Join us Friday September 17th 5-8pm for the opening day. Regular Gallery Hours are Fridays, Saturdays, Sundays and Mondays, 12-4, and by appointment.
Zona de Sacrificio (Sacrifice Zone) is a solo exhibition by artist and researcher Soledad Fátima Muñoz featuring a selection of textiles and a short film, supplemented with an educational iPad displaying information from https://www.desiertodememorias.cl.
Zona de Sacrificio references an ongoing process of political intervention orchestrated by North American and European governments in order to profit from resource extraction globally, leaving impacted areas permanently damaged by heavy environmental alterations and economic divestment. With works referencing events related to the history of neoliberal intervention in Chile, as well as the ongoing nature of these systemic abuses, Zona de Sacrificio aims to raise awareness of Canada’s role in global resource exploitation, and draw attention to Chile’s current context, where political prisoners still await trial for involvement in a contemporary movement to change the constitution implemented by Augusto Pinochet’s american-backed military dictatorship (1973-1990).
Aguas Libres (Free Waters) amplifies the status of water as a human right, in a context where private industries have created a water crisis by allocating the majority of Chile’s water supply towards industry and agriculture. The Canadian Teacher’s Pension Plan is the majority shareholder in Chile’s private water supply, a resource that was privatized under Pinochet’s government through a 1980 Constitution heavily influenced by the neoliberal policies imported through University of Chicago operatives. During a time marked by a decade-long drought exacerbated by climate change, the Canadian Teacher’s Pension Plan has a direct hand in how Chilean people are denied access to Chilean water.
Caravana de la Muerte (The Caravan of Death) is a 17 meter long woven copper work featuring portraits memorializing victims murdered during The Caravan of Death, named for an Army death squad that executed military detainees following the Chilean coup of 1973. Following the exhibition, this work will be shipped to Chile to be installed at a memory site associated with these events.
The short film La Parte de Atrás de la Arpillera (The back of the Arpillera), 23 minutes, explores the history of the Arpillera textile as a symbol of resistance and method of documenting, denouncing, and amplifying experiences absent from a mainstream national Chilean narrative.
“Through the collection of personal histories - in the form of interviews (in-person and online), phone recordings and personal footage - filmed or sent to us by makers in Lo hermida, La Patagonia, Los Andes, Coquimbo, La Serena, Malmö, Chicago and Toronto, we wanted to make a piece that - like the Arpillera - contained the history of resistance of our ancestors and peers.” - La Parte de Atrás de la Arpillera
Watch La Parte de Atrás de la Arpillera (The back of the Arpillera), 23 minutes, online here: https://lapartedeatras.com/
Read Arpilleras the Vessels of Chile’s Resistance, an essay by Soledad Fátima Muñoz, here: https://digitalcommons.unl.edu/tsaconf/1153/
Soledad Fátima Muñoz is an interdisciplinary artist, cultural worker and researcher born in her family’s exile in Canada and raised in Rancagua, Chile. Her work seeks to explore the ever-changing social spaces we inhabit and the archival properties of cloth. Through the investigation of the materiality of sound and the understanding of the woven structure as the continuation of our interconnected social gesture, her practice seeks to fabricate embodied instances that participate in the construction of a more equitable society and the creation of new archives of resistance.
In 2014 she started Genero, an audio project/label that focuses on the distribution and representation of women and non-binary artists within the sound realm. Subsequently, in 2017, she co-founded CURRENT "Feminist Electronic Art Symposium and Mentorship,” a multidisciplinary, electronic art program working with women, non-binary, and BIPOC (Black, Indigenous and People of Colour) artists in Canada and beyond. Her latest collaborative audiovisual project entitled “La Parte de Atras de la Arpillera'' features a collection of interviews with Chilean textile workers whose experiences stitch together the country’s history of resistance.
She studied Film at Universidad ARCIS in Santiago Chile, has a Diploma in Textile Arts from Capilano University in North Vancouver Canada, a Bachelor in Fine Arts Degree from Emily Carr University of Arts + Design in Vancouver and a Master in Fine Arts from the Department of Fiber and Material Studies of the School of the Art Institute of Chicago. Soledad has been the recipient of several awards, including the City of Vancouver Mayor’s Arts Award for Emerging Artist, The School of the Art Institute of Chicago New Artist Society Full Merit Scholarship, the Emily Carr University of Art + Design President’s Media Award and most recently the Textile Society of America Student and New Professionals Award.
August 7 – 28, 2021
Saturdays and Sundays: 11PM - 5PM
Thursdays and Fridays: 4PM - 8PM
Drop-ins anytime to view the work! If you cannot make these gallery hours, and would like to visit between Monday - Wednesday, feel free to get in touch at email@example.com or DM @hearth.garage on instagram.
Joy is sometimes fleeting and nebulous. It is sometimes outlined or overshadowed by grief, sorrow, and deep loneliness. Yet, it continues to glimmer in small ways, especially powerful when nurtured through community care. In the spirit of precarious joy, a joy that is obtained by a communal asking, the artists in this exhibition activate joy as resistance, joy as radical acts.
Produced by Project 40 Collective, "Precarious Joy" is our final volume of LooseLeaf Magazine in 3D form. This interdisciplinary group exhibition features artists Fong Ki Wan, Jana Ghalayini, Khanh Tudo, L Akhter, Qirou Yang, Ramolen Laruan, Rice Water Collective (Florence Yee & Arezu Salamzadeh), Sanna Wani, Tommy Truong, with an exhibition essay from atif m. khan. Precarious Joy is funded by the Toronto Arts Council.
We are located on Ulster St. just east of Three Star Variety (621 Bathurst, Toronto, ON, M5S 2R2). It is an accessible venue with a large garage door at ground level. There are no washrooms on site.
