The exhibitions below have taken place recently, whithin the past year.
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Avant-garde on the Neva
Avant-garde XXth century
Die, Nazi Scum!
Flight in sleep and in waking
Leningrad Postwar
Pavel Filonov
Revolutionary Film Posters
Russian Avant-garde
The Roads and Paths of Tatiana Mavrina
Vladimir Tatlin
Windows on the War
Lissitzky +
Spiral Motion
Boris Grigoriev
Chagall and the Russian Avant-garde
"Avant-garde on the Neva"
The Russian National Library - November 25th 2011 - December 9th 2011
The new building of Russian National Library.
An exhibition named "Avant-garde on the Neva" has opened on November 25th in the new building of the Russian National Library.
The exhibition presents 37 albums dedicated to the works of St.Petersburg artists in the Avant-garde style. In addition, there are paintings by masters of the St.Petersburg school, such as Valentin Lenitin, Gennady Ustiugov, Anatoly Kaplan, Vladimir Shagin, Vladimir Yashke, Maria Tregubenko and others.
The information on this page was taken from the Russian National Library webpage (Russian).
Art Center "Perinnye Riady" - October 3rd 2011 - December 11th 2011
Art Center "Perinnye Riady". St.Petersburg.
An exhibition has opened at the Art Center "Perinnye Riady". The bright, bold artists of the Russian Avant-garde, not recognizing the word "impossible", have toppled the plane of academic aesthetics, standing for their right to "paint the way I see it". The origin of the Avant-garde is Paris, France. Here the impressionists have created; here came to paint, young and poor, Picasso, Dali, Chagall, Kandinsky. The Avant-garde, like a fire, spread across the whole world, echoed in Malevich's "Black Square"; Kandinsky's abstract improvisations; Appel's brightly colored works; Miró's gay surrealism; Brak's collages and still-lifes; Buffet's gray-yellow angles; Pollock's abstract expressionism; Warhol's senseless and sensible soup jars; Magritt's mystical realism.
The Avant-garde artists ave created in different techniques, their ideas have often contradicted each other; so why are their works collected today in a single hall? The answer is simple. Each artist has followed their own path, but they have all become the authors of a priceless historical phenomenon - Avant-garde of the XXth century.
The exhibition presents 51 works from private collections.
The information on this page is translated from the Art Center's announcement at the Afisha.ru webpage (Russian).
Andrew Edlin Gallery, New York - November 17th 2011 - January 21st 2012
At the TASS Windows on Kuznetzky Most. 1941.
An exhibition has opened at the Andrew Edlin Gallery of Soviet anti-Nazi propaganda posters produced during the Second World War. A catalogue featuring an essay by Xenia Vytuleva accompanies it.
Soon after the German invasion of the Soviet Union in June of 1941, the Okna TASS studio spontaneously formed in Moscow. Comprised of renowned artists, poets and literary figures, the new consortium would oversee production of a powerful, extreme form of visual expression to urge Soviet citizens to fight on and ultimately do the nearly impossible - change the course of the war, the course of history.
Against a backdrop of horrific human loss (estimated at 20 million killed, 10 million missing), these propaganda posters (referred to as "TASS windows") conveyed a "point of no return." During the 1,418 days of the war, the group produced 1,240 posters. Preferring stenciling to lithography, and working in teams, the artists established an assembly-line method of production, painting posters in sections on individual sheets of paper to enable easy handling. Horror, sadness, fear, moral shock and visual unease - these sensations were counter-balanced against the vibrant palette, evocative caricatures and rich, painterly textures of the works. Nowhere else in the lexicon of wartime imagery had suffering and horror been portrayed in such an absurdist way. Nowhere else was the face of the enemy, Hitler's portrait in particular, composed using twenty-five garishly bright colors.
While political propaganda, as a whole, was tightly controlled by the state, TASS windows occupied a privileged position and were subject to minimal censorship. As Pravda, the official communist paper, wrote at the time, Okna TASS "is a part of the Red Army's military equipment alongside tanks and airplanes. We should take care of it and love it no less than our rifles or guns." By taking on their aesthetic responsibility in such a radical way, the TASS windows artists introduced a dimension of audacity and ingenuity in their work that has yet to be matched in the annals of wartime propaganda.
The information on this page is taken from Andrew Edlin Gallery announcement webpage.
