Pancakes and Booze Toronto April 12


Pancakes and Booze Toronto April 12
Event Date: April 12
Location: Revival 8pm- 2am

Aaron Lozynsky is an Akin Lansdowne member and is the Canadain coordinator of Pancakes and Booze Toronto. Pancakes and Booze is an LA based event originated in 2009 and has since popped up more than 500 times in 35+ cities around Europe & North America.

Batter sizzles, beer foams, and canvas lines the walls from ceiling to floor as hundreds, sometimes thousands, of revelers indulge in endless pancakes.

This is no stuffy wine-and-cheese, pretentious, someone-gag-me art event. It’s an innovative reimagining of the art show concept. A welcoming vibe for up-and-coming artists to sell and strut their stuff in a free verse, anything goes environment.

Pancakes and Booze travels the world transforming some of the best music venues and event halls into exhibitions of art, photography, jewelry, & music. Pancakes and Booze focuses on keeping the work on display local and original in an effort to help living artists of all types sell their work. Each show features up to 150 local artisans, a unique lineup of live musicians and/or DJs, live painting, and body painting along with many other forms of entertainment.As well as free PANCAKES all night! Pancakes and Booze aim is to bring the art community and those outside the artist community together by creating an upbeat and unique event. They work to make each event a judgement-free environment in which artists, potential buyers, and pancake fanatics alike can make connections with a diverse community that they may not have an opportunity to engage otherwise.

About the Artist:

Akin Lansdowne member Aaron Lozynsky  is a Toronto based Canadian visual artist. Exploring the human figure and the soul. Conveying the energy and vitality of my subjects with expressive colour and vibrant brushwork. Acrylic works on panel board that illuminate their surroundings.

pancakes and booze

Toronto: Tributes + Tributaries, 1971-1989 featuring work by June Clark of Akin Sunrise


Exploring the experimental energy of an era, Toronto: Tributes + Tributaries, 1971-1989 brings together more than 100 works by 65 artists and collectives to highlight an innovative period in Toronto art history. The exhibition is curated by Wanda Nanibush, assistant curator of Canadian and Indigenous art. The title of the exhibition—a reference to the city’s many buried waterways—serves as a visual metaphor for the diversity of the cities art scene and its similarly buried histories. The exhibition will be accompanied by a live performance series, a film and video festival, as well as satellite installations throughout the AGO.

Amidst the social and political upheavals of their time, the generation of artists that emerged in Toronto during the 1970s and 1980s pushed the boundaries of conventional painting, sculpture and photography, exploring new ways of art making including video, installation and performance. This is the first time since the AGO’s reopening in 2008 that many of these seminal works have been on display. Organized thematically and punctuated by references to Toronto and its cityscape, the exhibition highlights the era’s preoccupation with ideas of performance, the body, the image, self portraiture, storytelling, and representation.

Toronto: Tributes + Tributaries, 1971-1989, 

September 29, 2016 – May 22, 2017

Contributor and influential photographer June Clark is an Akin Sunrise member. June Clark was born in Harlem, NYC and moved to Toronto in 1968. When she moved to Toronto she used a camera and walked the streets to search for “familiar” images in which to re-live and savour the richness of Harlem she missed. Clark describes it as both the discovery of the unfamiliar and memory of the known that captured her imagination.

Created in 1989, Clark’s Formative Triptych “feels fresh, urgent and, sadly, timely, which it surely was when it was made” (Toronto Star). When asked “Do you feel more in step with the current art scene today than in the late ‘80s?” Clark responded  “...I believe that one will always be behind if one is trying to be ‘in step’. Formative Triptych feels new and relevant and that helps me to know that it is successful.”

The late ‘60s and early ‘70s in Toronto, when many activities centred on Bathurst Street (Queen to Dupont), Baldwin Street and Kensington Market. Baldwin Street was where Clark found a family of like-minded women who embraced and helped her develop her photographic skills. They were called the Women’s Photography Co-op. The Baldwin Street Gallery, owned by Laura Jones and John Philips, was a welcoming place to learn and work.

Clark and her peers were able to mobilize across the country on issues that affected artists, like grants, artists’ fees, and jobs, the same issues still affecting artists. Clark says that “at one point I knew roughly 90% of the practicing artists and photographers across the country. I’m not sure this is the case today.”Like most of us Clark believes “that artists do not have a choice but to just do the work and to find ways to make it happen.”