July 4 – August 2, 2021
Featuring work by Nabil Azab, Rixt de Boer, and Christian Vistan, Written in Water offers artworks that consider the processes of memory, recollection, and forgetting.
Aristotle distinguishes memory and remembering by assigning pathos to the former and attributing deliberate action to the latter. At the heart of this distinction we might discern the nascent refutation of a linear reading of time, instead understanding the two as working radially to interpret events and experiences. The artists in this exhibition propose misalignments and fallibility within experiences of remembering. The authority of the past desanctified into phantasmata, what feels familiar also dapples in sway. A glint, a glyph, gripping onto the sticky nodes of associations. By and by, memory’s finger curls within the nook. A bed of moss and weeds envelop its trace.
June 1 - 29, 2021
In “Ain El Karma”, a song originally written and performed in the early 1900s, poet and singer Aissa Djarmouni connects the act of tattooing to the land he wrote of, describing the puncturing of the skin, “Dot by dot like a baby gazelle grazing in the plain of the Olive River”.
The lasting popularity of this lyric links the once common practice of tattooing to the present; giving life and persistence to a tradition that, with the criminalizing of nomadic ways of being and the growing stigma associated with tattooing, is no longer widely performed in the region.
Mehran Mafi Bordbar, Mélika Hashemi and Iman Lahroussi draw from tattoo cultures across Iran and the Maghreb to explore borders, gender, faith, and the future—especially futures which demand the rejection of binaries, static history, and erasure.
(Re)membering and (Re)imagining: the Joyous Star Peoples of Turtle Island is a solo exhibition at Hearth Garage by Natalie King addressing joy, love, power, reclamation and the (re)imagining of Anishinaabe futures. Reflecting on Anishinaabe stories of the stars and the practice of oral storytelling, King visualises the act of embarking on ancestor-to-ancestor conversations that exist within and beyond the current physical plane, queering real and imagined conversations of past and future.
Natalie King (she/her) is a queer interdisciplinary Anishinaabe artist, facilitator and member of Timiskaming First Nation. King's multidisciplinary arts practice includes video, painting, sculpture and installation as well as community engagement, curation and arts administration.
ft. work by FASTWÜRMS, Holly Fedida, Julian Yi-Zhong Hou, Chantal Khoury, Aidan Koch, Alicia Nauta, Shaelynn Recollet, Fatine-Violette Sabiri, and Véronique Sunatori
And a publication [PDF] featuring writing from Alexia, Benjamin de Boer, Forest Hope, Jennifer Laiwint, Keivan Mahboubi, and Blair Swann.
January 9 - February 7, 2021
A seasonal collaboration with the plumb
Online components including videos by Jennifer Laiwint, and FASTWÜRMS, and a song by Forest Hope, can be found at moonshow.info
Deeply connected to human projections and aspirations, the Moon is subject to an array of encounters – from personal wonder to our collective histories, of bodies of water and flesh. Following the line between waking hours and sleep, two subterranean rooms refract along the asymmetrical warp of the scrying bowl. Step towards inversion or clarity; there are still pools to welcome you near the cyclical turn of seasons pinned to canvas. Choose another way to find yourself within a labyrinthine corridor, following scorched bronze and quilts in rest. These twin chambers hinge on the reading room, a restful moth-light library; we invite you to sit a spell by the glow.
Due to current Lockdown restrictions in Ontario, there will not be regular gallery hours. For more information please contact firstname.lastname@example.org or email@example.com
We’re excited to share the newest edition of our City Water broadside, Shadow Land Acknowledgment”, a collaboration between Cody Caetano and Yan Wen Chang.
"The idea and conceptual site of the Shadow Land comes from writer and traditional teacher Lee Maracle (Sto:lo), who in the past has taught it as “the space between the living and the dead where terrible things can be looked at.”
In “Shadow Land Acknowledgement,” Yan Wen Chang and Cody Caetano torque a political genre to confront the myopia and cognitive dissonance of the city’s political shakers.
B&W prints of this edition, as pictured, are available for free/by donation, while the edition of 20 originals is for sale for $45 each. For inquiries please contact firstname.lastname@example.org. All proceeds from this broadside will go to Encampment Support Network Toronto.
January 16th - February 16th, 2021
Over the Christmas season, Jordan Elliott Prosser has recycled material from a recent exhibition to transform Hearth into a diorama, inviting visitors to peer into a sculptural tableau made from Prosser’s childhood objects . Travellers is conceived in the image of the Christian trope of a redemptive interior found in representations of the nativity and persisting in western literature (Dickens), cinema (Spielberg), and visual art (Duchamp).
This exhibition is intended to be viewed from Hearth’s window, and is available for viewing at any time. It is best viewed after the sun has set on a snowy day. We are located on Ulster St. just east of Three Star Variety (621 Bathurst, Toronto, ON, M5S 2R2). For more information, see hearthgarage.com or contact us at email@example.com.
ft. work by Jessica Kasiama, Alex Lepianka, Miao Liu, and B Wijshijer
November 14-30, 2020
Gallery hours: In response to Toronto’s second lockdown we will be closing regular gallery hours and have switched to curbside pickup and mail for distributing Silverfish magazine. As always they are free other than the cost of postage! ✨ [SOLD OUT]
now that the artifice is dissolved, showcases the works developed throughout the Silverfish workshop program by the inaugural cohort. The associated magazine will be available for free pickup at Hearth during the course of the exhibition.
During quarantine, we've re-started Hearth Audio, an online platform for mixes by local artists and collaborators.
See mixes by Arthur Bastos, Yan Wen Chang, Kate Kolberg, Fan Wu, Shellie Zhang, and more.