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OverviewCorePublic ArtOpen CallArtists
  • Overview
  • Core
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  • Open Call
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Archives 2018 Public Art

Marleen Sleeuwits Not The Actual Site

April 30 – June 1, 2018
  • Brookfield Place, Allen Lambert Galleria
Marleen Sleeuwits, Not The Actual Site
Marleen Sleeuwits, Interior no. 49
Marleen Sleeuwits, Not The Actual Site
Marleen Sleeuwits, Interior no. 39
Marleen Sleeuwits, Not The Actual Site
Marleen Sleeuwits, Interior no. 51
Marleen Sleeuwits, Not The Actual Site
Marleen Sleeuwits, Not The Actual Site
Marleen Sleeuwits, Not The Actual Site
Marleen Sleeuwits, Interior no. 45

Marleen Sleeuwits is inspired by impersonal environments—places that could be anywhere and nowhere—such as vacant zones in airports, unoccupied corridors of hotels, and empty rooms in office buildings. The Netherlands-based artist is attracted to these non-spaces for the lack of impression they leave on people; her work focuses on finding ways of visualizing the identity of these voids and connecting to them in novel ways. Through structural contradiction, illusion, and the manipulation of scale, she aims to transform viewers’ awareness of their surroundings.

Sleeuwits primarily works within abandoned office spaces, and her process involves stripping the rooms down to their individual components, laying bare the layers found beneath the surfaces. She then reassembles the room using materials found on-site, such as fluorescent tubes, paper towels, laminate, and tape, by adapting techniques of sculpture, painting, and drawing. Experimenting with the variability of the commonplace substances she finds, Sleeuwits creates contradictions of spatial orientation, and then photographs the end results. Her compositions obscure a given room’s anatomy, yet she deliberately incorporates small clues that ground her works in reality; an electrical socket, for example, provides a subtle indication of scale that is otherwise difficult to comprehend, and close inspection reveals sheets of insulation, pieces of ceiling, and sparkling foam rubber.

In this site-specific installation at Brookfield Place, Sleeuwits combines her recent photographs with new images taken of the Galleria floor located precisely where these illusory compositions stand. Presented on freestanding walls positioned at either end of the Allen Lambert Galleria’s expansive thoroughfare, these images of architectural transformations reference the generic spaces endemic to office complexes yet offer something much more complex, puzzling, and extraordinary. Her intervention alters the way that viewers navigate this wide-open passageway, adjusting scale to one that is surprisingly intimate. Heightening awareness of space and place, Sleeuwits provides the opportunity to pause and reconsider the hidden potential of office environments.

Presented in partnership with Brookfield Place

Supported by the Mondriaan Fund

Curated by Bonnie Rubenstein

Felicity Hammond Post Production

460 King St W
Archives 2018 Public Art

Aïda Muluneh Reflections of Hope

Aga Khan
Archives 2018 Public Art

Sofia Mesa Guardians

Allan Gardens Conservatory
Archives 2018 Public Art

Dana Claxton A Forest of Canoes

The Bentway
Archives 2018 Public Art

Kent Monkman in collaboration with Chris Chapman United in Love

Billboards at Dundas St W and Glenlake Ave
Archives 2018 Public Art

Marleen Sleeuwits Not The Actual Site

Brookfield Place
Archives 2018 Public Art

Charlie Engman Mom

Dupont and Dovercourt Billboard
Archives 2018 Public Art

Max Dean Still Moving

East Harbour, Unilever Soap Factory
Archives 2018 Public Art

Awol Erizku Say Less

Lansdowne and College Billboards
Archives 2018 Public Art

John Edmonds Hoods

Metro Hall
Archives 2018 Public Art

Wang Yishu Caught In-Between

Osgoode Subway Station
Archives 2018 Public Art

Emeka Ogboh WER HAT ANGST VOR SCHWARZ: Casino Baden-Baden series

The Power Plant façade
Archives 2018 Public Art

Scott Benesiinaabandan newlandia: debaabaminaagwad

Ryerson University – Gould and Bond St
Archives 2018 Public Art

History shall speak for itself

TIFF Bell Lightbox
Archives 2018 Public Art

Elizabeth Zvonar Milky Way Smiling

Westin Harbour Castle
Archives 2018 Public Art
OverviewCorePublic ArtOpen CallArtists
  • Overview
  • Core
  • Public Art
  • Open Call
  • Artists
Archives 2018 Public Art

