The Contemporary Art Gallery presents a survey exhibition of work by Canadian artist Kelly Richardson, best known for her immersive projection works which create environments prompting a questioning of our relationship to the natural world.
The universe Richardson constructs can seem somewhat bleak, devoid of all but the strangest forms of life, and notionally touching upon issues within ecological discussion and environmental debate. Yet if we consider nature not as omniscient, but mediated, appropriated, subjugated and vulnerable, then by examining any simple concept of the “natural”, Richardson actually makes the interrogation even more urgent. Immense and unsettling projections show animated scenes of primordial swamps or forests, desolate moonscapes or eerie holographic trees flickering in and out of view. And yet the videos are open-ended, drawing us in to develop our own narratives for these unsettling scenes, which could be humanity’s last attempt at caring for a ruined planet. Even though she leaves the questions unanswered, it’s clear that she is suggesting we should project farther into the future than we’re comfortable doing, a quality enhanced in understanding how these works are made. A particular quality in Richardson’s videos– in addition to technical facility and her embrace of beauty as a way to prime us about the disturbing undercurrents snaking through her otherwise seductive work – is the way she seems to look back from the future.
The exhibition comprises a selection of recent major projections and photographs. In the large-scale, multi-screen installation of Leviathan (2011) we are confronted with an all-encompassing projection. Through the image and its reflections on walls and floors, it occupies or rather infiltrates the space, implicating us as audience as we simultaneously behold and are contained within the image. It asserts itself, with its Biblical title, as suggestive of some kind of apocalyptic flood, the swirling water appearing to almost envelop and swallow up the viewer. The works too are in many other ways absorbing; they elicit a terrible beauty through the seduction of surface. And yet this slow, churning motion becomes almost hypnotic, a narcotic mesmerizing image, an illusion perhaps not at odds with the evocation of a notional poisonous or toxic liquid; a substance that is at once of our world but at the same time transforming, of becoming somewhere else.
Richardson’s work touches also on the notion of the sublime, that mixture of awe, hope and fear that reveals something uncomfortable about the depth and darkness of human desire. While technically pristine, in part through the process of computer manipulation and invention of form, her work has precedents in sources as seemingly disparate as the romantic landscape paintings of the late 18th century or the B-horror and science-fiction films of the 1970s and 80s. She has stated: “I’m interested in that contradiction at this critical time in human history when current predictions for our future are not just unsettling, but terrifying.”
The notion of the artificial is brought to bear in contemplation of what might be considered natural, in part reinforced by the visual polish of the moving images, which reach the point where most viewers are unable to distinguish between what is real and what is computer-generated. In Orion Tide, (2013) we see rocks and foliage littering the ground, convincing us of some form of scrub land. Then an eerie, distant sound warns us of that which follows, the slow eruption of a lit pod from the surface. Trails of flame and smoke lead the eye up through the dark sky and then out of sight, followed by another and another and another. Are they escape pods —final humans abandoning all hope— or are they a death rattle of a dying planet? Richardson deftly avoids simplistic environmental and sci-fi cliché with a painterly sense of narrative mystery.
The exhibition is developed in collaboration with the Northern Gallery for Contemporary Art, UK; Grundy Art Gallery, Blackpool, UK; Towner, Eastbourne, UK and Albright-Knox Art Gallery, Buffalo. An extensive monograph accompanies the exhibition.MORE
Upcoming at the Field House
Upcoming at the Field House
Broken City Lab
January to April, 2014
Broken City Lab is an artist-led collective that works through collaborative social practice and creative research to understand the ways in which locality is shaped and enacted in the city. Taking the form of events, workshops, installations, and interventions, their projects aim to connect various disciplines and critique, annotate and re-imagine the cities that they encounter, and have unfolded in collaboration with numerous organizations and institutions. They currently operate CIVIC Space in downtown Windsor, Ontario, a 24-month long project exploring the intersection of art and civic life. As part of the Field House Studio Residency members will embark on site-specific research towards a new project that explores and makes visible issues at the intersection of education, public space and civic life. This new project will develop a sequence of programming that circulates in and around the Burrard Marina Field House.
