MOCA Winter Exhibition A Sudden Beginning by Carlos Bunga
Carlos Bunga currently lives and works near Barcelona. His work has recently been featured in group exhibitions at the Guggenheim Bilbao (2016), Artes Mundi 6 in Cardiff, UK (2013) and the Chicago Architecture Biennial (2015). He has had solo exhibitions at numerous museums, including Hammer Museum, Los Angeles (2011), Museu Serralves, Porto (2012), Museo Universitario de Arte Contemporáneo, Mexico City (2013), Museo Amparo, Puebla (2014), Haus Konstruktiv Museum, Zurich (2015), the Museu d’Art Contemporani de Barcelona (2015) and the MAAT, Lisbon (2019). Bunga’s upcoming exhibitions in 2020 will take place at the Whitechapel Gallery in London, MOCA Toronto and Secession in Wien.
An Embodied Haptic Space by Shelagh Keeley, Keeley’s multimedia practice explores our built environment and the human body, detailing the ways in which they resonate as traces of social history. Inviting us to bear witness to systems of production and hidden structures of power, her film essay Jardim do Ultramar / The Colonial Garden, gradually reveals buried layers of history and colonial rule. In 1940, the tropical garden from which the film receives its name, was integrated into the Portuguese World Exhibition and patronized by the ruling dictator, Antonio de Oliveira Salazar.
HUSH SKY MURMUR HOLE by Megan Rooney. Megan Rooney is an enigmatic storyteller whose work expands across painting, performance, sculpture and installation. For the artist’s first major solo exhibition in Canada, Rooney transformed a floor of the museum by enveloping it in a large-scale mural, making use of all original walls. This temporary, site-specific environment became home to characters and scenarios composed from ubiquitous household materials, found objects, stuffed fabrics and paint.
Images in Debris by Sarah Sze. Sarah Sze’s Images in Debris is the first instalment of The City Is a Collection, a MOCA exhibition series that presents privately owned contemporary artworks from throughout the Toronto community.
Constellatory, monumental, intimate and immersive, Images in Debris is one in a series of sculptures by Sarah Sze where light, movement, images and architecture coalesce into a single, precarious equilibrium.
Simultaneously a sculptural installation and functional projection tool, Images in Debris lends equal weight to images and objects, exploring the edges between the two and bringing both into dialogue with the surrounding architecture. At its centre is an L-shaped desk, inspired by the artist’s own studio desk, which, acting like a projector at the centre of a planetarium, casts images onto an intricate structure extending from the desktop and across the gallery walls.
