We are suddenly plunged into Polar Vortex hell, again.
I hurried through the steady snow in mild panic.
Vera Frenkel at MOCCA
Ways of Telling is the name of the MOCCA exhibition of Vera Frenkel’s work. The entirety of the MOCCA plant is packed to overflowing with Vera Frankel art pieces: There’s an early video piece in the lobby, curtained off with black drapes; two different books on Vera Frenkel’s art are prominently displayed and on sale at the reception desk; both of the large exhibition spaces are filled with Vera Frankel’s video projections, installations, numerous large collages and documentation of art pieces from the past. Here and there holes are punched right through walls so the viewer doesn’t have to miss anything.
Installation shots from Ways of Telling
An entire functioning “piano bar”, where you can actually get a drink and which contains everything (and more) that constitutes a real bar, has been constructed in one of the main rooms at MOCCA.
…from the Transit Bar
The hallway is a site for her work and if you leave through the rear exit you are obliged to pass through yet another Vera Frenkel piece.
Installation shot of “The National Art Institute”
Even the bathroom contains an installation by Vera Frenkel.
The most obvious constant in this plethora of output is Vera Frenkel’s voice. Throughout the galleries she can be heard everywhere. Refined, pleasant and carefully modulated this voice tells stories with an almost hypnotic quality. With uncanny intimacy and assurance the voice confides. You the listener and she the teller are well acquainted. She has definitely got your ear and she is going to tell you the whole story.
For me, coming from the West, her voice has a particular Ontario cadence, a certain lilt that is present only east of Kenora. But beneath all this self possessed Upper Canadian palaver there is determination, sometimes sorrow and often a growing rage.
In the large video projection called Once Near Water: Notes from the Scaffolding Archive Vera Frenkel explores long-standing anger directed at the greed that has defined the waterfront landscape in Toronto. Through a complicated shaggy dog narrative she artfully discloses the facts. Money and power win. The lake disappears behind a grid of scaffolding.
Once Near Water: Notes from the Scaffolding Archive
A piece entitled The National Art Institute, Or what we do for love is largely virtual. The posters about the National Art Institute in the exhibition baffled me so I checked it out on the web. The piece seems to have no beginning or end. Like some bureaucratic nightmare it has its own smug logic and lots of deadends. Looking through the website is quite fascinating but maddening in its elusiveness. In trying to get a grip on the dystopic near future Vera Frenkel seems to be asking the viewer to share her anger and start a revolution. Her ambivalence is not so much toward technology as it is toward the gatekeepers of technology. As in Once Near Water, she objects to being cut off.
In The Blue Train – a multi-channel photo-text-video installation – recollections and imaginings are woven together as a fateful journey unfolds. The images and sound have a wistful dreaminess and evoke the disorienting feelings that can overtake the traveller.
The Blue Train
Travel and other kinds of dislocation are also the focus of …from the Transit Bar, originally created in 1992. The lights are low. The piano tinkles softly. There is reading material and video, both in numerous languages. It’s a haven for conversation or solitary reflection and the viewer is invited to indulge on their own terms. …from the Transit Bar gets to the heart of Vera Frenkel’s work which is sometimes trenchant and always warm, human, generous and open to all.
…from the Transit Bar