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  • Jürgen Partenheimer The Archive – The Raven Diaries September 12 to November 9, 2014 The Contemporary Art Gallery presents the first solo exhibition in Canada of work by acclaimed German artist Jürgen Partenheimer. Reflecting the diversity of the artist’s practice, the exhibition comprises works on paper, text, printmaking, ceramics and sculpture, produced in Vancouver in spring 2014 during his recent residency as the Audain Distinguished Artist-in-Residence, hosted by Emily Carr University of Art + Design . Partenheimer’s work is essentially abstract; his drawings and paintings are remarkable for their fragile beauty, whilst sculpture and ceramic work, suggesting some usefulness, remain elusive with respect to any specific function. His visual language, the particular form of poetic abstraction, and his life-long interest in notions of representation with consideration of locality, space and place, suggest a key resonance with artistic practice in the city, asserting continuity between these forms and an experience of daily life. The imaginary archive that gives the exhibition and associated book its title provides the framework for the exhibition based on the oeuvre of the artist. They are the visible expression of both intellect and emotion carrying traces of their process, temporality and correspondence with other objects. To this end, in Vancouver the exhibition has a subtitle, The Raven Diaries, referencing the symbol and characteristics of the Raven to west coast First Nations culture, while simultaneously drawing analogies to similar figures in cultural myths elsewhere in the world, and especially to the role of the artist as trickster, representative of a catalyst for change in life, for creativity and humour. Additionally, a selection of Partenheimer’s ceramic works will be on view at the Museum of Anthropology, UBC, Vancouver in the Koerner European Ceramics Gallery. Reflecting Partenheimer’s interest in the interconnectivity of cultural disciplines, in October we will host performances of electro-acoustic music by Vancouver Electronic Ensemble as part of the Vancouver New Music Festival. MORE
    Jürgen Partenheimer, studio of the artist, Vancouver, 2014. Courtesy of the artist. Photograph David Simmonds.
  • The Contemporary Art Gallery presents the first Canadian solo presentation of work by Swedish artist Gunilla Klingberg, two new interrelated large-scale commissions across the gallery façade and off-site, both challenging and exploiting the opportunities presented at each location.   Klingberg’s practice is characterized by the intersection of received knowledge, folk beliefs, popular culture and divergent cultural activities. Her work draws our attention to how complicated the connections between these systems are, but it also plays with the things that arise in this encounter, a pivotal feature being an interest in what is produced by the hybridization of distinct cultures, traditions and geographies. The disparate and heterogeneous are interwoven creating meanings that mutate to form a new context.   At the gallery and the Yaletown-Roundhouse Station, two murals of seemingly quasi-oriental pattern appear to evoke cosmic mandalas, transforming the individual spaces and enveloping the viewer in light and colour, shifting patterns and reflections. Klingberg’s work surrounds us. We are seduced, made part of a special atmosphere, immersed within the work rather than just looking at it. Her interest in using patterns and movement to manipulate our seeing, to influence our state of consciousness and our sensory impressions, has links with Op Art and the psychedelic movement of the late sixties, appropriate touchstones in the recent history of the counter culture in this part of the world.   However, what at first glance appears to recall a certain set of values and moments in time has another dimension, a different shared experience. If we look more closely we see that the intricate ornamentation, the symmetrically repeated symbols of these murals, is made up of something much more mainstream, corporate logos from Canadian low cost and high street stores. Concepts are intertwined: while science might appropriate metaphors from mythologies or New-Age ideas borrow from the language of the natural sciences, here spirituality merges with everyday consumer culture. Klingberg suggests that they are analogous, that both seem to promise the same thing: a state in which nothing is uncomfortable or threatening – the possibility of total, rapid satisfaction of our needs and desires, accessible to everyone. The images are so familiar that we no longer think about them, yet they present a subconscious influence uniting us in a no-man’s land between the public and the private. She evokes a spirit of community, or of communality, and poses questions regarding what it would be to have something in common.   