Misneach: We Need This Now
Curator Virginia Eichhorn
Exhibition: July 9 – 27, 2025
Opening Reception: Thursday, July 10, 5 – 8 pm
Curator & Artist Talk: Sunday, July 27, 2 pm




Misneach: We Need This Now
We are living through extraordinary times which demand much of us. For artists and creatives, it is a time that demands that we continue to create, to share stories, and to address the challenges we face but also to provide opportunities for hope. When 9/11 occurred, I was installing an exhibition of work by artist Aganetha Dyck. After the buildings collapsed, she, myself, and our preparators sat beside a radio listening to the ongoing news reports of death and destruction. At one point, Aganetha asked if we should even bother continuing with the installation and whether there was any purpose of having the exhibition in light of what happened.
My reply to her was a resounding YES. It WAS important. Maybe even more so than before. That continuing to create and celebrate what is beautiful and honourable in the world, is the strongest repudiation to fear, destruction, and hopelessness. We needed to gather our “misneach” then, and resolve to do our work in service of those who needed reasons to feel that we could continue on and get through what was happening in the world. We needed to do this for ourselves. And we needed to do this for others. So, despite fear, anxiety and trepidation we completed our work to create a breathtaking exhibition. The opening a few days later was a beautiful event and provided solace for all who attended.
Recent events that have happened in this world have asked us all to find misneach within oneself. It was gratifying to see the incredible response that we had to this call, with artists delving deep and sharing their fears and their hopes – ranging from the extraordinarily intimate and personal, to those who addressed the chaos and uncertainty that we are navigating on a global scale. I thank all who responded to the call. Unfortunately there was no way that everyone could be included in this exhibition but I believe that in knowing how much it has resonated with artists from across Canada and the US, that we can feel reassured that we are not alone in whatever we are dealing with. We will find a way to get through this and come out the stronger for it.
Gerhard Richter is quoted as saying: “Art is the highest form of hope.” I see this reflected in many discussions on-line as well as in person. A recent post I saw on social media said, “I saw some BS about how folks need to stop posting about their art, music, shows because ‘end of the world’ & ‘read the room.’ No. Now is exactly the time for humanity, not less. Don’t lose your soul, yo.” (handsekline)
I believe that what people will experience when they view this exhibition is that sense of the shared community, an opportunity to find hope, as well as a call to action to refuse to give in to despair.
Many of the artists spoke about finding ways to carry on through loss and upheaval, honouring what we have lost (or are being threatened with losing) but focusing on what continues. That rather than being overwhelmed with a sense of fear, anxiety, or self-doubt, we instead translate our hope into action where creativity becomes an act of survival and defiance.
Artists expressed this in a myriad of ways. Sometimes through what they were depicting, and a number of them through the techniques and materials with which they chose to create their work. Whether addressing personal or universal struggles it was interesting to see that a recurring theme was looking to the past for inspiration. Using family history, personal experiences, and looking deep into history, stories and belief system, the artists find ‘roots’ or foundations with which they can build a new vision going forward.
Mental health is another recurrent theme where the artists addressed how the act of creating can transform suffering into strength, uncertainty into action. A number of artists focused on the pressures that we are dealing with from social media and the increasing use of technology. While we are more connected in some ways than before, artists expressed how we are also more isolated. Technology has distracted us from the truly important thing in life which is to find means to genuinely connect with one another, to see and understand what we have in common rather than focusing on the superficial differences. There are questions raised as to whether our current ‘connected’ world has led to an erosion of compassion in contemporary society and how we deal with society’s indifference to those who are the most vulnerable.
Self reflections are shared through the works as well, tackling feelings of grief, self doubt, vulnerability and sense of purpose. Some of the artists found strength in turning towards that suffering as a means of facing it head on and then finding a way forward through a quiet resilience that comes from perseverance no matter what. Others found a way of enduring by taking time to regroup, understanding that many of the limits we face are ones that we are self-imposed and we need to challenge ourselves to dismantle them. Rebellion against despair, kindness to ourselves and others, and inviting transformations are some of the ways that the artists offer as panacea and inspiration.
Within the works that make up this exhibition misneach is readily evident and reinforces how critically important the work of artists is in contemporary society. While those of use who live, work, and breathe in the creative world are often having to defend our worth to others society couldn’t exist without us. We remind society of humanity, the importance of community, and the universality of human experience. Joel Uili (On The Importance of the Arts & Humanities) wrote: “They’ll tell you that the arts and humanities aren’t practical and then read poetry at funerals and weddings, cry over films and search for meaning in ancient philosophy. Surviving is one type of practicality, knowing why we bother is another.” The arts and the humanities give us that answer.
The artists represented in the exhibition called upon their personal stories, ideas, and experiences, to embody the spirit of misneach within their work. In doing so they demonstrate vulnerability, courage and hope. These acts of creation provide inspiration for ways to navigate and challenge the darkness and ugliness that attempt – but will not succeed – to crush our spirit.
Misneach. We need it now, more than ever.
Curator’s Biography: Virginia Eichhorn
Virginia M. Eichhorn has worked in the visual arts field for over thirty years. A professor at Georgian College (Barrie Campus) she focuses on post-graduate advanced museum and gallery studies, fine arts, and cultural studies.
With an emphasis on ecological, environmental, non-traditional exhibition spaces and community outreach and collaborations, her work as an independent curator has seen her presenting exhibitions at numerous prestigious venues including the XII Biennale of Art at Villa Nova Cerveira in Portugal. She has worked extensively with artists from across Canada and abroad, including Carl Beam, Judy Chicago, Vessna Perunovich, Jane Ash Poitras, Jack Sures, Peter Von Tiesenhausen, and Tim Whiten, developing exhibitions for high profile Canadian galleries and museums such as the Royal Ontario Museum, Thunder Bay Art Gallery and Canadian Clay & Glass Gallery. In addition to curating, she has written numerous catalogue essays and has contributed articles to prominent Canadian magazines including Artichoke, Canadian Art, Border Crossings, ESPACE Sculpture and international magazines such as Ceramics Monthly and for institutions including the National Gallery of Canada, the MacKenzie Art Gallery and others.
In 2009 she won the Jean Johnson/Melanie Egan Award for Curatorial Excellence awarded by the Ontario Crafts Council. Under her leadership the Tom Thomson Art Gallery was one of only 4 public art galleries to receive an A rating from the Ontario Arts Council which means the gallery exceeded the standards of excellence artistically and administratively.

She was Chair of the City of Kitchener Public Art Working Group, was a lead on developing the City of Owen Sound’s Public Art Policy, and has overseen the concept to realization of numerous public art projects across Ontario. She has sat on numerous arts and culture Boards and Committees, including as Chair of the Ontario Association of Art Galleries, and is President of Craft Ontario (formerly Ontario Craft Council.)
Eichhorn has developed an art practice that is focused on alternative narratives and voices, using traditional and non-traditional art and craft forms and is part of The Time Travel Collective, whose members are Indigenous, Settler, and New Canadians and which focuses on the development of projects incorporating: architectural and environmental design; development of ecological, environmental, and non-traditional exhibition art forms and spaces; community-based research and collaborations; land-based education; Indigenous cultural practices; Anishinaabe teachings; large-scale installation; performance; and digital technology. She is also a member of the Yes, We Can! Curatorial Collective which is presenting exhibitions around the theme of the “Divine Feminine” in Mexico, Brazil, Columbia and Canada 2025-2027.
