The Contemporary Art Gallery presents a major new commission for the Yaletown-Roundhouse Station by influential Vancouver–based photographer Marian Penner Bancroft.
Since the late sixties, Penner Bancroft has defined herself as a photographer, dedicating her practice to the medium, meditating on its conventions while also considering the dematerialization of the art object; combining conceptual art strategies as well as pushing the presentation and production of the photographic image into more immersive forms. She is known for drawing attention to the lines between where an image begins and what constitutes an image – at times using the physical framing device as a tangible three-dimensional photographic field.
The subject of Penner Bancroft’s work often resides in the personal, following her family, tracking their daily movements both real and, in the case of her ancestors, imagined. She embeds these inquiries into images of the landscape, using visual traces of a colonial transit to and across Canada as part of an individual yet generalized narrative of immigration and displacement. In recent years she has widened the scope of her research to include the histories of the fur trade, farming, music and religion in relation to the landscape and mapping.MORE
Headlines & Last Lines in the Movies transforms the façade of the Contemporary Art Gallery, wooden cladding covering its frontage and south east corner. Resembling a construction site, the structure becomes the ground for the work; the title a precise description of itself.
In this new mural, Brüggemann writes headlines from current newspapers, from local to global, in combination with excerpts of last lines from popular films. “Forget it Jake, its Chinatown” could be spray-painted next to “Enbridge Pipeline Rejected”, the juxtaposition of appropriated texts creating both a familiarity and an oddly appropriate pairing suggestive of narratives that may exist to connect current news items with scripted dialogue. With one text residing in the real, the other in the fictive, in combination they create a barrage of information that Brüggemann unifies into a totality of black text. The overlay forms a graphic field that is only partly legible, language creating an immersive installation that draws colloquial phrases into dense cacophonic arenas. The work seems declaratory, but what it is trying to communicate is drowned out by volume, intensity and opacity.MORE
Burrard Marina Field House Studio, 1655 Whyte Avenue
Tuesday, September 9, 7pm
The CAG presents an evening screening of documentaries shot
in China over the past decade by Field House artist-in-residence
Sameer Farooq: I Want to Grow Old (2008) and The Silk Road of
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.MORE
Words and phrases in the English language can function in many different ways. Certain words have multiple meanings depending on their context, while the context of a certain phrase can completely change how we understand it. Many contemporary artists have turned to the use of language and text in their practice for this reason; they allow the evocation of multivalent messages.
Currently, Stefan Brüggemann’s Headlines and Last Lines in the Movies covers the façade of the CAG. This piece, which has become a popular conversation topic around the city, takes found phrases and places them in a very different context than their origins. Looking at these Hollywood movie quotes and recent news headlines next to each other causes one to think about them in a completely new way. Their large size and bold colours impose them onto the viewer and into the built environment of the city, rather than their traditional positions as mere utterances or words on paper.
A short look back through the CAG archives brought me to another fascinating textual installation. There have been many over the years, including those by Meriç Algün Ringborg, Tim Etchells and Raymond Boisjoly among others. A particular piece by Nathan Coley, however, struck me.
As part of his wide-ranging practice, the Glasgow artist takes found phrases, enlarges, illuminates and erects them on scaffolding in specific locations. When I encountered his piece There Will Be No Miracles Here (2006) earlier this year in Edinburgh, Scotland, I was taken aback. Placed outside the Scottish National Gallery of Modern Art, which holds many things that I personally consider “miraculous,” I was both offended and intrigued by this statement. At the time I was not familiar with his work, as I assume is the case with many people who stumble upon his pieces that are placed in public space.
Part of his CAG exhibition in 2012, Coley’s installation in the Downtown East Side of Vancouver featured the phrase We Must Cultivate Our Garden (2006), perched atop the roof of the Pennsylvania Hotel. This line, taken from Voltaire’s Candide, took on a new role in this context. The built environment used by Coley was altered by the introduction of this sculpture into the architecture of the neighbourhood. Similarly, the meaning of the phrase itself changed; many are aware of the ongoing and various issues in the Downtown East Side community, and this sculpture addressed the need to fix these in an almost forceful manner.
Nathan Coley’s outstanding monograph spanning the last 10 years, A Place Beyond Belief, can be purchased in the CAG book shop. Make sure you visit Bruggemann’s installation before it comes down on September 7th, and check out his publication in our book shop as well. Our summer book sale is happening now in the CAG book shop and online; use the coupon code CAGSUMMER on check out for a special discount of 40%!
- Kelli SturkenboomMORE