Marleen Sleeuwits Not The Actual Site

April 30 – June 1, 2018
  • Brookfield Place, Allen Lambert Galleria
Marleen Sleeuwits, Not The Actual Site
Marleen Sleeuwits, Interior no. 49
Marleen Sleeuwits, Not The Actual Site
Marleen Sleeuwits, Interior no. 39
Marleen Sleeuwits, Not The Actual Site
Marleen Sleeuwits, Interior no. 51
Marleen Sleeuwits, Not The Actual Site
Marleen Sleeuwits, Not The Actual Site
Marleen Sleeuwits, Not The Actual Site
Marleen Sleeuwits, Interior no. 45

Marleen Sleeuwits is inspired by impersonal environments—places that could be anywhere and nowhere—such as vacant zones in airports, unoccupied corridors of hotels, and empty rooms in office buildings. The Netherlands-based artist is attracted to these non-spaces for the lack of impression they leave on people; her work focuses on finding ways of visualizing the identity of these voids and connecting to them in novel ways. Through structural contradiction, illusion, and the manipulation of scale, she aims to transform viewers’ awareness of their surroundings.

Sleeuwits primarily works within abandoned office spaces, and her process involves stripping the rooms down to their individual components, laying bare the layers found beneath the surfaces. She then reassembles the room using materials found on-site, such as fluorescent tubes, paper towels, laminate, and tape, by adapting techniques of sculpture, painting, and drawing. Experimenting with the variability of the commonplace substances she finds, Sleeuwits creates contradictions of spatial orientation, and then photographs the end results. Her compositions obscure a given room’s anatomy, yet she deliberately incorporates small clues that ground her works in reality; an electrical socket, for example, provides a subtle indication of scale that is otherwise difficult to comprehend, and close inspection reveals sheets of insulation, pieces of ceiling, and sparkling foam rubber.

In this site-specific installation at Brookfield Place, Sleeuwits combines her recent photographs with new images taken of the Galleria floor located precisely where these illusory compositions stand. Presented on freestanding walls positioned at either end of the Allen Lambert Galleria’s expansive thoroughfare, these images of architectural transformations reference the generic spaces endemic to office complexes yet offer something much more complex, puzzling, and extraordinary. Her intervention alters the way that viewers navigate this wide-open passageway, adjusting scale to one that is surprisingly intimate. Heightening awareness of space and place, Sleeuwits provides the opportunity to pause and reconsider the hidden potential of office environments.

Presented in partnership with Brookfield Place

Supported by the Mondriaan Fund

Curated by Bonnie Rubenstein

Felicity Hammond Post Production

460 King St W
Archives 2018 Public Art

Aïda Muluneh Reflections of Hope

Aga Khan
Archives 2018 Public Art

Sofia Mesa Guardians

Allan Gardens Conservatory
Archives 2018 Public Art

Dana Claxton A Forest of Canoes

The Bentway
Archives 2018 Public Art

Kent Monkman in collaboration with Chris Chapman United in Love

Billboards at Dundas St W and Glenlake Ave
Archives 2018 Public Art

Marleen Sleeuwits Not The Actual Site

Brookfield Place
Archives 2018 Public Art

Charlie Engman Mom

Dupont and Dovercourt Billboard
Archives 2018 Public Art

Max Dean Still Moving

East Harbour, Unilever Soap Factory
Archives 2018 Public Art

Awol Erizku Say Less

Lansdowne and College Billboards
Archives 2018 Public Art

John Edmonds Hoods

Metro Hall
Archives 2018 Public Art

Wang Yishu Caught In-Between

Osgoode Subway Station
Archives 2018 Public Art

Emeka Ogboh WER HAT ANGST VOR SCHWARZ: Casino Baden-Baden series

The Power Plant façade
Archives 2018 Public Art

Scott Benesiinaabandan newlandia: debaabaminaagwad

Ryerson University – Gould and Bond St
Archives 2018 Public Art

History shall speak for itself

TIFF Bell Lightbox
Archives 2018 Public Art

Elizabeth Zvonar Milky Way Smiling

Westin Harbour Castle
Archives 2018 Public Art

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CONTACT is a Toronto based non-profit organization dedicated to exhibiting, analyzing and celebrating photography and lens-based media through an annual festival that takes place every May.

Land Acknowledgement

CONTACT acknowledges that we live and work on the traditional territory of many nations, including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples, and that this land is now home to many diverse First Nations, Inuit, and Métis peoples. CONTACT is committed to promoting Indigenous voices; to generating spaces for ongoing, meaningful, and creative Indigenous-settler dialogue; and to continuous learning about our place on this land.

Anti-Oppression

CONTACT is committed to the ongoing development of meaningful anti-oppressive practice on all levels. This includes our continuing goal of augmenting and maintaining diverse representation, foregrounding varied and under-represented voices and perspectives via our public platform (the Festival and all related programs), as well as continually examining the structures of power and decision-making within the organization itself. We aim to actively learn, grow, and embody the values of inclusivity, equity, and accessibility in all facets of the institution, as an ever-evolving process.