May 3, 2019 to June 27, 2019
Stephen Andrews, Sarah Cale, Colin Dorward, Lili Huston-Herterich, Patrick Howlett, Jay Isaac, Harold Klunder, Mack Ludlow, Katie Lyle, Vanessa Maltese, Kim Moodie, Kim Neudorf, Gordon Peterson, Adam Revington, Janet Werner
Curated by Sky Glabush
A portrait is a category. A means of rendering an image often with an accompanying emphasis on status, wealth, power, authority. It is a central aspect of painting yet it is often dismissed as traditional, antiquated, and elitist. Portraits often subsume the gesture of the maker in favour of rendering a persona. The category has broken down.
Many artists continue to explore painting the face and revel in its rather inexhaustible potential. This exhibition will explore the wide range of vitality concerning contemporary painting with a focus on the ways in which each artist has approached the idea of the head. Why the head and not, say, the face or portraiture? In each case, the artist tends to focus on the object-ness of the head, on its shape and form, on its idea rather than likeness. It is an emphasis on the head as a locus of imagination, consciousness, abstraction, that is the heart of this exhibition and not a reification of painting as a means of rendering an image.
In an age where images are more ubiquitous than text, where pictures bombard the psyche relentlessly in a fleeting, buzzing, ephemerally digitized omnipresence, painting offers something else. It is viscous, bodily, physical. It holds the trace of the hand, the brush. It smells of turpentine and linseed oil. It is easy to fetishize the materiality of painting, but in this exhibition, it is that materiality that is held in distinction to the selfie, to the photoshopped, to the advertising glossy as sterilized, branded commodity. “Heads” is an exhibition that revels in the distinctive language of painting as a place to explore the poetic potential of the mind while locating this centrally in the body, in the gut, in the hand.
Western University, London, ON
Sorry, I'm busy
December 22 - January 19, 2019
Opening Reception: Saturday, January 19 from 3 - 5pm
Kotama Bouabane, Susanna Browne, Aryen Hoekstra, Shane Krepakevich, Maryse Larivière, Anna Madelska, Trevor Mahovsky, Kim Neudorf, Jonathan Onyschuk, Jacquelyn Ross, Niloufar Salimi.
Organized by Liza Eurich and Tegan Moore
Sorry, I’m busy is an exhibition that explores the potential for connections in artistic practice and work ethic, through a bringing together of individuals who share the same astrological sign--Capricorn.
Self-controlled, responsible, disciplined, ambitious, loyal, practical, cautious, territorial, shy, touch oriented, meticulous. Someone who applies value to the unseen, the failed, underappreciated, or the difficult to understand.
The impetus for grounding an exhibition in this context, comes from our interest in how astrology is used as an orientation tool, a predictive guide, and as a method for navigating the social. We consider the alternative logic of astrology, its increasing visibility and invocation, a marker of today's precarity.
Support project space
260b Clarence Street, London, Ontario
roll and rot
May 25 - June 30, 2017
Opening: May 25, 7-10 pm
Artist Talk: June 10, 2 pm
Using ready-made clichés like textual and collage-based prompts, Neudorf’s paintings and texts strive to defer meaning while generating space for gestural and cognitive gut flora. Hers is a consideration of the formless where, to cite Yve-Alain Bois, the goal is not a suspension between dualities, but an “alternating rhythm” of absorption and excretion. roll and rot proposes gestures which stretch out the terms of legibility to clear a space for action—action which reconstitutes, transforms and continues to move. These gestures are the starting point of a language that is in excess of meaning, or that which oscillates in a continual re-orientation of the unresolved space between thoughts, physical states, desires, and affects.
The words roll and rot are inspired by artist Jutta Koether’s novel ‘f.’, which explores “what the things are doing that make art”, such as the simultaneous “rot and roll or both” of the “round and rotten” state of an orange. For Neudorf, to understand such gestures of movement and transition might be to reverse-engineer and re-enact them in the present. roll and rot is also informed by Robert Rauschenberg’s 1951 drawing ‘The Dancer,’ which performs via radiating rings and lines of hooks, arrows, and teeth. The drawing’s affect defers representational meaning while gesturing outward in a circuitous process of action and exchange.
swarm, a collaborative text by Neudorf and Liza Eurich, accompanies the exhibition. The text is a conversation loosely based on the word refusal.