Broken City Lab’s work recently appeared in the th International Venice Biennial of Architecture as part of the Grounds for Detroit exhibit and the collective was long-listed for the Sobey Art Award. Previous projects have included working with the City of Windsor’s Transit Authority to install community-created text-based art in its buses; interactive outdoor projections detailing hundreds of ideas for saving the city; the design and distribution of removable micro-gardens; interactive text-based performance soware; large-scale messages projected across an international border; artists hosted for an interdisciplinary storefront residency project; a foot long message painted on a parking lot visible from planes and satellites; and leading numerous psycho-geographic walks, DIY workshops and community brainstorming sessions in cities all
For this residency, we gratefully acknowledge the financial support of the Province of British Columbia through the BC Creative
Communities Award and the generosity of many private and individual donations. The Field House Studio Residency Program is generously supported by the Vancouver Park Board and the City of Vancouver. Broken City Lab acknowledges support from Canada Council for the Arts, Ontario Arts Council, City of Windsor and Ontario Trillium Foundation.
Broken City Lab
Saturday, February 15 , 2pm
The Field House Studio at Burrard Marina
In partnership with SFU Philosophers Café, Broken City Lab will
host an artist talk and discussion at the Burrard Marina Field
Marie Lorenz – visit and upcoming 2014 project
This December 2013, Marie Lorenz will visit Vancouver to begin research for a project to be completed in May 2014 at the Burrard Marina Field House.
Marie Lorenz’s work combines psycho-geographic exploration with highly crafted, material forms. In her ongoing project The Tide and Current Taxi, (http://www.tideandcurrenttaxi.org/) Lorenz ferries people on the East and Hudson Rivers surrounding New York City in a boat she has specially made. Lorenz studies tidal charts of the New York Harbor and uses river currents to direct and drift the boat throughout the waterways of the City. The act of floating adds a specific presence to one’s own observation: the viewer maintains an awareness of their own balance and form as they absorb the details in their surroundings. This kind of observation creates something new out of something familiar. For Vancouver Lorenz will begin to develop ideas and discussion toward constructing a new vessel and mapping local waterways in which the community will play an important role as participants.
Previously at the Field House
Canadian artist Raymond Boisjoly was our inaugural resident artist at the Burrard Marina Field House Studio. For six months Boisjoly occupied the Field House, using it as a studio and a place for community engagement.
Please see the related blog posts on the right for more news about his residency at the Field House. Click here for the CAG Field House Blog
The Field House Studio is an off-site artist residency space and community hub organized by the Contemporary Art Gallery. This initiative seeks to support artists whose practice moves beyond conventional exhibition making, echoing the founding origins of the gallery where artists were offered support toward the production of new work. Our goal in presenting art outside of the boundaries of our exhibition spaces is to reach out to communities, offering new ways for individuals to encounter and connect with art and artists, expanding audiences as well as strengthening our commitment to nurturing artists through example, context and commissioning.
Running parallel to the residency program is an ongoing series of public events for all ages.
Speaker Series: Artists in Public
This summer the CAG launched a new series inviting creative and cultural producers to share their theories, thoughts, and experiences of developing projects in the public realm.
Justin A. Langlois
Saturday, August 17, 4pm
Field House Studio at Burrard Marina
Langlois discussed his work as co-founder and research director of Broken City Lab, an artist-led interdisciplinary creative research collective and non-profit organization working to explore locality, infrastructures and creative practice leading towards civic change. He is currently an Assistant Professor in the Faculty of Arts and Social Sciences at the University of Windsor. In the fall of 2013, he will join the Faculty of Culture + Community at Emily Carr University of Art + Design.
Zoe Kreye and Catherine Grau
Saturday, June 22, 4pm
Field House Studio at Burrard Marina
This first talk presented collaborators Zoe Kreye and Catherine Grau who were working on a public project throughout Vancouver entitled Unlearning Weekender, a project by Goethe Satellite @ Vancouver, created in cooperation with Dance Troupe Practice, Windsor House School, Public Dreams and Revised Projects. They discussed the series of workshops which invited the public to create rituals as a means of challenging invisible social structures aiming to strengthen community bonds.
Free drop-in art activities for all ages which responded to the work of Raymond Boisjoly and CAG exhibitions.
Saturday August 24 – A free all ages drop-in art activity: making pin-wheel windmills.
Saturday July 27 - We welcomed art makers of all ages to the Field House, participants learnt the basics of printmaking by making their own styrofoam relief prints.
Saturday June 29 - All ages of visitors dropped by the Field House for a marine mobile workshop, constructing easy-to-make kinetic sculptures which took the marine world as a theme.
The Field House Studio Residency Program is generously supported by the Vancouver Park Board and the City of Vancouver. The inaugural residency with Raymond Boisjoly was supported by the Province of British Columbia through the Ministry of Advanced Education, Innovation and Technology.
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
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
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