Proun Gallery - September 25th 2011 - December 5th 2011
L.Khidekel. Spacial Painting.
Another exhibition project at the "Proun" Gallery, opening the new season, dealing with flight and levitation, with the ability to disconnect from the surface of the Earth and grow into new territories. Throughout history man has never dreamed of anything as fiercely as about the sky, and finally, by the beginning of the XXth century, this dream has become more realistic. Technological progress, which has become the new symbol of faith for the Futirism artists, has "brought the sky closer" and turned the idea of flight into a problem soon-to-be-solved, and no longer the epitome of personal raging challenge against God.
This is the main peculiarity of the Russian Avant-garde Utopia: it has never been a fantasy, a romantic dream of a better world. The Russian Avant-garde art has carried in it the pathos of the order of the world, where the Universe would be seen in a totally new light, and the artist became prophets and apostles of the new reality. The planits made from geonetric primary elements by Malevich, Chashnik, Suetin, Khidekel, were suspended weightlessly not in the an abstract "sky" but in a physically specific space, interacting with it. In a similar way Yakov Chernikhov's constructions, most resembling today's supercontemporary orbit stations, appeared alive in a world above the ground.
The exhibition in the "Proun" gallery is not about spiritual search and flight of angels, or a type of neoplatonic study on a theme of "the spiritual in art"; it is not about the cosmos and the conquering thereof. It is about a real existing power of the art, which allows, for example, the installation hero Ilya Kabakov to fly to space; or Vasili Chekrygin to draw scenes of the rising of the dead with a charcoal; Mikhail Matiushin, Boris Ender, and to some extent organic art heirs Francisco Infante and Nonna Goriunova to create works, based non scientific research of nature and natural artifacts.
The exhibition presents about 60 works (painting, graphic art) of the Russian Avant-garde artists, as well as some contemporary artists, among them Ilya Kabakov, Pavel Peppershtein and others.
Information on this page was translated from the "Vinzavod" Contemporary Art Center announcement webpage (Russian).
Russian National Library - January 13th 2012 - February 11th 2012
The exhibition has opened close to January 27th, the day of full relief of the blockade from the city of Leningrad, and is dedicated to the grave trials faced by the Leningrad citizens during the terrible blockade of 900 days.
Anatoly Lvovich Kaplan has graduated from the High Art-Technical Institute (VKHUTEIN) in Petrograd-Leningrad (1921-1927), under G.S.Vereisky and A.A.Rylov. He has lived in Leningrad, and often took trips to his native land in the former Pale of Settlement (Rogachev, Mogilev District), where he studied the traces of Jewish life and culture. In his compositions, mainly black-and-white lithographs, he has used the characteristic subjects of the "Yiddishe-culture".
In 1937-1940 Kaplan has worked in the LOSKh (Leningrad Department of Union of Artists) experimental lithograph workshop under G.S.Vereisky.
The series of prints on Birobidzhan (late 1930s) for the Ethnography Museum of the Peoples of USSR, and the series of prints "Kasrilovka" - an intricate weaving of memories from his hometown with literary associations - have made Kaplan famous as a master of the Jewish theme.
Among Kaplan's work on non-Jewish subjects in this period, the lyrical lithograph series "Leningrad" (1944-47) may be considered the most important, with its unexpected concept and interpretation of cityscape.
Anatoly Lvovich Kaplan belongs among the great masters of Soviet graphic art. His name is known not only in Russia, but also outside its boundaries.
Ilya Erenburg has called his works "Wonderful works of art"; Samuil Marshak has found in them "deep poetic vision of the world, bringing each drawing into philosophical generalization"; Nikolai Kuz'nim spoke of Kaplan as "an artist of high creative energy, fierce and joyful labour, whose creation, filled with human warmth, brings joy to the people and awakens in them good feelings".
Kaplan's works are brought for exhibition courtesy of the collector Isaak Kushnir. As author of the exhibition-publishing project "avant-garde on the Neva", I.Kushnir has donated 38 albums dedicated to Leningrad Avant-garde artists to the Russian National Library.
The information on this page is translated from the Russian National Library webpage (Russian).
KUMU Art Museum of Estonia - June 10th 2011 - September 18th 2011
Filonov. Spring Formula. 1922-1923.
