YYZ Artist Outlet and an introduction to Dim sum , Friday 16th May

In what is becoming a relentless pattern, today began with a rude awakening by Rebecca clattering around the kitchen in an attempt to make a cup of tea. Shortly after, Rebecca and Robina managed to dumbfound an entire doughnut store (both staff and customers) by having the audacity to ask for only 3 doughnuts, rather than an 'eat till you explode' box of 24.

Our first and only meeting of the day (well, we have been working hard up until now), was with Ana Barajas, Programming Coordinator at YYZ. Alongside Mercer Union, this organisation is one of the oldest and most established artist-run spaces in Toronto and they are due to begin celebrating their 30th anniversary at the end of year.


Work as part of 'I_wanna_see_YOU_[Y.Y.Z.ca_DE_overslag.nl]', a collaboration between artists from Toronto and Holland

With so many well-established organisations, it seems that Toronto's artist-run community is currently at a point of reflection and galleries such as YYZ are questioning their future role and direction. YYZ, was set up in 1979 by a group of artists without commercial representation, as a way for them to show their work in the city. This system ran alongside the more established artworld in Tornoto, and was known as the 'parallel gallery' scene. Since then, the focus of YYZ has shifted from simply benefiting the collective, to showing the work of and providing a resource for artists in the city and, lately, internationally.

In what is becoming an all too familiar story in the Toronto artist-led scene, regeneration of previously run-down areas has led to an increase in rent, forcing venues such as YYZ to consider how they can generate enough income to survive where they are, or to look at relocating to a more affordable location.

Unlike galleries such as Mercer Union, who have already begun to relocate, YYZ are questioning their need for a gallery space at all. In the last few years, the organisation, which also produces 4 publications a year, has been working predominately with artists who take a process-based approach to their practice, and recent shows have been more concerned with collaboration and process rather than an end product. In this way, the organisation could develop to work within the public domain, rather than be tied to a venue.

And so to the Dim sum saga. With no knowledge of Chinese, or the etiquette of traditional Dim sum, we bravely decided to visit a restaurant that Elizabeth had pointed out to us a few days previously. Once seated, we spent a few bemused minutes looking blankly at one another as women with trollies full of unidentifiable dishes, tried to ply their wares. After much to-ing and fro-ing of the phrase 'no meat' (with neither side sure whether it was a statement or question), we ended up with a steaming mound of green 'stuff', alongside some more recognisable fare. Being adaptable young women, it didn't take long before we were demanding additional dishes in the traditional English way of talking loudly and jabbing at things with chopsticks. The food was actually delicious and very cheap, and so, by way of 'giving something back' to the Chinese community , we helped an elderly Chinese woman into the lift, which subsequently got stuck halfway down, (she may well still be there). With the act of charity glowing in our hearts, we indulged in a well deserved Mayan hot chocolate at a tiny chocolate factory in the distillery district.

The day ended with gourmet Macaroni Cheese a la Iain Bailey and a trip to the Sportster pub, where the barman insisted on telling us how expensive the UK is and the exact price of 24 cans of Coca-cola worldwide.