Laura Moore: Memories of the Future

Curated by Adam Lauder

January 17- March 15, 2025

Laura Moore, Nintendo Gameboy Tetris, 2021 (front), second-hand clothes, recycled fabric, and 100% cotton. Photo: LFDocumentation

What will observers make of our discarded devices 1,000 years from now? Laura Moore’s timely meditations on the wastefulness of planned electronic obsolescence address an imagined future audience. The first mid-career survey Moore’s practice, Memories of the Future brings together several bodies of work across various media ranging from quilts to sculpture, mosaic, and drawing. These diverse works are united in their exploration of the ephemerality of technologically-mediated memory in an era of digital disposability.

Born in Chatham, Moore has longstanding connections to London and Southwestern Ontario – her early art education was at Fanshawe College and her grandfather was a Chatham stonemason. Moore’s works carry this familial inheritance in their ambition to monumentalize the ordinary in the tradition of anonymous artisans of the past. But the familiar environments memorialized by Moore are resolutely contemporary: the handheld game consoles and mobile phones of a still tangible past, as well as circuit boards salvaged from the curbside.

Foregrounding the paradox that devices created to externalize and preserve memory come into existence already imperilled by disposability, the artist proposes nonlinear models of time and memory. Moore observes that, “somebody can look at something and see the past and the future at the same time.” Such a Janus-faced temporality is evident in, for example, the artists’ use of the ancient medium of mosaic to cast media in an eerie future anterior. Similarly, the coiled outlines of Moore’s hyperrealist drawings of ancient ruins recall her three-dimensional representations of silicon circuit boards. Collectively, Moore’s work challenges us to consider how both our past and future are intricately connected to the devices that have become virtual extensions of our own bodies and personas – until the moment that we discard and replace them in a never-ending cycle. 

Related programming

Opening Reception

Saturday, January 18th from 2:00-4:00pm

Join us in celebrating the opening of Laura Moore’s exhibition Memories of the Future with an opening reception on Saturday, January 18th from 2:00-4:00pm. Artist Laura Moore and Curator Adam Lauder will be in attendance with opening remarks at 2:30. 

Complimentary after hours parking available in select campus lots. https://www.uwo.ca/parking/find/visitor/index.html

Free / Open to the public

Panel Discussion: Alissa Centivany, Laura Moore, and Kirsty Robertson

Thursday, February 27, 5:30 pm at McIntosh Gallery

Please join us for an engaging and enlightening panel discussion with Dr. Alissa Centivany, artist Laura Moore, and Dr. Kirsty Robertson as they address subjects such as memory, technology and waste, planned obsolescence, and the right to repair.

Dr. Alissa Centivany is an Assistant Professor in the Faculty of Information and Media Studies at Western University working on technology policy, law, and ethics. She holds a PhD in Information and a JD specializing in intellectual property and technology law.

Dr. Kirsty Robertson is Director of Museum and Curatorial Studies and Director of the Centre for Sustainable Curating in the Department of Visual Arts at Western University.  Dr. Robertson is a Tier 1 Canada Research Chair, focusing on research into waste, pollution, the climate crisis, and the development of exhibitions and artworks with low carbon footprints. 

Alize Zorlutuna: Above Borders, Beneath Words

April 5 – May 30, 2025

Curated by Helen Gregory

Alize Zorlutuna, An index of Inheritances, 2025, Variable materials, including El Isi (Anatolian lace), photographs, dried jasmine flowers, rose buds, olive leaves, eucalyptus leaves, rue, ikat silk, copper plate, brass bowl, perfume bottle, jar with honey and almonds, nazar (evil eye) bead.

Above Borders, Beneath Words invites us to consider our relationship to land and water beyond geopolitical borders and national identities. Attending to the specificities of place, each work reflects an engagement with the complexities of belonging— particularly as applied to diasporic communities. The grief of displacement and the resulting loss of knowledge ways is amplified when combined with the grief of living on occupied Indigenous land. Residing on these lands as a settler necessitates a reckoning with the violent histories and ongoing legacies of colonialism, not only in so-called Canada but also globally. Through the juxtaposition of traditional Anatolian material technologies such as textiles and marbling with contemporary media and approaches, this exhibition forges new directions for considering diasporic relationships to place and belonging. The exhibition asks, how might we build embodied relationships with a place over time? How does this relationship-building impact our embodiment and way of moving in the world? How might we balance comfort or kinship found in a new land with the legacy of settler colonialism?