 Yve-Alain Bois, “Dialectic,” Formless: a user's guide (New York: Zone Books, 1997), 71.
 Jutta Koether, f. (Berlin: Sternberg Press, 2015), 15.
123 Dundas St, London, Ontario N6A 1E8
Stanley Boxer, Jack Bush, Friedel Dzubas, Harold Feist, Marcelle Ferron, Paul Fournier, Jay Isaac, Rita Letendre, Ray Mead, Kim Neudorf, Jules Olitski, Sandy Plotnikoff and Larry Poons
January 6 - February 11, 2017
Opening Reception: Friday January 6, 7-10 pm
Paul Petro Contemporary Art
980 Queen St West, Toronto, Ontario
of any one of them that is at all
November 4th - November 26th
Thursday - Saturday 12-6, and by appointment
Opening: November 4th, 5-9 pm
B1 87 Wade, Toronto, Ontario M6H1P5
Kim Neudorf and Jenine Marsh
October 27 - November 25, 2016
Opening Reception: Thursday, October 27, 7-9 pm
Drawing Workshop: Saturday, November 12th from 1 - 3 PM
Forest City Gallery is proud to present mind mouth, a collaborative exhibition by Jenine Marsh (Toronto, ON) and Kim Neudorf (London, ON).
“…liquid words have no relation to the “illegible” scribblings of which modern art has supplied so many variations...for while the latter are like Rorschach tests inducing the viewer to project linguistic meanings onto them and thus to rearticulate them, [liquid words] leave no role to our imagination other than to complete the work of decomposition…” Yve-Alain Bois
“...alteration...bifurcated from within...points in opposite directions simultaneously: both downward, to the decomposition of matter (as in a corpse), and upward, to its transcendence (as in the passage to an altered, sacred state, as for example, a ghost).” Rosalind Krauss
Thhhhhfffeeeeetthh / A great bowing forehead heavy with sleep and stone / CHOP through some liquid wiggling / I just got there / SERIOUSLY NO / same same develop your head / open mind / maps to the mouth / tidy silvery meteorite face sheath / a thinking song to the brain / Snakes taking a nap all up my arms / More future selves? / Lumpy floowr brass body and blossom head are one / Like a hug with the darkness / A direction and action – go! Yes a thought and a thing – go too! / Hairible hay very good / V pkeasant
We have it by the tail-ear-nose. A word-string informed by a ceramic pizza. A word chain like a boa constrictor having eaten a bike-cat-hat-pail-bottle. mind mouth is a co-existence via alien communiqués a la Dreyfuss and potatoes. Where the pointing fingers of zombied limbs twitch. Or where mountainmash meets eyeholes marked as earpaths.
Not a backdrop. More like a layer. Layering in order to build up the flesh of the thing. The whole thing. The fleshy skin layer? All sensitive? Or a backdrop TO NOTHING. A thing in itself. Maybe just a DROP.
To work with the building up. Actual thing happening, becoming, spreading, twisting around right there under the fingers. More a play with the hell MOUTHYness of it. Like a swear or a made up term. Hell as mouth as an opening.
Like talents that are USELESSSss. Send message do neat trick, pause, do you get it do you like it? Send a follow up message trick, pause, watch the watcher, check their face, do you get it? Do you like it? No? Yes? Wag wag dance spin.
Or for making strange and complex emotional things take place in a drawing or an art thing. Like to be able to make something that has a real sense of humor, a real power. Just a beginning idea as a drawing to then fill with stuff in a visible way. Like it isn’t visible until there is something to hold it.
Some kind of search for how to be in the world, something way more compassionate. Awareness of yourself as WITH and not just AS. No need to travel from inside to out, it’s already out. Having to make things up on the go WITH others, against their vibe, their mood, how you are being received, how they are being with you BACK. A big improvement. Decide to believe. “I want to believe” says Mulder.
Something that is on the outside, because you are never in a bubble, it always has to do with SOMETHING. Or someone! Closes the gap, creates a tangible, tacky, textured tangibility between the surfaces of you and...it, getting close and getting your face in its face. Intuiting the next shape to make on this big sheet of shapes and feeling out…!
A direction and action – go! Yes a thought and a thing – go too!
