In collaboration with Cooper Cole, Toronto
November 13 to December 20, 2025
Opening reception:
At Bradley Ertaskiran, Montreal: Thursday, November 13, 5PM – 8PM
At Cooper Cole, Toronto: Friday, November 21, 5PM – 8PM<\/p>\n\n\n\n
Bradley Ertaskiran and Cooper Cole are pleased to present Antecedent Conditions For A Landslide<\/em>, a solo exhibition by Toronto-based multidisciplinary artist Timothy Yanick Hunter that will run concurrently at Bradley Ertaskiran in Montreal and at Cooper Cole in Toronto.
Antecedent Conditions For A Landslide<\/em> 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 \u00c9douard 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\u2019s conceptual scope by highlighting movement, circulation, and translation, all key concerns in Hunter\u2019s 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\u2019s 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.<\/p>\n\n\n\n