By experimenting with different forms of embodiment, through dance, sensual or erotic engagement with the natural world through touch, Zorlutuna offers propositions for how we might forge new pathways for being in relationship with place, with history, and the future. Arranged around a central installation that encourages conversation, Above Borders, Beneath Words provides a tranquil space within an institutional context where we might engage in generative discourse about how we can live responsibly together on this land.

About the artist:

Alize Zorlutuna is an interdisciplinary artist, writer and educator whose work explores relationships to land, culture and the more-than-human, while thinking through history, ancestral wisdom and healing. Moving between Tkarón:to and Anatolia (present-day Turkey) both physically and culturally throughout their life has informed Zorlutuna’s practice—making them attentive to spaces of encounter. Zorlutuna enlists poetics and a sensitivity to materials in works that combine traditional Anatolian material practices like textiles, marbling and ceramics, alongside video, printed matter, performance and sculpture. Conjuring earth, air, water, and spirit, Zorlutuna collage mediums, methods, and geographies. The body and its sensorial capacities are central to their work. 

Related Programming:

Opening Reception

Saturday, April 5, 2:00-4:00 p.m.

Remarks at 2:30 p.m.

Complimentary parking available at select campus lots. Learn more (insert link: https://www.uwo.ca/parking/find/visitor/index.html

Free event. Open to the public.

Join us in celebrating the launch of our spring exhibition schedule, featuring two exciting new projects: Alize Zorlutuna: Above Borders, Beneath Words and Holding Patterns: the short view – Recent Acquisitions from McIntosh Gallery.

Leaving the Table, 2019 - ongoing

çay service & guided conversation

Saturday, April 5, 2025. 1:00-2:00 p.m.

Gesturing towards ways of gathering and being with others that are underscored by a sense of mutual responsibility and care, Leaving the Table asks participants to collectively imagine a space other than the table around which we might gather: a space that exists within the boundaries and in relationship to the violent histories of this place; a space that acknowledges the challenge of reconciling the ongoing legacies of these histories with the reality that this place has also been a refuge for many. Leaving the Table asks us to contend with how we came to be here on this land, and what our responsibilities are in being here together.

Join the artist for çay (tea), baklava and a respectful, guided conversation on Saturday April 5, 1:00-2:00 pm. 

This special event will be followed by the opening reception.

Holding Patterns: the short view

Recent Acquisitions from the McIntosh Gallery Collection

Angela Grauerholz, Meryl McMaster, and Soheila Esfahani

April 5 – July 11, 2025

Curated by Rachel Deiterding

Angela Grauerholz, Museé Carnavalet # 26, 2018, inkjet print on Arches paper, edition of 5. Gift of the artist, 2020.

Each artwork in the McIntosh Gallery collection has individual, yet intersecting histories. It is these moments of intersection, or patterns of collecting, that tell the Gallery’s story.

Holding Patterns: the short view marks the beginning of a comprehensive inquiry into the McIntosh Gallery collection to makes sense of how more than 4,000 artworks have come together to create this valuable resource. Considering a selection of artworks collected since 2020, the short view looks to the recent past. This reflection emphasizes some of the conversations that have been entangled with the collection over the past several years and poses critical questions about what it means to collect.

Soheila Esfahani, Meryl McMaster, and Angela Grauerholz are all concerned with collecting, whether this is through the personal ephemera that we use to document and define our sense of self; efforts to objectively order, categorize, and control the natural world; or institutional commitments to preserve cultural memory that begrudgingly remain susceptible to the passing of time. As McIntosh Gallery undertakes a detailed assessment of the collection, the recent past provides critical tools to inform the future. Each artwork has much to teach us about inclinations to collect across contexts and inspires new approaches to collecting. The Reference Table, a resource hub and study space, invites visitors to reflect on the complicated questions of collections alongside the gallery. Together, these materials frame the conversation as we consider how we might approach collecting differently moving into the future.

Thank you to Western Libraries for their support making the reference table possible. To view the complete exhibition reading list hosted by Western Libraries, please click here. 

The Connecting to Collections project is generously supported by Catherine Elliot Shaw.