This exhibition is dedicated to the art of Pavel Filonov (1883-1941), one of the most original masters of Russian Avant-garde of the first half of the XXth century. We view the material in a wider context: works by the representatives of other movements of the Russian Avant-garde as well as of Socialist Realism, which has in the 1930s become the official canon of the Soviet art, are presented alongside Filonov's works. The exhibition is prepared in cooperation with the State Russian Museum, and will include 56 works out of its collection in KUMU: 25 works by Filonov, 23 works representing Russian Avant-garde, and 8 works representing Socialist Realism. A Catalogue in Estonian, Russian and English accompanies the exposition.
Pavel Filonov, an artist and theoretician of art, the creator of Analytic Art system, may be placed in the same line with key figures of the Russian Avant-garde, such as Wassily Kandinsky and Kazimir Malevich. Filonov's originality in the Russian Avant-garde art consists in the synthesis of the Academic heritage and traditions with a new artistic language (the principle of "madeness"). Filonov's artistic method has not included a denouncing object representation for abstractionism. Rather he has studied the unseen processes inside the objects seen, attempting to demonstrate to the viewer the living structure in the material. In 1925 Filonov has formed the group Masters of Analytic Art, and no other master of the Russian Avant-garde had a school with so numerous a following. The power of his beliefs prevented Filonov from following Socialist Realism, which brought repression both for the artist himself and his loved ones and pupils; his works were denied entry in exhibitions practically until the Perestroika. Both in Russia and in the West Filonov was "rediscovered" in the 1980s. Today Filonov is considered an accepted classic of the XXth century art. His works are included in the permanent exposition in the State Russian Museum, are shown in exhibitions in Russian and all around the world.
Cooperation with the State Russian Museum, which holds both most of Filonov's heritage and one of the finest collections of the Russian Avant-garde, defines the high level of material shown. Filonov's works from the period of 1910s-1940s are shown in KUMU, including his most significant works ("Feast of the Kings", "Spring Formula"), as well as series dedicated to large themes ("Formulas"), which allows a more general understanding of the artist's creative path and the development of subjects followed throughout his whole artistic career. The exhibition context is completed by works of the Russian Avant-garde art's leading representatives, Kazimir Malevich, Wassily Kandinsky, Natalia Goncharova; as well as a whole line of other interesting artists such as David Burliuk, Mikhail Matiushin and Filonov's pupils. Contrasting the experimental art works, come the works in the Socialist Realism canon, which has oppressed the innovation; among them works by Isaak Brodsky, Stalin's official painter. This way the exhibition opens through the central figure of Pavel Filonov complicated, fascinating and contradictory processes, which have taken place in Russian art in the first half of the XXth century.
Information on this page was translated from the KUMU Art Museum of Estonia announcement webpage (Russian).
Revolutionary Film Posters.
Aesthetic Experiments of Russian Constructivism, 1920-33
Tony Shafrazi Gallery, NY - May 6th 2011 - July 29th 2011
Tony Shafrazi Gallery is pleased to announce the exhibition, “Revolutionary Film Posters: Aesthetic Experiments of Russian Constructivism, 1920-33,” a comprehensive collection of rare and exquisite Russian film posters, on view through July 30, 2011.
Culled from the world’s largest collection of Russian Film Posters from the great era of Constructivism, the 95 examples of the medium on view represent a unique opportunity to survey how one of the most significant movements in the early 20th Century avant-garde informed a radical graphic style that has had a dramatic influence on the development of fine art and design over many subsequent generations. Most of the work shown, though originally produced in the hundreds, constitutes the only surviving examples, and few have ever been publicly exhibited before.
Reacting to the chaos of the Russian Revolution, the Constructivists sought order and felt it their civic duty to engineer a more stable and harmonious society. While their utopian ideals and rigorously experimental aesthetics were applied across the entire social spectrum of contemporary experience to every mode of creative endeavor including architecture, art, dance, fashion, film, literature, poetry, publishing and theater, this golden age of poster art has not yet received the scholarship afforded most of the cultural production from that era.
The information on this page was taken from the Tony Shafrazi Gallery webpage (English).
Albergo delle Povere, Pallermo - December 2nd 2011 - March 20th 2012
Kandinsky. "Moscow. The Red Square. " 1916.
