August 27, 2023 @ 2:00 pm – 4:00 pm
Sunday August 27, 2023
2:00 pm – 4:00 pm
Presented in partnership with Mending the Museum
Ages 8 – 18
Participants under 12 must be accompanied by a non-participating parent or guardian
This workshop aims to explore the subversive potential of copying as an intentional tool. By utilizing paper clay as a medium and DIY piñata techniques, participants will delve into the concept of copying as a means of artistic expression, enabling them to challenge conventions, ignite their imagination, find alternative paths to artifacts, and foster critical thinking skills.
The workshop will:
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Provide hands-on experience with paper clay, enabling participants to explore its unique properties and versatility
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Encourage reflection on the ethical considerations surrounding the act of copying in art and society
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Empower participants to embrace their individuality and use copying to express their unique perspectives
We acknowledge the support of the Canada Council for the Arts.
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General : Free Registration
About the Instructor
Juan Pablo Hernández Gutiérrez
Juan Pablo Hernández Gutiérrez is an interdisciplinary artist based in Tiohtià:ke (Montreal). His interests revolve around the intricacies of misinterpretation, precarity and adaptation of cultural symbology in new environments. He recently participated in group exhibitions such as An Anatomy of Apocalyptic care at Fofa Gallery, Open house curated by Sled collective at Livart. He conducted a workshop Materialities in Futbol, Football, Soccer as part of Montreal Monochrome eighth edition by Articule.
About Mending the Museum
Mending the Museum is a community research project organized by Mending the Museum (duo of the same name), Karina Román Justo and Camila Salcedo, that pairs ten artists with “fragments” of textiles and ceramics from the Textile Museum of Canada and the Gardiner Museum’s collections. The artists that engaged with the Gardiner’s collection are: Kendra Yee, Habiba El Sayed, Chiedza Pasipanodya, and Juan Pablo Hernandez Gutierrez. The project was divided into two phases: the first, working with the invited artists on research of the collection objects and development of digital artworks, and the second, guiding artists in the delivery of workshops targeting youth and children on their creative processes and histories of making.
Supported By
