Apr 13, 2006 - Apr 23, 2006

Tammy Forsythe, The Deergirl Diaries: adventures in combat and passion
Jeremy Shaw, DMT
J.R. Carpenter, How I Loved the Broken Things of Rome
Public Reception: Saturday, April 15, from 2 – 6 p.m.
followed by a performance by Tammy Forsythe
imagesFestival Closing Party: April 22, from 9 p.m.midnight
with a performance by Tammy Forsythe
The Museum of Contemporary Canadian Art announces three extraordinary exhibitions by three of Canada’s most exciting young artists, for Toronto’s imagesFestival, April 13 through 23, 2006.
Tammy Forsythe, The Deergirl Diaries: adventures in combat and passion
Well known as one of Canada’s edgiest and most innovative contemporary dancers and choreographers, Montreal–based Tammy Forsythe’s artistic endeavours in recent years have given way to her increasing interest and commitment to visual art. Since 2000 Forsythe has produced numerous art works in video, performance, installation, sound, drawing and painting, and often combining elements of all such media.  Her complex lexicon mines her interests in pop and folk cultures, music and politics, and the failures and revelations of lived experience. In the end, the work is a full and uncompromising expression of an artist attempting to make sense of the world around her in an arena where visual art, movement and performance intersect within the realm of the imaginative and the physical.
Despite her extensive national and international experience in dance, Tammy Forsythe’s exhibition at MOCCA will be her first-ever solo show within the context of the visual arts. In order to mimic the dynamic flux of art and life, the exhibition is fully intended to resist stasis and complacency. Starting with a vast array of objects and art works, Forsythe’s enterprise at MOCCA will be an ongoing project that she will build upon, working in the gallery daily for the 10-day duration of the exhibition. As such, the exhibition will be constantly changing and evolving in the presence of visitors to the gallery, and will include dance and movement–based performances, the creation of drawings and paintings and the on-site production and display of video works.
Jeremy Shaw, DMT.
Vancouver–based artist and musician Jeremy Shaw presents his 8-monitor video installation DMT, a work that explores the varied experiences of his friends under the influence of the powerful hallucinogenic drug DMT.
With his camera tightly focussed on their faces, Shaw taped 7 of his friends, and himself, attempting to describe their experiences while tripping heavily for the approximately 10 intense minutes that the drug lasts. As is well known to those who have taken the drug, the experience is nearly impossible to describe, and watching the subjects in DMT, that certainly appears to be the case. By turns disturbing, amusing, delightful and even silly, the true nature of the work contemplates the inadequacy of language to express deeply personal and profound experiences.
“I started to realize that there are all kinds of barriers in the language we speak in trying to describe an experience like that. People really were at a loss for words. And I think it really shows that we can’t share everything with everyone, that there are things that are always going to be yours. But there are a lot of open ends to this.”
Jeremy Shaw (from an interview in the Vancouver Sun.)
J.R. Carpenter, How I Loved the Broken Things of Rome
On a single monitor PC stationed in MOCCA’s media lounge, Montreal artist, award winning fiction writer and poet J. R. Carpenter presents a web art project containing twelve Quicktime videos on the subject of the city of Rome. The piece is shaped by and mimics the modern tourist guidebook’s pedagogical style. Carpenter mixes maps, diagrams, photographs, historical facts and literary quotations, and contrasts these mostly romantic notions of Rome by overlapping layers of text and images of the traffic, noise, graffiti, tourists and pollution that characterize the ancient city today.
How I Loved the Broken Things of Rome explores certain gaps between the tourist and the local, between what is known of history and what is merely speculative, between language and understanding, between the fragment and the whole.
“The central narrative of How I Loved the Broken Things of Rome is a poem of the same name which I wrote upon my return to Montreal after an extended stay in Rome in 2002. Surrounding and extruding from this poem are poetic, literary and historical quotations, a less-than-logical atlas of signage and cartography and twelve Quicktime videos shot in modern-day Rome and “shot-through”, as it were, with the abundance of Rome’s “pasts.”
J.R. Carpenter
How I Loved the Broken Things of Rome was produced in residency at OBORO’s New Media Lab with the financial support of the Conseil des arts et des lettres du Québec. The work is a web art finalist in the Drunken Boat panLiterary Awards 2006, and can also be viewed online at

All programs and activities at the Museum of Contemporary Canadian Art are supported by Toronto Culture, the Ontario Arts Council, BMO Financial Group, individual memberships and private donations.