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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 (Vancouver), 2014. Vinyl adhesives Installation view, Yaletown-Roundhouse Station, Canada Line. Courtesy the artist.
  • Go to www.cagauction.com to view all the works for auction. CAG 26th Annual Gala & Art 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
    Scott Massey, Spectrum Study 5 (Centre of the Universe), 2014. Courtesy the artist. One of the thirty-eight works by emerging and well known artists up for auction. View all of the works at www.cagauction.com
  • 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 Exhibitions

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 (Vancouver)


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Current Events

A tour of the exhibitions on display in Spanish led by photographer Avelina Crespo.

 

MORE

Guided Visit in Spanish | Avelina Crespo - Cancelled


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Learning Resources

‘Burrard Marina Field House Blog’

To read all the posts on the about the artists-in-residence and all events at the ‘CAG Burrard Marina Field House blog’ follow this link: http://www.contemporaryartgallery.ca/blog-category/field-house-studio-blog/

To read about all the events that have happened at the CAG Burrard Marina Field House follow this link:

http://www.contemporaryartgallery.ca/blog-category/field-house-studio/

 

The Field House Studio is an off-site artist residency space and community hub organized by the Contemporary Art Gallery.

This program moves beyond conventional exhibition making, echoing the founding origins of the gallery where artists were offered support toward the production of new work, while reaching out to communities and offering new ways for individuals to encounter and connect with art and artists.

Running parallel to the residency program are an ongoing series of public events for all ages.

The Field House Studio Residency Program is generously supported by the Vancouver Park Board and the City of Vancouver. We gratefully acknowledge the generosity of many private and individual donors toward this program. Please visit our website for a full list of supporters.

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The Burrard Marina Field House Blog and Events


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Recent Posts

On Thursday, October 10th a Brand New View (Vancouver) is coming to Vancouver courtesy of the Swedish artist Gunilla Klingberg.

Klingberg uses familiar corporate logos to create quasi-oriental installations that take the cold and corporate and transforms it into warm and inviting art.

A former graphic designer, her work considers how these public icons come into our “private spheres.” She calls her art “craft work” that creates a feeling similar to embroidery.

Klingberg’s exhibition will consist of two murals – one at the Yaletown-Roundhouse Station, Canada Line and one on the façade of the Gallery at Nelson and Richards.

It’s the first exhibit of her work in Canada and I’m particularly happy it will be shown outside for people to enjoy as the soggy winter season settles in. Check out this short video to learn more about Klingberg’s work and what motivates her.

- Don Millar, CAG Board of Directors

MORE

A ‘Brand New View (Vancouver)’ arrives…by Don Millar


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