About the artists:

The work of artist/photographer and graphic designer Angela Grauerholz has been exhibited and collected widely in Canada, the United States, and Europe. Amongst a selection of many solo exhibitions, her work was shown at the Westfälischer Kunstverein, (Münster, 1991), the MIT List Visual Arts Center, (Cambridge, MA, 1993), the Albright-Knox Art Gallery (Buffalo, 1999), the Power Plant (Toronto, 1999), the Museum of Contemporary Photography, Columbia College (Chicago, 1999), the Blaffer Art Museum, University of Houston (2004), VOX, Contemporary Image Centre, Montreal (2006), and the Vancouver Public Library (2008). Angela Grauerholz (photographies 1990 – 1995), a survey exhibition organized by the Musée d’art contemporain de Montréal in 1995, travelled to several institutions in Canada, Germany and France (1995-96). In 2010, the National Gallery of Canada in Ottawa mounted a retrospective exhibition of her work, consequently shown at the University of Toronto Art Center in 2011. In conjunction with the Scotiabank Photography Award, the Ryerson Image Centre in Toronto also put together another important survey exhibition (2016).

As Full Professor at the École de design, Université du Québec à Montréal (UQAM)—where she also directed the Centre de design (2008 to 2012)—she taught typography and photography from 1988 to 2017. In 2019, the Emily Carr University of Art + Design awarded her an Honorary Doctorate of Letters.

Meryl McMaster is a Canadian artist with nêhiyaw (Plains Cree), British and Dutch ancestry. She is a citizen of the Siksika Nation in Alberta, and her family is also from Red Pheasant Cree Nation in Saskatchewan. Her photography explores questions of how our sense of self is constructed through land, lineage, history, and culture. Her distinct approach to photographic portraiture and self-portraiture incorporates the spontaneity of photography, the manual production of objects and sculptural garments that she creates in her studio and performance. In her works, these media illustrate a journey of self-discovery as she explores the tensions complicating our understanding of personal identity. Her work invokes a sense of the otherworldly, transporting herself and the viewer out of ordinary life and enlarging our understandings of inherited historical narratives.

McMaster’s work has been the subject of solo exhibitions at Hear Museum, Remai Modern, Montclair Art Museum, McMichael Canadian Art Collection, Merignac Photo, Canada House London, Ikon Gallery, Ryerson Image Centre, The Glenbow, The Rooms, Momenta Biennale, Museum of Contemporary Native Arts, and Smithsonian National Museum of the American Indian, among others. From 2016-2020 her solo exhibition Confluence travelled to nine cities in Canada. Her work has also been acquired by significant public collections within Canada and the United States, including the National Gallery of Canada, the Art Gallery of Ontario, the Montreal Museum of Fine Arts, The Boston Museum of Fine Arts, the Eiteljorg Museum, and the National Museum of the American Indian, among others.

McMaster is represented by Stephen Bulger Gallery (Toronto, Canada) and Pierre-François Ouellette art contemporain (Montréal, Canada)

Soheila Esfahani grew up in Tehran, Iran, and moved to Canada in 1992. She is a visual artist and Assistant Professor at Western University. Her research and art practice navigates the terrains of cultural translation in order to explore the processes involved in cultural transfer and transformation and questions displacement, dissemination, and reinsertion of culture. She is a recipient of grants from the Canada Council for the Arts, the Social Sciences & Humanities Research Council of Canada, the Ontario Arts Council, and the Region of Waterloo Arts Fund. Her work has recently been exhibited at the Canadian Cultural Centre Paris, Aga Khan Museum, Doris McCarthy Gallery, Cambridge Art Galleries among others and has been collected by various public and private institutions, including the Canada Council’s Art Bank.

Related Programming

Opening Reception

Saturday April 5, 2:00 – 4:00 p.m.

Remarks at 2:30 p.m.

Complimentary parking available at select campus lots. Learn more  https://www.uwo.ca/parking/find/visitor/index.html 

Free | Open to the public

Join us in celebrating the launch of our spring exhibitions, featuring two exciting new projects: Alize Zorlutuna: Above Borders, Beneath Words and Holding Patterns: the short view – Recent Acquisitions from the McIntosh Gallery Collection.

Around the Reference Table: Study Along 

Wednesday April 9,  10 am – 12:30pm

Wednesday April 16, 1:00pm – 3:30pm

Wednesday April 23,  1:00pm – 3:30pm

Are you looking for a quiet place to do some studying? Or for a change of scenery as you prepare for exams? Around the Reference Table invites students to join gallery staff for a focused facilitated study session at the reference table installed in Holding Patterns: the short view. Join us and stay accountable to your study schedule. After all, concentration is contagious!

The study sessions will feature a brief introduction where everyone will share what they want to accomplish, followed by two 60-minute chunks of focused work with a quick break in between to move around, connect, and reset.

