Michael Maranda
curriculum vitae
solo/duo exhibitions . . .
2007
• Parasitic Ventures Press book launch, Art Metropole (Toronto)
2005
• “Breath and Intonation,” Akau, Inc. (curated by Cheryl Sourkes; Toronto)
2004
• “Traductions,” Occurence (w/ Michelle Gay; Montréal)
• “Decoy,” YYZ Artists Outlet (Toronto ON)
2003
• “Recent books,” Silent Gallery(Montréal QC)
2002
• “Decoy,” Mendel Art Gallery (Saskatoon SK)
2001
• “Invisible Hand,” AKA gallery (Saskatoon SK)
• “Invisible Hand,” Axe Neo-7 (Hull QC)
1998
• “History [aufhebung],” Galerie B312 (Montréal QC)
1995
• “fY,” Library Gallery (University of Rochester)
1992
• “Garden,” (public site intervention/installation; various sites in Montréal)
1991
• “Spheroramas/Shadowgraphities,” Galerie Stornaway (w/Brian Mulvihill; Montréal)
• “Landscape,” The Photographers Gallery - working gallery (Saskatoon)
1988
• “Cows, &c,” The Photographers Gallery - members space (unjuried)
selected group exhibitions . . .
2008
• “Less is More: The Poetics of Erasure,” Simon Fraser University Art Gallery. (Vancouver BC) forthcoming
• “Section Label Project,” Monkey's Paw books. (Toronto) forthcoming
• “The Inarticulate Mark,” Type Books, as part of the Scream festival. (Toronto)
• “Not Quite How I Remembered It,” The Powerplant. (Toronto) ongoing
• “txt,” Anna Leonowens Gallery. (NSCAD, Halifax NS)
• “Excision,” Twenty+3. (Manchester UK)
2007
• “Too Many Words,” Helen Pitt Gallery. (Vancouver BC)
• “Titles,” Balfour Books. (Toronto ON), organised by the wayupwaydown collective (touring)
2006
• “Alpha Beta Data,” Akau, Inc. (Toronto ON), curated by Cheryl Sourkes
2004
• “Bibliophilia,” University of Lethbridge Art Gallery (Lethbridge AB), curated by Josephine Mills
• “When the Front is the Same as the Back,” Yam Lau and Tania Ursomarzo’s portable bookstore (Toronto)
2002
• “Aerial Farm Photography,” organised by the Dunlop Art Gallery (Regina SK), curated by Helen Marzolf, touring
2000
• “Superlatives,” Mendel Art Gallery, curated by Robert McKaskell
1999
• “Main d'oeuvre,” Quatier éphémére (at Usines éphémére, St-Ouen cedex Paris)
1998
• “The Postcard Project,” Dunlop Art Gallery (Regina SK)
1996
• “Techne,” Hartnett Gallery, University of Rochester
1994
• “Visible Sites, Visual Signs,” Hartnett Gallery
1992
• “Stories Told me by my Grandmother,” (Video screening), in How Do I Look, Concordia University
1990
• “Systemic Interference” (performance), in Interventions 90, AKA Gallery
• “Under Twenty-Six and Under-Exposed” curatorial project), AKA gallery
1989
• “Re-levate” (video screening), in SK Film and Video Showcase (Saskatoon)
• “Sight Unseen,” Eastern Edge Gallery (St Johns NF)
1988
• “Summer Exposures,” AKA Gallery
artist editions (bookworks) . . .
• Twentysix Gasoline Stations, v. 2.0 (Toronto: Parasitic Ventures Press, 2010). forthcoming
• Geneses (Toronto: Parasitic Ventures Press, 2010). forthcoming
• Livre: Une coup de dés n'abolira le hasard (Toronto: Art Metropole, 2008).
• The Lost Book series (Toronto: Parasitic Ventures Press, 2007). 5 volumes
• 4% of Moby Dick (Toronto: Parasitic Ventures Press, 2006).
• All the Proper Names of “In Search of Lost Time” (Toronto: Parasitic Ventures Press, 2006).
• Syntactic Analyses (Toronto: Parasitic Ventures Press, 2005). Series of 90+ volumes, each in an edition of 10.
• Gibbon's Decline and Fall of the Roman Empire, abridged edition (Toronto: Parasitic Ventures Press, 2005). 1 volume, edition of 100.
• In situ Selections of Edward Gibbon’s Decline and Fall of the Roman Empire (Toronto: Parasitic Ventures Press, 2005). 1 volume, deluxe edition of 10.
• Wittgenstein’s Corrections (Montreal: Silent Press & Burning Books, 2003). 1 volume, edition of 200.
• Wittgenstein’s Corrections (Toronto: Parasitic Ventures Press, 2003). 1 volume, deluxe edition of 10.
