• Changing Exhibits in Terminal 1

    What better place than Toronto Pearson – where people of all cultures and backgrounds come together – to showcase exhibits of art, design, history, science, popular culture and national history. Our ever-changing exhibits feature works by cultural institutions, organizations, collectors, art groups and even the GTAA.

    With special emphasis on local institutions and those from around the province, our partners include:

    • Canada's Sports Hall of Fame
    • CONTACT Photography Festival
    • Design Exchange
    • Ontario Crafts Council
    • Open Studio
    • Royal Ontario Museum.

    The program also includes open calls for the submission of new works for thematic exhibitions.

    Explore our Current Exhibits

  • So(cial) Good Design Awards 
    So(cial) Good Design Awards 

    So(cial) Good Design Awards

    Graphic design is everywhere but we don’t usually think about it. There are countless examples of graphic design in the airport, from wayfinding signs to restaurant menus to airline branding. This show invites us to take a close look at graphic design and to see how eye-catching, humourous, subtle or bold designs can help to communicate ideas. In partnership with RGD (Registered Graphic Designers), a non-profit professional association representing the design community.  

    Terminal 1, Airspace Gallery, Above Canada Arrivals. September 17, 2014 – February 28, 2015 

  • Stories Told: Vivienne Jones and Diane Nasr-O’Young

    Diane Nasr-O’Young and Vivienne Jones share similar underpinnings of inspiration. Both are influenced by the remnants of nature like twigs and pods. Jones' jewellery is sculptural, fabricated for wearability. Nasr-O’Young's ceramic sculptures are meant for viewing rather than utilitarian use, even though the forms speak to utility.

    Vivienne's jewellery draws on her Welsh heritage, telling stories that are timeless and universal. Each piece wears a patina of age, of being worn and loved. Castings of found objects not only add texture, but also read as symbols and allude to magic, prominent in Welsh lore.

    Diane's ceramics are delicate and fragile, yet the imagery is bold. Her work inhabits the realm of fairy tales, presenting us with vessels both humorous and sumptuous. Her ceramics are lush with embellishments. Nasr's work is influenced by Trinidad, her birthplace, a country where sumptuous and lush are common descriptors.

    Diane Nasr-O’Young and Vivienne Jones, enriched by their early lives in other countries, bequeath to us gifts for the mosaic that is Canada.

    Curated by Aggie Beynon. Located in Terminal 1 International Departures until November 24

    Stories Told Exhibition 

    Stories Told Exhibition  
  • DC Stardust 
    RKH Crossings 

    Hiding in Plain Sight

    The 12 members of Tiny Collective are scattered across nine cities in Canada, the US and Europe, yet their work is linked by a common technique and approach. They shoot and edit exclusively with mobile phones and exhibit their work primarily via social sharing platforms like Instagram. Their work is inspired by the human condition in cities, as they seek out unnoticed moments of beauty in daily life. 

    This is the first gallery exhibition of work by all members of Tiny Collective. 

  • Gulu Real Art Studio 

    Martina Bacigalupo: Gulu Real Art Studio and Émilie Régnier: Passport

    Presented in partnership with Toronto Pearson International Airport
    Curated by Bonnie Rubenstein and Sabrina Maltese

    The process of having one’s identity photograph taken is usually considered a mundane yet necessary chore toward obtaining a passport, driver’s licence, or other photo documentation. It may represent the most creatively void of all forms of photography: each image requiring a close-up view of an expressionless face. But for Martina Bacigalupo and Émilie Régnier, the ID photo provides a rich source of inspiration. In their two distinct yet conceptually connected series of works, they present photographic portraits that reference the techniques and format of standardized images in order to question the ways in which identity is framed and communicated. Both focus on depicting African citizens, especially those from communities living through times of conflict, upheaval, and transition, to reveal their resilience and endurance. 

    Martina Bacigalupo’s portraits of faceless individuals are taken from the “leftovers” of ID images she discovered at a photography studio in Gulu, northern Uganda. The Burundi-based artist was searching for a way to document this community, which has suffered through violent conflict over several decades, and these studio images offered a direct, unfiltered perspective. The faces were cut out, according to the studio’s method of making standardized ID photos, but Bacigalupo realized that their remains represented a cross-section of Gulu’s society. She sifted through hundreds of “leftovers” to compile Gulu Real Art Studio, focusing on images where distinct markers of self-definition come through in the subjects’ poses and clothing, collectively illustrating the compelling story of this community. Many Gulu citizens have to travel long distances to come to the studio, their identity photographic portraits marking important events, such as beginning a new job or applying for a loan. 

    While travelling in Africa, Émilie Régnier had to extend her visa, and took notice of the Polaroid mini-portrait camera used by the photographer, which makes a grid of four images at one time. She subsequently purchased one of her own at a local market, inspired by the idea of repurposing this camera, whose small-scale format offered an opportunity for a more intimate form of documentation. The Montreal-born artist began photographing people she met on the streets of Mali, and then extended the project to Senegal, Guinee Conakry, and Ivory Coast, where she is currently based. Working against the stark, standardized format of ID shots, Régnier photographs her subjects as she encounters them, creating images that are full of atmosphere, and focused on capturing the uniqueness of each individual. Through Passports, Régnier considers the collective identity of West Africa, articulating the unrealistic desire for a cohesive community that is independent from the borders imposed through former colonial power. While she acknowledges the reality of these regions as ones often crippled by conflict, Régnier moves away from preconceived stereotypes to depict communities that are rich in diversity and contrast.  

    After passing through various security checkpoints at Toronto Pearson International Airport’s Terminal 1, travellers will encounter Bacigalupo’s and Régnier’s large-scale photographs along two banks of moving sidewalks. In this site of constant travel and transition, these images offer a moment of contemplation about the complexities of global migration. The ID photo is a ubiquitous yet essential document for negotiating these passageways, allowing people movement across borders. But it represents a freedom that is not attainable for all. Bacigalupo and Régnier also question what the ID photo actually conveys about identity, allowing viewers to consider the complex life that exists outside of each cropped, standardized image.