centre
The artists Nicolas Fleming, Cindy Mochizuki, Lisa Myers, Laura Pitkanen, Camille Turner and Alize Zorlutuna in Fugitive Rituals examine belief systems embedded within institutional architecture and ask how we make changes with care to the systems that we have lived with for a very long time. The exhibition, as a discursive platform for a series of activations, offers intentional rituals to give palliative care to old systems that no longer work; to grieve and mourn what is lost; and to project into a speculative but collective future grounded in care and ecological considerations. Approaching the exhibition as an iterative ritual itself, where repeated acts of building, installing, disseminating, viewing and deinstalling transform the site, we might see the possibilities for escape from old colonial systems and seek sustenance through practicing each artist’s intentional ritual. The work in this exhibition engages with waste produced from previous exhibitions as well as selected objects from Agnes’s significant collection of cultural belongings as ways to consider ecological and relational concerns in art and exhibition-making.
Image: Alize Zorlutuna, Su Yollunu Bulur: water finds their way, 2022, carpet, multimedia installation. Image courtesy of the artist
Supported by the Canada Council for the Arts; the Ontario Arts Council, an agency of the Government of Ontario; David Bain Memorial Fund, Robert Sutherland Visitorship and the Inclusive Community Fund, Queen’s University.
By Sam Shahsahabi January 21, 2022
Blackflash Magazine Winter, 2022
A response to BlackFlash’s Fall/Winter issue “Infinities.”
By Nur Sobers-Khan March 24, 2022
Alize Zorlutuna’s Facing East (2019) evokes the question that echoes through much diasporic art—the interrogation of origins, place, and belonging. Or rather, origins in a now-imagined landscape, absence, and resistance to belonging. Facing East is simple but deeply evocative artwork: a prayer carpet from which the central mihrab design, upon which a Muslim would normally stand and pray, has been cut out; the carpet is draped over a monumental rock formation, which can be seen through the absent form of the mihrab. A many-layered work, Facing East brings to mind the hadith that the entire earth is a place of prayer. While the prayer carpet is the artifice of humans, the earth is God’s creation, and thereby pure by its very nature. The near-eternality of the rock stands in contrast to the fabric of the prayer carpet, ephemeral and destined to fray and unravel, hinting at the fragility of human prayers and human endeavours, and also at the hubris of humankind—why do we weave elaborate prayer carpets as a locus of piety when the earth itself is the original place of prayer? Alize Zorlutuna’s work speaks to our transience as physical beings as well as humankind’s vulnerability, expressed through the inventive, yet fragile, aesthetics and materiality of our religious rituals.
SESSION/relay: Alize Zorlutuna
How to write for an imagined place
The word “place” can refer to a myriad of locales, both physical and psychic. Place is real earth beneath our feet as well as imagined: a relic of memory in the privacy of our thoughts; an historic construction; a fantasy of elsewhere; a felt sense; a longing. Place is a gathering of stories, mythologies, and hauntings. It can be a conjuring of responsibilities—a teacher. Place can have its own gravity, as in contested territories—Palestine, Kashmir, Kurdistan, and Turtle Island—that are at once historic, imagined, and lived present realities of enduring violence. Yet place can exist beneath words and above borders as speculative; as world-building.
How to write for an imagined place proposes a collaborative writing process, distributed across distances and the imaginations of its participants. Inviting responses to a collection of prompts sent through the mail, this multi-directional exchange offers a series of encounters and reflections. As we continue to physically distance, this project conjures some place we might gather, if not face to face, then through the meeting of ideas and impressions. [—Alize Zorlutuna]
Beginning the week of 14 February 2021, this program will be facilitated through the postal service between February – April 2021. Participants in Canada will be provided with requisite materials and postage to partake in the project. Participants outside of Canada should contact the gallery to discuss arrangements.
Registration for this program is now full. Thank you to everyone who RSVP’d!
Alize Zorlutuna is an interdisciplinary artist, writer and educator whose work explores relationships to land, culture and the more-than-human, while thinking through settler-colonialism, history, and solidarity. Having moved between Tkarón:to and Anatolia (present-day Turkey) both physically and culturally throughout their life has informed Alize’s practice—making them attentive to spaces of encounter. Alize enlists poetics and a sensitivity to materials in works that span video, installation, printed matter, performance and sculpture. The body and its sensorial capacities are central to their work. Alize has presented their work in galleries and artist-run centres across Turtle Island, including: Plug In ICA, InterAccess, VIVO Media Arts Centre, Mercer union Centre For Contemporary Art, Doris McCarthy Gallery, Art Gallery of Burlington, XPACE, Audain Art Museum, Access Gallery, as well as internationally at The New School: Parsons (NY), Mind Art core (Chicago) and Club Cultural Matienzo (Argentina). Alize has been a sessional instructor in the Faculty of Art at OCAD University since 2015.
SESSION is a project modelling itself after an incubator that invites cultural practitioners to engage with questions that emerge out of a given exhibition. /relay is a durational and distributed reframing of the project that untethers the incubator from a singular moment or site of gathering.
SESSION is made possible with Leading Support from TD Bank Group.