The year 2011 has become the year of Italian culture and language in Russian and the year of Russian culture and language in Italy. It was opened in February in Rome by a wide retrospective exhibition of an extraordinary master of Russian art of 1930s-1950s, Alexander Deineka, attended by the heads of both countries. Another event no less important was the exposition of masterpieces by a great master of Italian Renaissance Antonello da Messina, from Sicilian museum collections. The paintings were shown in one of the largest Russian Museums - the State Tretyakov Gallery. As an exchange exhibition, the RF Ministry of Culture has sent to Albergo delle Povere in Palermo the exhibition "Russian Avant-garde".
The choice was not accidental. Russian Avant-garde art expositions of 1910s-1920s have achieved popularity all over the world. This is not surprising. The bright, festive, emotionally open art finds a living echo in the hearts of both specialists and the most unprepared spectators. This short historical period of time was densely packed with events, out of the ordinary from the artistic point of view, and has become an turning point in the path of art development, the beginning of a new era.
The accepted view is the the Avant-garde has grown on the denunciation of all traditions, the toppling of all authority. That is imprecise. One of the singularities of the Russian Avant-garde was the wide absorbing of different sources. As Natalia Goncharova has said: "All that which has been created before me is mine".
The French Cubism has served as one of these sources. The Italian Futurism with its dynamics and special techniques of showing motion has played an important role for the formation of the language of Russian Avant-garde.
Interpretation of this and other movements on Russian soil has given birth to a bright original style. Russia has come forward to the frontier of the new art, has become one of the leaders of the European Avant-garde art. However, the face of the Russian Avant-garde was defined by other, national, peculiarities, more than the European characteristics. The Avant-garde has taken a great deal in the old Russian and peasant art, it was consumed to no lesser degree by the national urban culture in the manner of the lubok and the shop signs.
Still the above mentioned have merely facilitated the appearance of the Russian Avant-garde phenomenon. The artists themselves with their various talents and individual visions were its main driving force. It was a boiling cauldron, where various different movements and directions were melting and reshaping themselves. Each new artistic achievement was immediately taken and transformed into personal creative style. Names such as Kazimir Malevich, Vladimir Tatlin, Wassily Kandinsky, Aristarkh Lentulov, Marc Chagall, Robert Falk, Alexandr Rodchenko, Mikhail Larionov stand in the front lines of the Avant-garde art. The women line is just as spectacular: Natalia Goncharova, Olga Rosanova, Lubov Popova, Nadezhda Udaltzova, Alexandra Exter.
The exhibition organizers have done their best to represent all the Russian Avant-garde main movements, figurative and non-objective alike. For this purpose they have collected works from 12 museums and one private collection; it has so happened that these works have become dispersed in various cities large and small in the great Russia: Moscow, Kazan', Kirov, Krasnodar, Nizhniy Novgorod, Pskov, Samarra, Saratov...
Exhibition was organized by the State Exhibition Centre of Museum Pieces "Rosizo".
The information on this page was translated from the "Rosizo" announcement webpage (Russian).
Location and Contact Information:
Albergo delle Povere, Pallermo
Corso Calatafimi, 217 in Palermo (90129), Sicilia
Tel: +39 091422314
The Roads and Paths of Tatiana Mavrina
A.S.Pushkin State Museum - December 21st 2011 - extended until April 15th 2012
The island Buyan. Sketch for animation film after
'The Tale of Tzar Saltan' by A.S.Puskin.
This exhibition is timed to celebrate the 110th birthday of the Russian artist Tatiana Mavrina, who is called "the most Russian of all Russian artists". Her inimitable style is easily recognizable. It combines traditional Russian techniques taken from icon painting, folk painted toys, lubok, gingerbread boards, tiles. The fairy tale animas, created by Mavrina, are connected organically with the folk tale images.
Location and contact information
A.S.Pushkin State Museum
Arbat Street 55/32 (entrance from Denezhny Street)
Metro Station Smolenskaya
Moscow
Tel: +7)499)241-75-86
e-mail: pushkin@comcor.ru
website: www.pushkinmuseum.ru
The endless cup of the great. Dedicated to Vladimir Tatlin. 1885-1896
The Tretyakov Gallery and the RF Ministry of Culture - October 8th 2011 - February 26th 2012
Vladimir Evgrafovich Tatlin (1885-1953) is one of the most important figures of Russian Avant-garde. One of the founders of constructivism, he is known as a tireless creator. No matter what type of art he was working on, he would always strive for innovation. Tatlin was one of the first artists to establish harmony between painting and applied art, making wood, glass and metal serve as the artist palette. As a consequence he discovered the infinite potential for the 20th century art.