Can’t make it to a scheduled session? Drop by anytime during our open hours to take advantage of the study space.

Please Note:

• Arrive on time to help maintain the focus of our study group. Study spots are available on a first come, first serve basis.
• Wifi and power outlets available.
• Students are asked to leave their bags at the front desk. No food or drinks are permitted in the gallery.
• Want to stay later? No problem, you are welcome to use the reference table anytime during our open hours.

Free | Open to the public 

Let’s Talk Collections: What’s Up with the McIntosh Gallery Collection?

                Saturday, May 3, 12:00 - 1:00 p.m.

Presented as part of the ADAC Canadian Art Hop  https://www.canadianarthop.ca/ 

As the oldest university art gallery in Ontario, McIntosh Gallery has been collecting art since 1942. A lot has changed over this 83-year history, prompting us to consider critical questions about what it means to be a collecting institution in the contemporary moment. Join Rachel Deiterding, Curator of Collections & Special Projects and Museum and Curatorial Studies alumna, for a look inside ongoing work to review the McIntosh Gallery collection and the many questions and challenges that accompany this project.

Let’s Talk Collections is a public conversation series that makes visible behind the scenes work with the collection. Beginning with a short presentation about ongoing research and questions about the collection, the conversation will become a public forum, opening the floor to talk about collecting and its future together.

Free | Open to the public

The Connecting to Collections project is generously supported by Catherine Elliot Shaw

Aryen Hoekstra

In storage 

June 12 - July 11, 2025

In 2016, Aryen Hoekstra founded Franz Kaka in Toronto, Canada as an artist-led gallery presenting exhibitions that privileged experimentation and risk-taking. In 2019, the gallery began formally representing a number of the artists who had previously exhibited, including Lotus L. Kang, HaeAhn Paul Kwon Kajander, Anne Low, and Elif Saydam. It was at this point that Hoekstra abandoned his own studio practice to pursue a fulltime career as a gallerist. In the years since, the gallery has expanded its international reach through gallery collaborations and art fair participations, including recent presentations at Art Basel, Frieze London, and the Armory Show. Known for presenting materially curious and conceptually complex exhibitions, the gallery champions nuanced practices that transform and deepen through sustained engagement, fostering dynamic conversations with audiences locally and abroad.  

Researching from the perspective of an academic and artist, but also as a gallerist, Hoekstra examines the way that art objects are handled and traded. In storage delves into the under-examined logistics of the art business, the storage and shipping of artworks, their care and circulation. Noting the deliberate separation of art and commerce that is implied in traditional gallery floorplans, Hoekstra muddies this distinction by transplanting Franz Kaka’s crate storage into McIntosh’s West Gallery for a period of four weeks. Here the day-to-day operations of the gallery and their practical encumbrances are presented in place of the sacralized objects they are designed and built to protect.

In Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art (2005), Olav Velthius considers the way that commercial art galleries reinforce the separation between art and commerce. Finding that certain physical attributes have become standardized regardless of budget or location, Velthuis offers the following as a description of the general ‘look’ of a contemporary art gallery’s exhibition space:

The front of the gallery contains, depending on its size, one or more exhibition spaces. These spaces have concrete or wooden floors (carpets are hardly ever used), white walls without ornamentation, no furnishings, and neon or bright halogen lights, whose fixtures resemble those of construction sites. The minimal decor, absence of furniture, and lighting of the gallery space create an atmosphere that reinforces the autonomy of the artwork on display, and keeps commerce at bay.

Unlike Franz Kaka, McIntosh Gallery is not a commercial endeavour, yet it too follows this architectural separation, which preserves the sacred character of the exhibition space as distinct from the earthly, common and otherwise profane transactions that are necessary to support its operation. In storage makes use of this logistical opportunity to question the intractability of this separation and to examine what results as we approach its horizon.

Aryen Hoekstra is a PhD candidate in the Department of Visual Arts at Western University. In storage is his thesis exhibition and draws on research supported by the Social Sciences and Humanities Research Council. 

Graduate student exhibitions at McIntosh Gallery are presented in memory of King's College alumnus Gregory Franklin Child through the generous support of Western University Arts and Humanities alumni Paula Case Child and Timothy Child. 

Tia Bates

Through and From the Looking Apparatus

July 28 - September 5, 2025

Closing Reception: Friday, September 5, 5 - 7 p.m.

Tia Bates, It Follows You Anyway, 2024-25, beeswax, light, and found object sculpture on film images, found objects, copper, brass, concrete.