Amid the proliferation of progressively similar goods it is the small, meaningful differences that count. The world around us is increasingly transformed into a surface filled with signs—computer screens, urban space, advertisements, the pages of newspapers— the most tangible properties being disposability and change. It is these surfaces that concern Klingberg. Our urban environment, its dwindling public places increasingly invaded by homogenous architecture and development, the objects we own, all constitute an intricate system of codes, messages and ideologies, our choices and participation tantamount to consuming. The boundary between art and design is often drawn along the line of utility and usefulness. But the edge becomes increasingly elastic when the difference between the values of these forms depends not so much on their functionality as on their seductiveness or power of rhetorical persuasion. Thus Klingberg’s work moves further than a mere critique of brand fetishism, the lure of contemporary global labels, beyond just pointing things out and rejecting them. It poses the awkward question of whether being alternative to a mainstream or on the “outside” is any longer possible. Might a more critical and appropriate assessment lie in revealing and acknowledging the subtle and insidious way in which we are all drawn into a sense of fascination with the things that surround us. Through her work we find ourselves in a situation in which we feel the power of images and beliefs being examined. We are all complicit.   The exhibition is supported by Iaspis, the Swedish Arts Grants Committee’s International Programme for Visual Artists.   MORE
    Gunilla Klingberg, Brand New View, 2014. Vinyl adhesives Installation view, Malmö Konsthall 2014 Photo: Helene Toresdotter.
  • Go to www.cagauction.com to view all the works for auction. CAG 26th Annual Gala & Auction Saturday, November 8th, 2014 6.30pm onwards Rosewood Hotel Georgia 801 West Georgia Street, Vancouver Join us at this important benefit event for the Contemporary Art Gallery. Your support allows us to continue our crucial role as the only free independent public art gallery dedicated exclusively to engaging audiences with the very best in contemporary art from Vancouver, Canada and abroad. MORE
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    08 Nov, 2014 – 08 Nov, 2014
    Geoffrey Farmer, People, 2014. Courtesy Catriona Jeffries Gallery.
  • The CAG’s final exhibition of 2014 is the presentation of a major survey of acclaimed Japanese artist Shimabuku. The exhibition will include installation, video, drawings and performance never before seen in Canada. Shimabuku holds a fascination with the natural world and the countless manifestations of human culture within it. Incongruity characterizes much of his work, inverting the way things are usually seen to encourage us to break with established habits and to enjoy experiences as if happening for the first time. Shimabuku often picks up the theme of the journey in his work, the means by which difference occurs through translation in both time and space. In his video Then, I decided to give a tour of Tokyo to the octopus from Akashi (2000) we see him with an octopus in a fishtank taking a Shinkansen train to Tokyo, making touristic visits to the Tokyo Tower and the famous Tsukiji fish market before returning the octopus back home in the Akashi Sea. We can easily imagine how weird our world must have seemed to the octopus whilst being reminded of how “wonderful” such a creature is from our point of view. MORE
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    21 Nov, 2014 – 11 Jan, 2015
    Shimabuku, Something that Floats / Something that Sinks (2008). Courtesy of the artist.
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Current Exhibitions

