Empty Orchestra Exhibition (Oct 16, 2008)

Event: Empty Orchestra Exhibition Opening

*Exhibition runs from Oct 16 to Nov 13
Organizer: Reel Asian
Venue: Justina M. Barnicke Gallery
Time: 5-9pm
Cost: free
Pre-event estimate: don't know
Post-event rating: 1 out of 5

It's a small gallery with 5-6 installation art exhibits. It gives you a intimate art experience. However, movie bluffs may be disappointed as only one exhibit is closely related to films. Those who do not know what karaoke is may need some explanation to appreciate the exhibit as well.

CHRIS

Nuit Blanche (Oct 4, 2008)

Event: Nuit Blanche
Cost: free!
Pre-event estimate: 4 out of 5
Post-event rating: 2 out of 5

I had great expectations for Nuit Blanche.

The program booklet was 80 pages long and the event extended from the downtown core to the west end of the city. I was fascinated by the picture showing a big eye on the glass exterior of a high rise and was looking forward to see how City Hall would be transformed (Stereoscope). I wanted to see Michel de Broin's visual representation of "resistance, reorganization and chaos" (Overflow). I watched a televised interview of the creator promoting the House of Leaves. I imagined how I would feel to walk under "Earth and Sky" under the overpass in the moonlight. I also wanted to check out Into the Blue, Zombies in Condoland, 15 seconds, Light up the night: Sitting ducks, and many more.

I read through the program and planned out the route. I wore my winter coat and gloves and packed two water bottles. I was ready to experience arts in Toronto all night long. I expected I would be inspired by novel ideas, impressed by breathtaking art works, and intrigued by the greatness of human mind and creativity.

I had great expectations that it would be as wonderful as last year.

Memories are sweet. Reality is harsh. Expectations are treacherous.

Jade

Woodblock printing demo (Oct 2, 2008)

Event: Woodblock printing demo
Organizer: Japan Foundation
Cost: Free
Pre-event estimate: at least 3 out of 5 for art lovers
Post-event rating: 3 out of 5

Mokuhanga, or Japanese woodblock printing, dates back to the 16th century. It used to a means to reproduce artwork /pictures. Nowadays, Mokuhanga has resurrected in modern arts as a technique for artists to express themselves. Japan Foundation invited Master Keizo Sato, one of the few practising printers in Tokyo area, to do a demonstration of the ancient art form.

The event attracted a captivative group. More than 30 people had gathered in the room half an hour before the scheduled start time. There were professional artists, art students, and some in the printing business in the audience. The host/artist could not keep up with the questions firing from them during the demonstration. They wanted to know about the importance of water-based pigment and washi paper, and the tools used in woodblock printing, the special technique of gradation and imprinting, and the time it takes to produce one print with 17 colours. They also wanted to explore the tangible relationship between the artist who does the drawing, the engraver who the woodblock, the printer who makes the prints, and the publisher who sells the prints. Many of them stood for the whole event, looking intensely at every move Master Keizo Sao did.

Sitting on his ankles at the centre stage, Master Keizo Sao took his time in setting up his workstation. He carefully mixed pigments for the desired colour. He meticulously prepared the woodblock for each print. He patiently waited for optimal time for making prints after he sprayed water on the washi paper. He unhurriedly aligned the paper and skillfully pressed it against the woodblock with precise strength. Temperature in the room was rising along with the anticipation from the audience, yet he effortlessly produced perfectly identical prints.

A person insisted on asking Master Keizo Sao how he expressed his feelings in his woodblock printing. Master Keizo Sao looked up from his work, confidently said, I do my best to make the prints as accurate as the artist wants.

Master Keizo Sao's humble reply, unyielding focus on his work, and calm demeanour was a stalk contrast to his enthusiastic North American audience.