Koffler Gallery was an accident, meant to happen. On my way to MOCA, the much more established gallery; on time held still, Queen Street in West Toronto, the lake was swelling like a woman’s bare breasts, in perfect sway of a graceful yet threatening dance. This was a sign, I realised later, when I saw the link in the video works of Sigalit Landau. And it became frighteningly more apparent in Landau’s video performance, Barbed Hula (2000). Landau, spinning a barbed wire hoop around her bare waist. The seashore – resembling my lake image in the backdrop; why, this could be me? Or is it? As the hoop created physically visible wounds, I was forced to slowly disconnect myself from her image; a position of a spectator, far more acceptable than being naked in minus temperatures. As the shift happened, and my eyes were set upon green watermelons floating in the sea flirtatiously, I saw yet another imagery, which reminded me of beneath the flesh; the visible red of the unevenly opened watermelons. As the camera zoomed out, the nude body was visible reaching out for these fleshy fruits, baring their nature as much as the artist bore her soul.
The exhibition is on From February 6 to April 6, 2014, and its curator is Mona Filip. The Gallery space is up a few steps and right at the entrance of the building, which was a school not far back.