With Mercer Union: A Centre for Contemporary Art
how to be soft
Launching Fall 2019
A collection of poems and images that look at ways in which power unfolds through intimacies that live in the body. Enlisting gestures of concealment, Alize Zorlutuna pairs poetry with images, some depicting ongoing performance projects, others depicting alternative ways of working through the materiality of experience. The text and images move between withholding and inviting, reconfiguring agency in the process of telling.
you can purchase copies @ househousepress.com
Entering the Landscape
Curated by Jenifer Papararo and Sarah Nesbitt
September 30, 2017 to December 31, 2017
Opening Reception: Saturday September 30 | 8pm
Pia Arke (1958-2007 Greenland and Denmark) • Laakkuluk Williamson Bathory (Iqaluit) • Jaime Black (Winnipeg) • Lori Blondeau (Saskatoon) • A.K. Burns (New York) • The Ephemerals (Winnipeg) • Melissa General (Toronto) • Rebecca Horn (Berlin) • Katherine Hubbard (New York, USA) • Maria Hupfield (New York) • Simone Jones (Toronto) • Tau Lewis (Toronto) • Amy Malbeuf (Rich Lake Alberta) • Meryl McMaster (Ottawa) • Ana Mendieta (Cuba) • Natalie Purschwitz (Vancouver) • Dominique Rey (Winnipeg), • Jamie Ross (Montreal) • Xaviera Simmons (New York) • Ming Wong (Berlin) • Alize Zorlutuna (Toronto).
Plug In Institute of Contemporary Art is excited to announce the opening of our fall exhibition, Entering the Landscape, a contemplative group exhibition featuring twenty-one artists from Canada, the USA, Denmark, and Berlin. Working in film and video, photography, sculpture, and performance these artists represent a breadth of politicized contemporary and iconic historical works that place the female or queer body in the landscape. Bringing together artworks that conceptually and aesthetically overlap, this exhibition identifies and considers a persistent motif in contemporary art.
May 13 – September 4, 2017
Opening reception: Saturday, May 13 | 6 – 8 PM | Free
Chun Hua Catherine Dong, Raafia Jessa, Jihee Min, Yvonne Singer, Shellie Zhang, Alize Zorlutuna
Language is a universal and abstract system of sounds and symbols. Yet, the social, political and cultural contexts in which a language is spoken greatly affects its development and usages. In ever increasingly globalized societies, our sociolinguistic identity is not often singular. The language we speak at home, or learned as a child – our mother tongue – may not be the same one used in our everyday lives. Mother Tongue invites us to consider the complex relationships that exist between language and identity; how it defines who we are and how it can inform visual artistic practice.
THURSDAY JANUARY 26 7.30pm
Curated by Elisa Ferrari + Stacey HoThis program began as a consideration of affinities outside of the human realm, between plants and animals, objects and machines. However, this initial concept soon took on the shape of our conversations and shared interests—subjects such as walking, wandering, and listening. Writing on Margrethe Pettersen’s work, Britt Kramvig challenges the division of entities into nature and culture, rooting our need for holistic environmental awareness in Sami ontology. She writes “our ears have become dull to the sounds of the land speaking through our feet, it is now incumbent upon us to remember.” This has resonance not only in practices of deep listening but also in performance art practices that are invested in healing the fraught relationship between the land and the body.
~ Elisa Ferrari + Stacey Ho
Mice Magazine: 02
labour for the horizon 2
Radiodress, Syrus Marcus Ware: we begin with our bodies:MICE Issue 02 Rebeka Tabobondung: A Story of Indigenous Birth Justice Barak adé Soleil: the “good” body/a query of queries Shanell Papp: Lab Alize Zorlutuna: Labour for the Horizon Leah Lakshmi Piepzna-Samarasinha: A Not-So-Brief Personal History of the Healing Justice Movement, 2010–2016 Tarah Hogue: #callresponse Sheena Hoszko: Of Birds, Ointments, and Care: How Peter Collins’ Artworks Kept Him in Prison Chris Kennedy, Samuel La France: Brûle la mer: A Welcome Returned
There Should be Gardens curated by Amber Christensen
There Should Be Gardens brings together five Canadian emerging and early career new media artists whose work addresses the interconnectedness of technologies, ecologies, botanies, gender and the cosmos. The exhibition explores the materiality and affectivity of matter, blurring the focus of feminism and queer feminism between the human and non-human. Featuring Alana Bartol (Calgary), Adrienne Crossman (Toronto), Anna Eyler (Ottawa/Montreal), Kara Stone(Montreal), and Alize Zorlutuna (Toronto)
SAVAC’s annual juried members’ exhibition showcases the range of contemporary art practices across SAVAC’s membership.
June 4 – 29
Crawling backwards up the steps of the Art Gallery of Ontario (AGO) and the Royal Ontario Museum (ROM), Alize Zorlutuna’s durational performance Crawl is part of a series of performances that take place at galleries and museums across the world. Choosing sites where historic artifacts from the non-Western world are housed, specifically the Islamic world, Zorlutuna performs this arduous feat as a comment on the effects of cultural collection, and the complication she encounters as an artist to be included in the very world she critiques.