Jürgen Partenheimer
The Archive – The Raven Diaries
September 12 to November 9, 2014

The Contemporary Art Gallery presents the first solo exhibition in Canada of work by acclaimed German artist Jürgen Partenheimer. Reflecting the diversity of the artist’s practice, the exhibition comprises works on paper, text, printmaking, ceramics and sculpture, produced in Vancouver in spring 2014 during his recent residency as the Audain Distinguished Artist-in-Residence, hosted by Emily Carr University of Art + Design .

Partenheimer’s work is essentially abstract; his drawings and paintings are remarkable for their fragile beauty, whilst sculpture and ceramic work, suggesting some usefulness, remain elusive with respect to any specific function. His visual language, the particular form of poetic abstraction, and his life-long interest in notions of representation with consideration of locality, space and place, suggest a key resonance with artistic practice in the city, asserting continuity between these forms and an experience of daily life.

The imaginary archive that gives the exhibition and associated book its title provides the framework for the exhibition based on the oeuvre of the artist. They are the visible expression of both intellect and emotion carrying traces of their process, temporality and correspondence with other objects. To this end, in Vancouver the exhibition has a subtitle, The Raven Diaries, referencing the symbol and characteristics of the Raven to west coast First Nations culture, while simultaneously drawing analogies to similar figures in cultural myths elsewhere in the world, and especially to the role of the artist as trickster, representative of a catalyst for change in life, for creativity and humour.

Additionally, a selection of Partenheimer’s ceramic works will be on view at the Museum of Anthropology, UBC, Vancouver in the Koerner European Ceramics Gallery. Reflecting Partenheimer’s interest in the interconnectivity of cultural disciplines, in October we will host performances of electro-acoustic music by Vancouver Electronic Ensemble as part of the Vancouver New Music Festival.

MORE

Jürgen Partenheimer: The Archive – The Raven Diaries


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Current Events

Tickets are now on Sale!

To view the artworks for auction go to www.cagauction.com


26th Annual Gala & Art Auction
Saturday, November 8, 6.30pm
Dinner served at 7.30pm
Rosewood Hotel Georgia

Tickets on Sale: Friday August 15

Join us at this important benefit event for the Contemporary Art Gallery. Your support allows us to continue our crucial role as the only free independent public art gallery dedicated exclusively to engaging audiences with the very best in contemporary art from Vancouver, Canada and abroad.

This truly remarkable evening will feature our much anticipated Art Auction, featuring the work of over thirty ‘must know’ emerging and well known Canadian and international artists. New to this year’s event is the inaugural ‘Anonymous Polaroid Project’. A series of polaroid photographs taken by specially invited public figures who have taken images reflecting their daily lives will be up for auction. Only after bidding will the identities of the photographers be revealed.

 

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26th Annual Gala & Art Auction - tickets now on sale!


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Learning Resources

Jürgen Partenheimer
Thursday, May 8, 6pm
Emily Carr University of Art + Design
Room 301, 1399 Johnston Street, Granville Island

This special event involves multiple voices approaching notions of abstraction from a variety of poetic, philosophical and theoretical standpoints by Audain Distinguished Artist-in-Residence Jürgen Partenheimer. Born in Munich in 1947, Partenheimer studied the theory and practice of art in Germany, the USA, Mexico and France. As a representative of a subjective abstraction, he is considered one of the most important contemporary artists of Germany. With theory, poetry and prose as his referential grammar for artistic expression, Partenheimer’s work encompasses painting, drawing, sculpture and text. Marked by a post-minimalist background and a poetic intensity, his art has been referred to as metaphysical realism. He became internationally renowned following his participation in the Paris, Venice and São Paulo Biennials, and in 2000 became the first contemporary German artist to have a retrospective in China at the National Museum of Art in Beijing. His work has been part of major exhibitions including The Museum of Modern Art in New York and San Francisco, the Miró Foundation in Barcelona and the Museum Ludwig in Cologne.

Featuring guest appearances by Nigel Prince, Nicholas Lea, Mayko Nguyen and Aoife MacNamara.

Partenheimer’s work has received many national and international prizes and awards, among others the Art Critics’ Prize of Madrid, Spain; the NEA Grant, National Endowment of the Arts, New York; Canada Council Grant, Montréal and the Federal Cross of Merit of Germany for outstanding international achievement. Partenheimer has taught as Professor, Distinguished Visiting Professor and Visiting artist among others at San Francisco Art Institute; Academy of Fine Arts, Düsseldorf, University of California at Davis; Rijks Academy in Amsterdam; Royal College of Art, Edinburgh; Rhode Island School of Design and WITS School of Arts in Johannesburg.