It so dramatically happened that almost all experimental works of Tatlin were gone. Most of them are known from the descriptions and photos of Tatlin’s contemporaries. Only two authentic counter-reliefs and one of the models of Letatlin (utopian project of a flying machine) remained. That’s why there is deep connection between study of Tatlin’s creative work and a problem of its reconstruction.
Current exhibition shows not numerous but the main works of Vladimir Tatlin. The exposition includes about 60 works of 1900-1920s from the State Tretyakov gallery, the Russian State Archive of Literature and Art, the State Central Teatrical Museum of A.A.Bakhrushin and private collections. There are paintings, drawings, sketches for theatrical performances and reconstructions of the most prominent Tatlin’s works.
Windows on the War. Soviet Posters at Home and Abroad
The Art Institute of Chicago - July 31st 2011 - October 23rd 2011
In 1997, 26 tightly wrapped brown paper parcels were discovered deep in a storage area for the Department of Prints and Drawings. Their presence was a mystery, their contents a puzzle. As conservators and curators carefully worked to open the envelopes, they were surprised and intrigued to find that they contained 50-year-old monumental posters created by TASS, the Soviet Union’s news agency. The idea for a major exhibition began to take shape.
Impressively large—between five and ten feet tall—and striking in the vibrancy and texture of the stencil medium—some demanded 60 to 70 different stencils and color divisions—these posters were originally sent abroad, including to the Art Institute, to serve as international cultural “ambassadors” and to rally allied and neutral nations to the endeavors of the Soviet Union, a partner of the United States and Great Britain in the fight against Nazi Germany. In Windows on the War, the posters will be presented both as unique historical objects and as works of art that demonstrate how the preeminent artists of the day used unconventional technical and aesthetic means to contribute to the fight against the Nazis, marking a major chapter in the history of design and propaganda.
Windows on the War exhibition features 250 posters from the war and pre-war period, 155 of which are the large-scale stenciled posters produced at the TASS studio. Viewers will also find their rich historical and cultural context revealed through photographs and documentary material illuminating the visual culture of US–USSR relations before and during the war.
Windows on the War is accompanied by a 380-page catalogue, distributed by Yale University Press, which will be the first major scholarly English-language text on the posters’ production.
The information on this page is taken from the Art Institute of Chicago announcement webpage.
Click here to watch an video overview of Windows on the War —Soviet TASS Posters at Home and Abroad, 1941-1945 exhibition at the Art Institute of Chicago website.
Van Abbemuseum -September 19th 2009 - March 25th 2012
Currently it is the second part of the exhibition - September 2010 to August 2011 - Lissitzky’s work alongside the work of several radical female artists with whom he collaborated.
The Lissitzky+ project is comprised of three exhibitions, each taking a specific theme, which over the coming three years will shed new light on Lissitzky’s oeuvre. An entire floor of the museum’s new building is being rearranged for these new presentations.
The Van Abbemuseum hosts one of the world’s biggest and most important collections of work by the Russian artist El Lissitzky (1890-1941). He was probably the most dynamic artist of his time. Lissitzky is highly important to the Van Abbemuseum. His work, his ideas and his artistic objectives correspond closely with the museum’s own engagement with experimentation, radical creativity and public participation.
El Lissitzky, The Constructor, 1924
The museum has invited Professor Dr. John Milner of the Courtauld Institute in London, who is an authority on the Russian avant-garde, to devise a series of presentations around the Lissitzky collection. The aim of this series is to show Lissitzky’s oeuvre, as well as work by his colleagues and contemporaries, in several different contexts. This three-part series casts new light on Lissitzky’s oeuvre and the context in which it was produced, as well as on Lissitzky as a person. Lissitzky could be regarded as an important precursor of the contemporary artists, someone who was aware of his social and political role as well as of the demands that he made of himself and others with regard to artistic innovation.
Victory over the Sun, the futurist opera that received its premiere in St. Petersburg in 1913, is the focal point of the first exhibition (September 2009 to September 2010). The second exhibition (September 2010 to August 2011) presents Lissitzky’s work alongside the work of several radical female artists with whom he collaborated, while the third exhibition (September 2011 to September 2012) focuses on the dynamic human figure.
