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Vid Ingelevics is a Toronto-based visual artist, writer, independent curator and educator. He is currently teaching at the graduate and undergraduate levels in the School of Image Arts at Ryerson University, Toronto. His artwork has followed several key threads related to the representation of the past, the nature of archives and museums and our experience of urbanity. His projects have been exhibited in group and solo exhibitions at institutions and events such as: Presentation House, Vancouver; the Winnipeg Art Gallery, Winnipeg; the Power Plant, Toronto; the Contact Photography Festival, Toronto; Le Mois de la Photo, Montreal; the Goethe Institute, Toronto and Los Angeles, US; the Photographers Gallery, London, UK; Museum of Modern Art, Oxford, UK; Nederlands Fotomuseum, Rotterdam, Netherlands and the Fotomuseum Winterthur, Zurich, Switzerland amongst others.
Current projects include: a long-term collaboration with artist Blake Fitzpatrick that attempts to address the absence of a history or histories of the post-1989 Berlin Wall in North America and in Berlin itself; and, locally, a photographic study of the proliferation and situation of cell towers in the city of Toronto. Learn more here.
[…] Vid Ingelevics is a Canadian artist. Much of his work examines representations of the past. His current long form project titled Freedom Rocks focuses on the history of the Berlin Wall since its removal in 1989. Ingelevics began researching what happened to the wall after it fell and discovered pieces of it across the world including in the United States and Canada. Initially, Ingelevics and his collaborator went to Washington, D.C. to learn about the movement of the remains of the wall. In the years following the removal of the wall there was a strong market for fragments. Pieces of the Berlin Wall now appear in the most unlikely corners of the world. Ingelevics work looks at why fragments of the Berlin Wall move around the world and who pays for this as well as putting the wall in the context of history rather than relegating it solely to the realm of political symbolism. For the Silo, Brainard Carey. […]