The Toronto Biennial of Art (TBA) is set to open this Saturday, September 21, with a focus on acknowledging multiple truths in today’s world. Titled “Precarious Joys,” this year’s edition will explore the political, environmental, and economic instability of our time, emphasizing the need for artistic spaces that foster radical social change. The biennial will run until December 1 and will feature 37 local and international artists showcasing their work at various venues across Toronto, including two main hubs at 32 Lisgar Street and the ninth floor of the historic Auto BLDG at 158 Sterling Avenue. Visitors can attend all programming events, from exhibitions to workshops, free of charge.
The theme of this year’s biennial stems from six central concepts called “key directives,” established by co-curators Dominique Fontaine and Miguel A. LĂłpez through discussions with participating artists. These directives include “joy,” “precarious,” “home,” “polyphony,” “solace,” and “coded.”
Fontaine explained in an interview with Hyperallergic that these directives naturally led to the title of the biennial, emphasizing solidarity among all forms of precarious life. Both Fontaine and LĂłpez, who is the biennial’s first international curator based in Lima, Peru, focused on collaboration rather than traditional curation, guiding artists through these prompts to create and select their work.
A notable aspect of this year’s biennial is the emphasis on accessibility. The curators opted not to include academic essays in the catalog, choosing instead to engage in conversations with artists and scholars. Additionally, the programming accompanying “Precarious Joys” will focus on movement and dance as tools to explore trauma, resilience, and delight. Multilingual events, such as a Cantonese opera workshop, will also be featured to engage Toronto’s diverse population.
One of the featured artists, Cecilia Vicuña, draws inspiration from ancestral crafts like the quipu, a recording device used by Indigenous communities in the Andes region until they were destroyed by colonial forces. Vicuña’s installation at the biennial will pay tribute to Gail Kastner, a Canadian victim of Project MKUltra, through ephemeral artworks made from trash and debris.
Another artist, Citra Sasmita, will showcase three new artworks inspired by the Kamasan painting style, reimagining Balinese myths and epics to center women and advocate for their liberation. Pamila Matharu, a Toronto-based artist, will present a multimedia installation exploring joy and the teachings of their mentor, Winsom Winsom.
The Toronto Biennial of Art promises to be a thought-provoking and immersive experience, inviting visitors to engage with a diverse range of artistic perspectives on the precarious joys of our time. In South Asian culture, paying tribute to your guru or teacher through a shradhanjali is considered a normal act of love and respect. This tradition of honoring one’s mentor is deeply rooted in the values of gratitude and appreciation for the knowledge and guidance imparted by the teacher.
Recently, there has been a growing sentiment of fatigue with Western hegemony in cultural narratives and practices. Many individuals are seeking to reclaim and celebrate their own cultural traditions and rituals, including the act of paying homage to one’s guru.
One such example of this cultural resurgence can be seen in the work of artists like Citra Sasmita and Pamila Matharu. Their art reflects a deep reverence for their cultural heritage and a desire to challenge dominant Western narratives in the art world.
Citra Sasmita’s “Esoteric Dance 2” is a striking piece that showcases her mastery of acrylic on Kamasan canvas. The intricate details and vibrant colors in her work pay homage to traditional South Asian art forms while also pushing boundaries and exploring new artistic expressions.
On the other hand, Pamila Matharu’s installation “tere naal_with you” is a multi-dimensional exploration of identity, memory, and connection. Through hand-built ceramics, paintings, drawings, and a collage mural, Matharu invites viewers to engage with her personal narrative and cultural heritage.
Both artists are part of the Toronto Biennial of Art, where their work is being showcased as a testament to the richness and diversity of South Asian artistic practices. By celebrating their gurus and drawing inspiration from their cultural roots, Sasmita and Matharu are challenging the status quo and asserting the importance of cultural autonomy and self-expression.
In a world dominated by Western hegemony, it is refreshing to see artists like Sasmita and Matharu reclaiming their cultural heritage and paying tribute to their gurus. Through their art, they are not only honoring their teachers but also paving the way for a more inclusive and diverse art world that embraces all cultural perspectives. The sun was shining brightly on the small town of Maplewood, casting a warm glow over the tree-lined streets and quaint shops that lined the main square. The town was buzzing with activity as residents went about their daily routines, from grabbing a coffee at the local cafe to shopping for fresh produce at the farmer’s market.
But amidst the hustle and bustle of daily life, there was a sense of excitement in the air. The annual Maplewood Spring Festival was just around the corner, and residents were eagerly preparing for the event. The festival, which had been a tradition in the town for over a century, was a celebration of the arrival of spring and a chance for the community to come together and enjoy each other’s company.
The festival was set to take place over the course of a weekend, with a wide range of activities planned for attendees of all ages. There would be live music performances, arts and crafts vendors, delicious food trucks, and even a petting zoo for the kids to enjoy. The highlight of the festival would be the grand parade, where local organizations and businesses would march through the streets in colorful floats and costumes.
As the days leading up to the festival passed, the excitement continued to build. The town square was decorated with colorful banners and streamers, and the sound of laughter and music filled the air. Local volunteers worked tirelessly to ensure that everything was in place for the big event, from setting up stages for the performers to coordinating the parade route.
Finally, the day of the festival arrived, and the town was alive with energy. Families gathered in the square, sampling tasty treats from the food vendors and browsing the handmade crafts for sale. Children squealed with delight as they petted the animals in the petting zoo, while adults tapped their feet to the rhythm of the live music playing on stage.
As the sun began to set, the grand parade made its way through the streets, with floats adorned with flowers and ribbons. The community came together to cheer on the participants, waving and clapping as they passed by. The parade was a colorful and lively display of the town’s spirit and unity, a testament to the strong sense of community that existed in Maplewood.
As the festival drew to a close, residents lingered in the square, reluctant to let go of the festive atmosphere. The event had brought the town together in a way that only a celebration of spring could, fostering a sense of camaraderie and joy among the community. As the last notes of music faded away, residents began to make their way home, already looking forward to next year’s festival.
The Maplewood Spring Festival had once again proven to be a highlight of the town’s calendar, a cherished tradition that brought joy and togetherness to all who participated. As the lights in the square dimmed and the vendors packed up their stalls, the town settled into a peaceful quiet, the memories of the festival lingering in the hearts of its residents until next year’s celebration.