Proun Gallery - December 14th 2011 - February 2nd 2012
Yakov Chernikhov. From the series
"Basics of contemporary architecture". 1925-1930
The exhibition shows graphic art, objects, original posters of Russian Avant-garde art and contemporary artists: Olga Rosanova, Vasili Yermilov, Yakov Chernikhov, Piotr Miturich, Vladimir and Georgy Stenberg, Viacheslav Koleichuk, Francisco Infante and others.
"Proun" gallery presents a new exhibition project: "Spiral Motion". Works by Russian Avant-garde and contemporary artists (F.Infante, V.Koleichuk) are united but a single plastic theme: their graphic art and all exhibited objects always contains a spiral, a symbolic expression of eternal motion, an ancient symbol in all cultures injected with a new meaning and form in the XXth century artistic experience.
The practitioners of organic art, Constructivists of the mid-XXth century, direct descendants of the Russian Avant-garde formal search, F.Infante, B.Koleichuk, who have for a short time headed the kinetic art group "Dvizhenie" (Motion), study the possibilities of a spiral, a universal means of dynamic transmission in a static space, on a two-dimensional sheet of paper.
A separate section of the exhibition includes experiments in virtual poetry and creations of Avant-garde composers, stand-alone graphic works in which a spiral serves also as the main constructive principle, further complicating the semantic structure of the creations of poetry and music.
The information on this page was translated from the "Vinzavod" Contemporary Art Center announcement webpage (Russian).
The one-man show of Boris Grigoryev who was the one of the most well-known Russian artists of the first half of the 20th century includes more than 150 paintings and graphic works from the museums and the private collections of Russia and foreign countries. For the first time in Russia the exhibition presents such a full and diverse collection of works by Boris Grigoryev who emigrated in 1919 and later worked in the Western Europe, Latin America countries and the United States of America.
Boris Grigoryev got the international fame for his paintings and graphic portraits of famous men of the Russian culture (among them are Maxim Gorky, Shalyapin, Meyerhold, Rahmaninov) marked by the shrewdness and depth of delineation. The special part of the exhibition presents the works from the Raseya series that were created in the revolutionary years and revealed the artist's complicated reflections on the fate of the Russian World. The unique drawings, created in the 1910's-20's give an opportunity to appreciate completeness and perfection of the form in the expressive and versatile images.
The exposition is supplemented with the multimedia film devoted to the basic works by Boris Grigoryev.
After a first showing in Tokyo, and before moving to Toronto, the Centre Pompidou extramuros exhibition Chagall et l’avant-garde russe/Chagall and the Russian Avant-Garde will be on view at the Musée de Grenoble from 5 March to 13 June 2011. More than 150 works from the collections of the Musée National d’Art Moderne will enable visitors to rediscover an especially fertile period in the history of 20th century art: the Russian avant-garde, with, as the thread, the fascinating world of one of the great poets of modern painting, Marc Chagall.
The goal of the Centre Pompidou’s extramuros exhibitions is to highlight the collection of the Musée National d’Art Moderne by exhibiting works from it in other institutions. In Grenoble, the Centre Pompidou is, for the first time, presenting, in this spirit, the finest works in its collection of Russian art, including its jewels, Chagall and Kandinsky. The exhibition is being organized more particularly around Chagall, and will shed light on the links he had with Russian avant-garde art circles. This slice of Russian art took on very unusual forms, hailing as it did from a popular art deep-rooted in the country’s culture, resulting from a break with academicism, and from many exchanges with the European avant-gardes in Paris, Berlin and Munich. Paintings and sculptures reveal this new visual language, along with drawings, prints, photographs, posters, and projects for sets, reliefs and constructions.
This outstanding exhibition, bringing together more than 150 pieces, and including 24 other artists around Chagall, puts the birth and blossoming of this avant-garde into perspective, from neo-Primitivism to Constructivism, by way of cooperative ventures with the world of spectacle.
For this event, the Musée de Grenoble has come up with special ways for accommodating the public, and called upon its cultural partners to construct around the show a programme of meetings involving a mixture of film, music, literature and poetry. After the exhibition has been shown in Grenoble it will travel on to the Art Gallery of Ontario, in Toronto.
