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Zin Taylor & Dieter Roelstraete | Black Stool: Crystal Vibrations

March 14 - March 16, 12:00am - 12:00am

Join Zin Taylor & Dieter Roelstraete for a generative program of workshops, talks and events on March 14-16. Evolving from the premise of conversation generating form, as noted in their recent collaborative text produced for Taylor’s monograph Lavender Glass. 

March 14 | 6 PM 
Bletcher Hour featuring Zin Taylor and Dieter Roelstraete

March 15 | 12 PM
Art Now lecture in partnership with the University of Lethbridge

March 16 | 4 - 7 PM
Lavender Glass workshop & performance by Zin Taylor and Dieter Roelstraete

7 PM - Late | DJ Dance After Party 

Zin Taylor: Like the letters in a word that evolve into a sentence, Zin Taylor’s work is shaped through an accumulation of units. Within his propositions, modular elements commingle to develop a distinct language of form. A morphology that is uniquely capable of translating an idea into something active, something generative, something else. In conversation, thoughts about a subject grow into forms about a subject, and from these forms a language of abstraction begins to emerge as a tool to compose with: the dot stretches to become a stripe, the stripe bends into a zigzag, the zigzag softens into a curve, and a description of what thinking can look like is made visual. 

Zin Taylor was born in Calgary, Alberta and is currently based in Paris, France. He received a BFA from ACAD in Calgary, and an MFA from the University of Guelph. His recent solo exhibitions include Cut Flowers at Susan Hobbs Gallery, Toronto; A Dove on the Beach: a piece of cloth to relax upon is a void to stage your thoughts, FRAC île-de-france/Le Plateau - Vitrine, Paris; Creative Writing, Westfälischer Kunstverein, Münster; Stripes and Dots on the Isle of Portikus, Portikus, Frankfurt; A Segment of Translation - In Light of 25 Years, Witte de With, Rotterdam; Three Ideas About Haze, Supportico Lopez, Berlin. He has participated in numerous group exhibitions, including the 2017 Canadian Biennial, National Gallery of Canada, Ottawa; L’esprit du Bauhaus, Musée des Arts décoratifs, Le louvre, Paris; Les Bons Sentiments, 19th Prix Ricard, Fondation Ricard, Paris. In 2013, Taylor presented a solo exhibition The Story of Stripes and Dots at the SAAG.

Dieter Roelstraete is the curator at the Neubauer Collegium for Culture and Society at the University of Chicago. His curatorial interests concern the relationship between art and politics, art as a species of knowledge, art work as intellectual labor, and the conception of exhibition-making as a form of writing. As a critic and theorist, he has lectured and published extensively on the art & research nexus, as well as the “problem” of pleasure in art. Other long-standing research interests concern the realist tradition and the enigma of thingness. Roelstraete was initially trained as a philosopher at the University of Ghent in Belgium; the long history of art’s tangled relationship with philosophy decisively colors much of his curatorial and critical work. 

Roelstraete served on the curatorial team convened by artistic director Adam Szymczyk to organize Documenta 14 in Athens and Kassel in the spring and summer of 2017. As Manilow Senior Curator at the Museum of Contemporary Art Chicago from 2012 until 2015, he organized Goshka Macuga: Exhibit, A (2012); The Way of the Shovel: Art as Archaeology (2013); Simon Starling: Metamorphology (2014); The Freedom Principle: Experiments in Art and Music 1965 to Now (2015, co-curated with Naomi Beckwith); and Kerry James Marshall: Mastry (2016, co-curated with Ian Alteveer and Helen Molesworth; traveled to the Metropolitan Museum of Art, New York, and the Museum of Contemporary Art, Los Angeles). From 2003 until 2011 he was a curator at the Antwerp Museum of Contemporary Art (MuHKA) in his native Belgium, where he organized large-scale group exhibitions as well as monographic shows, including Emotion Pictures (2005); The Order of Things (2008); Liam Gillick and Lawrence Weiner—A Syntax of Dependency (2011); A Rua: The Spirit of Rio de Janeiro (2011); and Chantal Akerman: Too Close, Too Far (2012). 

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