The Art Museum at the University of Toronto is exhibiting the 2020 graduating projects of Master of Visual Studies graduate students Emily DiCarlo, Chris Mendoza, Brandon Poole, and Jordan Elliott Prosser.

This exhibition is produced as part of the requirements for the MVS degree at the John H. Daniels Faculty of Architecture, Landscape, and Design.

Because of COVID-19, visitors to this exhibition must pre-register for timed admission to the Art Museum. To reserve your timed ticket, visit the Art Museum website.

Take me to the Art Museum's ticketing page

Also, as part of the exhibition, Emily DiCarlo will be delivering a live reading, on Zoom, at 2 p.m. on November 4. For details, see the Art Museum's event listing.

The students participating in the exhibition are:

Emily DiCarlo, an artist and writer whose interdisciplinary work applies methodologies that often produce collaborative, site-specific projects. Evidenced through video, performance and installation, her research connects the infrastructure of time with the intimacy of duration.

Chris Mendoza, an artist-educator whose work unravels and is entangled in the geographical politics of narration — investigating questions of belonging through embodied and place-based research. Often articulated through material traces, ephemera, and written and oral histories, Chris’ work moves between performance, sculpture, video, and writing. Chris currently resides in Toronto.

Brandon Poole, an interdisciplinary artist. Having previously trained in photojournalism and philosophy, his work builds upon the inheritance of archival material to mediate the entwined histories and speculative futures of architecture, cinema, and simulation.

Jordan Elliott Prosser, who works with video and sculpture. Employing auto-ethnographic and documentary strategies, Jordan has returned to his hometown to chart a personal and communal identity. His new work explores the precarity of industrialized normativity through an embedded but critical empathy, invoking observational and surreal modes of representation to allegorize the contradictory present of the suburbs.

Top image: Artist holding image of River Don Straightening Plan, 1888, by Chris Mendoza. (City of Toronto Archives Fonds 200, Series 725, Item 134.)