Chef Bianca Azupardo presents inspired seasonal menus that showcase locally-sourced ingredients, complemented by stunning views of the city.
The crisis surrounding murdered and missing Indigenous women, girls, trans, and queer community members continues, with thousands of documented cases in both Canada and the U.S. The Gardiner presents the Canadian premiere of Cannupa Hanska Luger: Every One & Kali Spitzer: Sister, an installation commemorating those who have been lost.
On September 24, don't miss the rare opportunity to hear from the Rijksmuseum's Curator of East Asian Art, Menno Fitski, and discover the mysterious history of a Japanese treasure that disappeared in early 20th century only to reappear in 2013. Get tickets now!
The Gardiner Museum is among the few museums in the world focused on ceramics, and is one of the most important specialty museums internationally. It houses approximately 4,000 objects, including European porcelain, ceramics from the Ancient Americas, Chinese porcelain, Japanese porcelain, and contemporary ceramics. Search the collection online!
Everyone can love clay! Become a Friend at one of the world’s great specialty museums and enjoy the benefits, including unlimited admission, invitations to exhibition previews and special events, discounts on lectures and clay classes, and more.
As part of the Ai Weiwei: Unbroken publication, we invited curator and artist Henry Heng Lu to respond to Ai Weiwei’s Han Dynasty Vases with Auto Paint, 2015. You can find the interactive publication, which aims to document the exhibition while connecting its themes to Canadian voices and experiences, at the Gardiner Shop or online.
When 1 X 1 ≠ 1 | Henry Heng Lu
“I don’t think you felt there was anyone else in the world like you.”
— Fred Wah, Waiting for Saskatchewan
When these ancient urns are destroyed by being coated in automotive paint, they become the embodiment of something rather unsettling, yet so familiar. They are branded and rebirthed with one new character, despite the difference in their colours. They now seem to bear the symbol of a certain cultural specificity, but also an invented, intricate authenticity reinforced by the act of destruction itself. And we, especially you, are all complicit, simply by the act of watching, as an outsider.
Taking a metonymic approach, Han Dynasty Urns with Auto Paint further traces histories and traumas, as well as hybridized identities, with these camouflaged vases on display as entities that are seemingly static but also produce subjectivities. The fake becomes the real, while the real is a lost cause.
When given a new exterior, how does someone camouflage their own state of being? When our experiences as Chinese Canadians get conflated and turn into a few sentences on some political agenda, how do our sensibilities manifest in culturally unbalanced and disconnected spaces? How do we identify ourselves with a cultural consciousness that has been directly linked only to a land across the ocean?
Henry Heng Lu is a curator and artist based in Toronto. He is interested in fostering dialogues that engage multigenerational artistic practices in a cross-cultural context.
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