Archive | October, 2010

Nuit Blanche’d

13 Oct

On October 2, a sleepy, cold, and crisp Toronto welcomed it’s 5th annual Nuit Blanche. Since I’m in the home stretch of my MBA studies, I spent a good chunk of the night doing schoolwork, and making a vegetable soup with pistou and parm crostini, and watching Undertow. But around 10 pm I braced myself to check out the installations of Zone C.

And dare I say, to all you naysayers and negative nancies – I loved it. I only spent an hour or so out in the crowds, but it was still long enough to cover one zone, and look and think about a handful of things. And ten days later I still have warm fuzzies for most of the work I saw.

LOVED: Sandra Rechico’s 1850, which was one part ocean, one part rave flashback, and one part ‘OMG how awesome is it to see this in front of the weird Oliver and Bonacini which is so hopping with suits on Thursday nights that I can’t stop myself from cruising it multiple times on my bike’.


Max Streicher’s Endgame (Coulrophobia), which made me chuckle but also feel a bit sad (because it would hurt to have your head squeezed between two buildings) and scared (because of my mild coulrophobia).

Julia Loktev’s voyeuristic I Cried For You was way more creepy, and way more ominous than I anticipated it would be compared with the project description – which did not suggest the kind of snuff film aesthetic of the final installation. If I had more patience, I think I would have enjoyed Davide Balula’s The Endless Pace but the documentation alone was intriguing. I also would have enjoyed taking time for repeat visits to Martin Arnold and Micah Lexier’s Erik Satie’s Vexations (1893), which I enjoyed for it’s content as well as for the bewildered expressions of onlookers. It was a pretty awesome intro to contemporary conceptual art practises for the philistines, I wager.

My favorites from the zone, tied with Žilvinas Kempinas’s Big O, was Kim Adam’s Auto Lamp. That man knows what to do with a van.


Both projects exemplified what I think Curator Christof Migone did best with his zone – create quiet, elegant, accessible, and subtle spectacles. And I didn’t even need to read the program notes to know that was exactly what he was going for. Bravo for good curating! But boo to suburban vomit on my adorable boots.