Partenheimer’s residency at Emily Carr takes place from February – May, 2014 in preparation for an exhibition at the Contemporary Art Gallery in the fall of 2014. The exhibition in Vancouver forms part of an open cooperation with the Pinakothek der Moderne München (The Museum of Modern and Contemporary Art, Munich); Falckenberg Collection, Deichtorhallen, Hamburg and the Gemeentemuseum The Hague, exploring site and space-related installation concepts. Parallel to the different exhibitions, all of which will be held in 2014, the participating institutions closely worked on a publication with the artist that aims at commenting on and integrating the various aspects of his work as an additional ‘fifth room’. International authors from a variety of different disciplines, including Anne Carson, Lebogang Mashile, Carla Schulz-Hoffmann, Antje v. Graevenitz, John Burnside, Oswald Egger and Rudi Fuchs, have taken up the invitation to write contributions and become involved in this project. Published by Distanz Publishers, Berlin, 2014.

Established in 2012, the Audain Distinguished Artist in Residence Program has a mandate to bring nationally and internationally renowned contemporary artists to Vancouver, create curriculum specific to each individual visiting artist, and support the creation of new works. Adopting a flexible model that encourages experimentation, collaboration, dialogue and engagement, the program will benefit artists, the academic community, the Vancouver art community at large, and will greatly contribute to Vancouver’s stature within the international art world. The Program, housed within the Audain School of Visual Arts encompassing the Faculty of Visual Arts + Material Practice, provides support for two artists per year to live and work in Vancouver for a one to three month period, and includes living and travel expenses, support for production costs, exhibitions and honoraria.

Please note that Aoife MacNamara’s reading has been removed due to technical difficulties. We sincerely apologize for the inconvenient.

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Video | Jürgen Partenheimer - Renga: Dimensions of Abstraction


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Recent Posts

As well as the opening of the CAG’s new exhibition: Jürgen Partenheimer, The Archive – The Raven Diaries comes a new voice for the gallery’s blog!

Hello there I’m Chloe and though I’m new to you, I am not new to the gallery. In fact I’ve been here since 2012, when I first nervously stumbled through the Gallery doors in hopes of becoming a volunteer. Now almost 3 years later I’ve served not only as a volunteer, but as the gallery’s publicity intern and presently as communications intern where they’ve bestowed upon me enough trust to let me talk to you (via the blog of course). If you’re still a little apprehensive about the change, I’ll appease you by also letting you know that I’m studying in the arts field as a Critical and Cultural Practices major at Emily Carr University of Art + Design and that I’m about to graduate, which means I must be doing something right!

I’m very excited for you and I to start this journey together! Over the next few months we’ll be delving into the works of German artist Jürgen Partenheimer and Swedish artist Gunilla Klingberg. We’ll also be going back into the CAG’s archives to take a look back on past exhibitions and how they play out in contemporary art today.

Let’s begin!

As it goes for most exhibition openings, you can feel the buzz of energy as you make your way into the gallery and through the crowds,walking past half empty catering trays and groups of art enthusiasts eagerly chatting away about what they’ve come to see. Partenheimer’s work presents itself ideal to this environment as, with the exception of a small sculptural piece and a plinth or two, his work takes the form of coffee book sized pieces of paper pinned to the wall.

Though the pieces are made out of a common material, it is what Partenheimer has added to the pages which draws you in. The works are full of abstract forms which, on their own seem to have very little context, yet once placed together within the same gallery space seem to play off one and other in a way that just makes sense. The artist has also been able to take his two dimensional paper canvases and bring them into the third dimension through his use of colour. The dark blacks pull the viewer into the piece, just as the neon oranges they are paired with pop right back out.

Along the wall, accompanying the pieces composed of abstracted painted lines, notes, from what seems to be a journal, are hung. What is interesting in their proximity is that, for viewers who are less familiar with the artists native language of German, these notes quickly begin to meld themselves to the pieces made up of abstract lines, becoming a sort of abstract composition themselves.

Partenheimer’s show is a great introduction to abstract art for those who are newer to the art scene, whilst also being of great interest for the veterans of the art world. A show which presents pleasantly curated pieces of which one can chose to enjoy for what they are as objects or get carried away into the role the play within contemporary art today.

MORE

Hello from Chloe: New Blogger, New Exhibition Opens!


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