Through the looking apparatus, McIntosh Gallery becomes a vivarium where the substance of filmic light inhabits space—an environment where the viewer is invited to wander and discover cinematic curiosities. Emergent light grows and changes. The works feed on electric human proximity to become a form of life. In the surrounding darkness, light is drawn in and affects with the desire to capture and stick.

From the looking apparatus, projection lux—the amount of light hitting surface—scatters through all surrounding surfaces, including the viewer. Human skin is a threshold, the barrier between self and other. The translucent surface is breeched by light, allowing an external force to enter. While human touch cannot reach into the looking apparatus, lux from the looking apparatus can reach into and touch its viewer.

The looking apparatus is an object that has lived lives of looking, but it has been transformed: taxidermied into an invention of cinematic intervention. The looking apparatus is also a framework where light is waxing—revealing and expanding upon understandings of experience. Beeswax represents human skin through its translucency and its origin as a secreted material, a way to render skin as an object and to produce mimesis.

Referencing the cinematic experience as a sensorial interaction with light, Through and From the Looking Apparatus is both an installation of light and body and a habitat that cultivates human encounters with cinematic light.

Tia Bates is an MFA candidate in the Department of Visual Arts at Western University. Through and From the Looking Apparatus is her MFA Thesis Exhibition.

Graduate student exhibitions at McIntosh Gallery are presented in memory of King's College alumnus Gregory Franklin Child through the generous support of Western University Arts and Humanities alumni Paula Case Child and Timothy Child. 

Holding Patterns: the long view

A Look Inside the McIntosh Gallery Collection

Curated by Rachel Deiterding

September 25 — December 6, 2025

Jamie Q, The Possibilities are Endless, 2012, 6-colour screen print. Purchase, Saward Memorial Fund, 2012. Collection of McIntosh Gallery, Western University.

Opening Reception

Thursday, September 25, 5:00 pm - 7:00 pm

Remarks at 5:45 pm

Visitor Parking information

Free | Open to the Public

Holding Patterns: the long view examines the McIntosh Gallery collection through the lens of collection data, the information that is recorded to describe, organize, and preserve knowledge about each artwork. This information underpins everything we know about the collection, framing our understanding of individual artworks and the collection as a whole.

Tracing the pathways laid by the data, the selected artworks present a proportionally accurate overview of the 4,350 artworks in the gallery’s care. They make visible trends in collecting activity, artistic approaches, and how information has been categorized to offer insights into the collection’s purpose and its evolving priorities.

Among the many stories the data tells is a century-long history of collecting, the who, what, when of the collection since its inception in the 1920s. Yet data is not neutral. Equally present are the stories that are missing from the data, the gaps and inconsistencies that leave us with more questions than answers, shaping what we ask next.

This year the gallery began conducting a major collections audit and review. Looking closely at our collections data has positioned this data as both a historical and a future-oriented tool, allowing us to better understand the history of the collection and set priorities for its future. This exhibition invites visitors into this process, sharing some of the discoveries that a data-focused approach has brought to light. The culmination of this work will help guide how we collect, care for, and interpret the collection in the years to come.

Read the longer curatorial text here.

Featured artists: Kenojuak Ashevak, Eric Atkinson, Carl Beam, Micheline Beauchemin, Ron Benner, Michael Bidner, Rudolf Bikkers, David Blackwood, Charles John Collings, William Nichol Cresswell, Greg Curnoe, Geraldine Davis, Michael Durham, Brian Fisher, Robert Fones, Annie French, Paddy Gunn O'Brien, Wyn Geleynse, Jamelie Hassan, Thomas Hodgson, Walter Jule, Brian Jones, Antje Laidler, Suzy Lake, Stanley Lewis, Arther Lismer, Stephen Livick, Kenneth Lochhead, Ron Martin, Clark McDougall, Ray Mead, David Milne, Kim Moodie, Shelley Niro, Kim Ondaatje, Gerald Pedros, Jamie Q, Angie Quick, Gillian Saward, Becky Singleton, Gordon Appelbe Smith, Michael Snow, Jamasie Teevee, Ningiukulu Teevee, Colette Urban, Aidan Urquhart, Tony Urquhart, Victor Vasarely, Eddy Weetalukektak, Joyce Wieland, Jeff Willmore, and Tim Whiten.

The Connecting to Collections project is generously supported by Catherine Elliot Shaw.

Related Programming:

Let's Talk Collections: Where Art and Data Intersect | October 16