• Invisible Hand (Toronto: Parasitic Ventures Press, 2002). 2 volumes, edition of 10.
• The Three Critiques of Immanuel Kant (Saskatoon: Parasitic Ventures Press, 2000). 2 volumes, deluxe edition of 3.
• Syntactic Analyses (Saskatoon and Toronto: Parasitic Ventures Press, 2000-2004). 24 volumes, edition of 1.
• Reading (Encyclopaedia Britannica) (Montreal: Parasitic Ventures Press, 1998). 3 volumes, edition of 1.
• Kallos (Montreal: Parasitic Ventures Press, 1992). 1 volume.
• Z is for Zebra (Montreal: Parasitic Ventures Press, 1992). 1 volume.
• V is for Virus (Montreal: Parasitic Ventures Press, 1992). 1 volume.
selected published writings . . .
• selection from “All the names in ‘In Search of Lost Time,” Craig Dworkin & Kenneth Goldsmith, eds., Against Expression (Evanston: Northwestern University Press, 2010)
• “review of Decentre,” C magazine 103 (Toronto: Art Gallery of York University, 2009).
• Waging Culture: A report on the socio-economic status of Canadian visual artists (Toronto: Art Gallery of York University, 2009).
• selections from “Wittgenstein’s Corrections,” in Capilano Review 3:7 (Winter 2009).
• “Syntactic Analysis,” in Jessica Wyman, ed., Proforma (Toronto: YYZbooks, 2007), artist project.
• “Archival Treatment,” in Bob Bean, ed., Image and Inscription: An Anthology of Contemporary Canadian Photography. (Toronto: Gallery 44, 2005), artist project.
• “The Reluctant Critic,” BlackFlash 20:1 (2002).
• “A Response to ‘Fragments of a Work in Progress: Aspects of My Father’s House,’” Interplay 1:4 (April 1999 – The Photographers Gallery, Saskatoon)
• “Facts,” New Literary History 29:3 (1998).
• “As if through a Glass,” BlackFlash 16:1 (1998).
• “Response to Christopher Phillips,” and “Response to Jolene Rickard,” in ed. Cheryl Younger. Proceedings: 1995 American Photography Institute Nat’l Graduate Seminar. New York: NYU/Tisch, 1995, p.181, 220-21.
• “Re: Contextualisation,” in Passages 8 (June 1990), Banff Centre for the Arts. (artist project)
catalogues and portfolios . . .
• Mills, Josephine, ed. On Collecting (Lethbridge: Lethbridge University Gallery, 2005)
• Tousley, Nancy. “On Bibliophilia: Possession,” catalogue essay in On Collecting.
• Lilburn, Tim. “The Ascesis of the Object,” YYZ newspaper (Toronto: YYZ Gallery, 2004)
• Marzolf, Helen. Aerial Farm Photography (Regina: Dunlop Art Gallery, 2003).
• Nikolopoulou, Kalliopi. “D'une disparition a l'autre, etc …,” Cahier B312 (Montreal: Galerie B312, 1998).
• Lozano-Hemmer, Raphael. “Technological Correctness,” Leonardo 29:1 (1996).
• Spheroramas/Shadowgraphities (Montreal: Galerie Stornaway, 1991)
• Mills, Josephine. “Systemic Interference,” in Interventions 90 (Saskatoon: AKA Gallery, 1990).
reviews . . .
• Davis, Brian Joseph. review of “4% of Moby Dick” and S Rechico’s “whereabouts”, Eye Magazine (1 March 2007), p. R11.
• Dault, Gary Michael. “Gallery Going: review of “Alpha Beta Data,” The Globe and Mail (12 August 2006), p. R11.
• Temple, Kevin. “A Thing about Books,” review of “Wittgenstein's Corrections,” The Globe and Mail (8 November 2004), pp. R1, R4.
• Ghaznavi, Corinna. Review of “Decoy,” Espace 69 (Fall 2004), p. 44-45.
• Lau, Yam. Review of “Decoy,” Parachute 115 (July 2004), p.8 of para-para.
• Goddard, Peter. Review of “Decoy,” The Toronto Star (20 March 2004).
• Lau, Yam. Review of “Wittgenstein's Corrections,” Espace 68 (Summer 2004), p. 45.
• Robertson, Sheila. “Something Useful Salvaged,” Saskatoon Star Phoenix (23 February 2002), p. E14.
• Dahle, Sigrid. “White Out,” Bordercrossings 20:3 (September 2001), p. 82-84.
• Viau, René. “Main d’oeuvre à Saint-Ouen” La Presse (9 June 1999), p.B1.
