Timothy Yanick Hunter at COOPER COLE, Toronto and Bradley Ertaskiran, Montreal

COOPER COLE is pleased to announce Antecedent Conditions For A Landslide, a solo exhibition by Timothy Yanick Hunter that will run concurrently at Cooper Cole in Toronto and at Bradley Ertaskiran in Montreal.

Antecedent Conditions For A Landslide draws on the structural relationships between land, body, and technology, considering how these entanglements shape migratory movement and the transfer of knowledge across time and space. Taking inspiration from the writings of academics such as Édouard Glissant, Katherine McKittrick, and Clyde Woods, the exhibition reflects on notions of relation, geography, and collective memory as they inform diasporic experience. The exhibition will take place in two galleries in two different cities, with one iteration in Toronto and another in Montreal, a dual presentation that expands the project’s conceptual scope by highlighting movement, circulation, and translation, all key concerns in Hunter’s practice.

Processes of splicing, cutting, and rerecording guide the production of these works. Deconstruction operates as the central method, where fragments are isolated, repeated, and rearranged to generate new associations. Through this gesture, Hunter’s multimedia video, sound, and photography artworks resist linearity and coherence, instead centering ideas of adaptation and growth.

The imagery moves between infrastructural and organic registers: wiring systems appear alongside igneous foundations, biological traces of growth, and the human body. These material juxtapositions underscore how technological networks and environmental processes mirror one another in their fragility and capacity for transformation. The artworks take form as vessels for advertising, presented on commercial signage and screens, using the language of public display to question how images circulate, persuade, and shape collective understanding.

Taken together, this body of work engages ideas of biology, biomimicry, and environmental shifts as they relate to diasporic experience. The works suggest that migration is not only a movement of bodies but also a circulation of materials, energies, and information that are constantly evolving. In doing so, Hunter situates the diasporic experience as both temporal and generative, a site where systems of land, body, and technology intersect, break down, and reassemble into new and provisional forms of continuity.

Timothy Yanick Hunter (b. 1990 Toronto, Ontario, Canada) is a multidisciplinary artist and curator. Hunter’s practice employs strategies of bricolage, video, and new media to examine non-neutral relationships relating to Black and Afro-diasporic experiences as well as concurrent strategies of decolonization. His approach alternates between exploratory and didactic, with a focus on the political, cultural and social richness of the Black diaspora. Hunter’s work often delves into speculative narratives and the intersections of physical space, digital space and the intangible.

Hunter received his BA from the University of Toronto, and has been artist in residence at the Art Gallery of Ontario, Toronto; PADA Studios in Barreiro, Portugal; and Black Rock Senegal, Dakar. He was included in the 2022 Toronto Biennial of Art, and longlisted for the 2022 Sobey Art Award. His artwork can be found in the institutional collections of The Studio Museum in Harlem, and The National Gallery of Canada. He has exhibited nationally and internationally at Cooper Cole, Gallery 44, A Space Gallery, Toronto; Oakville Galleries, Oakville; Centre Clark, Montreal; 92Y, New York; ILY2, Portland; Kendra Jayne Patrick, Bern; Art Gallery of Guelph, Guelph; and PADA Studios, Barreiro; Third Born, Mexico City; among others. Hunter lives and works in Toronto, Ontario, Canada.