 Yve-Alain Bois, “Liquid Words,” Formless: a user's guide (New York: Zone Books, 1997) 129.
 Rosalind Krauss, “Olympia,” Formless: a user's guide (New York: Zone Books, 1997) 150.
Forest City Gallery
258 Richmond Street
January 9 - February 20, 2016
Participating artists: Jennifer Carvalho, Jamie Macaulay, Jenine Marsh, Kim Neudorf and Jag Raina
Opening Reception: 9 January, 2016 at 7 pm
sotto brings together work by five artists who employ the language of contemporary painting to explore themes ranging from matter and material to presence and place. The body emerges across these works, not through direct representation, but as a site of understanding and experience, as a mode of seeing, being and becoming in the world.
With its relation to vocal emphasis, the word sotto connects these works to the body and its significance in both the production and reception of each work. Through its etymological base 'subtus', meaning 'that which is underneath,' sotto invites us to look further, asking what is at the core of our material, embodied existence, and how we determine our place in the physical and social contexts that we find ourselves. If this sounds a bit abstract then you're paying attention. In these accelerated times, some focus and concentration—with a greater consideration of ourselves and those around us—might be called for.
Modern Fuel Artist-Run Centre
Suite 305, 370 King St W
November 21 - December 22, 2015
DNA artspace is pleased to present Para//el Room, an exhibition that stems from a celebration of the DNA bookshop, the act of collecting books, and creating a space for research. Adjacent to the gallery, the bookshop is a dedicated area for the dissemination of artists’ publications and texts on contemporary art + theory. For this exhibition the bookshop will extend out into DNA’s main floor gallery. The artists listed have been invited to recommend one book title that has been influential to their art practice. Copies of the books will be displayed for visitors to read and contemplate the archive. From this group of artists, eleven individuals will be exhibiting a work that relates to their book choice. This collection of pieces highlights the important research that runs alongside studio practices. More info and list of participating artists.
On my book choice - Sanatorium Under the Sign of the Hourglass, by Bruno Schulz:
Bruno Schulz wrote often of states of being in times of "disruption, at the time of...liquidation", when old and familiar routines are in a continual state of death, but "always with reservations" and by dispersing its dying via "installments". In such moments of upheaval, language must be improvised, and daily rituals continually rebuilt, guided by signals and traces of matter having recovered briefly "in some congealed tomato sauce and aspic". Wallpaper, coat linings, stuffed birds, and leftover food tell the "stone dead messages" of a slow articulation, an authenticity that withdraws, re-dispersed by "the frailty of realization." These stories are about articulation which “occurs” across time, always in pieces or by forced improvisation, which closely resembles what happens in my studio.
123 Dundas Street W
balloon / portal / starres / fiends
Curated by Kim Neudorf
October 9 - November 12
Opening Reception: Friday October 17, 7-10pm
123 Dundas Street W
Paravent, a group exhibition, May 16-24
curated by Sky Glabush
Liza Eurich + Kim Neudorf
Opening reception: May 16, noon-5 pm
535 First Street, Suite #8, London, ON
the fold-up, the get-up, the move about, a solo exhibition.
May 1-June 8, 2014
Opening reception: May 1, 6 - 11 pm
Evans Contemporary, Peterborough, ON
A squashed foam fold-up, sandwich-folds, fibrous, foam-colors pink-green-bluey. It has always been there. Every day it’s in a slightly different state, less sodden, heavier, more insubstantial, sour. John Hurt via Beckett’s ‘Krapp’ shuts off the reel-to-reel, sheltering the machine with an arm arc. The running device or internal motor. A shift, sudden light, apparent and immediate fact of something still there. Like a chair, like a resting face, like a sore molar.
I love to get up and move about in it, then back here to . . . (hesitates) . . .(pause.)…
-Samuel Beckett, Krapp’s Last Tape
The Room and its Inhabitants, a group exhibition. Oct 17-Nov 23, 2013.
Organized by Patrick Howlett
Participating artists: Robert Bordo, Merlin James, Allison Katz, Sandra Meigs, Rebecca Morris, Kim Neudorf, Justin Stephens, Roger White
Opening Thursday, October 17, 7-9 pm
“Art does not reproduce the visible, rather it makes visible.” –Paul Klee
Susan Hobbs Gallery, Toronto, ON