• Lehmann, Henry. “Scrutiny only Deepens the Mystery,” The Montreal Gazette (4 April 1988), p.J6.
grants, fellowships, residencies . . .
2010
• Toronto Arts Council Visual Arts Grant
2007
• “The Art of Obsolescence” SSHRC Research Project, Ilan Sandler and Bob Bean lead researchers.
• Toronto Arts Council Visual Arts Grant
2006
• The Banff Centre for the Arts “Babel, Babble, Rabble” residency
2005
• Toronto Arts Council Visual Arts Grant
2004
• Ontario Arts Council “B” Visual Arts Grant
2002
• Toronto Arts Council Visual Arts Grant
2001
• The Banff Centre for the Arts “new works” residency
2000
• Saskatchewan Art Board “B” Visual Arts grant
• Canada Council “B” Visual Arts grant
• SaskCulture Professional Development grant
1999
• Usines éphéméres, St-Ouen (cedex Paris), artist-in-residence
• SaskCulture Professional Development grant
1996
• Folger Institute (Washington DC) “Motivating History” seminar with Keith Moxey
1995
• University of Rochester Conference travel grant
• Amsterdam School for Cultural Analysis, University of Amsterdam, visiting researcher
• American Photography Institute National Graduate Seminar, New York, fellow
1994
• University of Rochester Conference travel grant
• Saskatchewan Arts Board Research “B” grant
• SSHRC doctoral fellowship (4 year tenure)
1993
• University of Rochester Doctoral fellowship
1992
• The Banff Centre for the Arts artist-in-residence scholarship (photography department)
• Concordia dean of students project grant
1990
• Canada Council Explorations grant
• Banff Centre artist-in-residence scholarship (photography department)
1989
• Saskatchewan Arts Board project “C” grant
• Canada Council Explorations grant
conferences and lectures . . .
2008
• Negotiations: Keynote Panel, Scream Festival (Toronto)
2007
• Test Reading Series, Mercer Union, curated by Mark Truscott, poetry reading
2003
• Guest artist lecture, University of Lethbridge, artist talk
2002
• Guest artist lecture, Sheridan/U of Toronto, artist talk
2001
• Art and Text, AKA and TPG galleries, artist talk and panelist
2000
• The Future of the Page, HRU/University of Saskatchewan, presenting “Stet”
1999
• Floating Conversation Series, Dunlop Art Gallery, roundtable participant
1998
• Art History and Interdisciplinarity, Concordia University, presenting “Perhaps once a Giorgione”
1997
• ISO: Cultural Studies in search of Psychoanalysis, University of Rochester, conference coorganiser
• Whose Art is it Anyway? Cummer Museum, Jacksonville, FL, presenting “forging veneration”
1996
• Constructing the Object, CAA Conference, Boston, presenting “history, work, text”
• (Dis)Placing Nationalism, UC-Irvine, presenting [in abstentia] “mirroring nations”
1995
• Mining the Field/Filling the Blanks, University of Rochester, conference coorganiser
• Cultural Survival/Surviving Culture, University of Rochester, presenting “mirroring nations”
1994
• On the Frame, Yale University, presenting “Flesh and Blood in the Nat'l Gallery”
• Straight with a Twist, M-MLA, Chicago, presenting “Real Co-ordinates of Difference”
• Screen-Sites, McGill University, Montréal, Québec, presenting “Faking it in Cyberspace”
1990
• 10th Cdn. Ind. Film and Video Alliance AGM, Toronto, ON, representative for Video Verité
1989
• Plains Ind. Film and Video Conference, Saskatchewan, representative for the Photographers Gallery
education . . .
1993-1999
University of Rochester, NY
MA, PhD (abd), Visual and Cultural Studies (diss title: “The Inevitability of Art History”)
1988-89, 1990-92
Concordia University, Montréal, PQ
BFA, photography
1984-1987
University of Ottawa, ON
BSSc, political science
related experience . . .
2007–
• Assistant Curator
Art Gallery of York University, Toronto
2006–2007
• Director of Operations
Mercer Union, Toronto
2001– 2006
• associate publisher
Fuse magazine, Toronto
1998 – 2001
• managing editor
Blackflash magazine, Saskatoon
1999–2001
• programming committee
The Photographers Gallery, Saskatoon
1999
• sessional lecturer of art history (AH120.4)
University of Saskatchewan, Saskatoon
1994–1997
• adjunct lecturer of photography and drawing (Photo I–IV; Drawing I)
University of Rochester, Rochester NY
1993–1994
• teaching assistant for Roger Mertin (Photo I–IV)
University of Rochester, Rochester NY
1989–1990
• chairperson
Video Verité, Saskatoon
• board member (publications chair)
Photographers Gallery, Saskatoon
• visual arts selection committee
AKA Gallery, Saskatoon