April 15 to August 31, 2016
Off-site: Yaletown-Roundhouse Station, Canada Line
This exhibition is part of Capture Photography Festival.
The Contemporary Art Gallery presents a new commission by Jérôme Havre, the artist’s first project in Vancouver. Originally from France, Havre’s work considers representation, circulation, transmission and translation of black identities, interrogating racialized stereotypes and ideologies projected onto bodies.
Drawing directly onto a found family portrait, Untitled (2010) is a blunt gesture. The image depicts a family posed against a vintage car in a tropical landscape, its warm hues of analog colour giving entry to a past generation. Havre disrupts the scene, scrawling doodles of mask-like forms in white-out directly on to each family member’s face, erasing identity and subjectivity, reforming these physical bodies as alien figures.
Masks are objects held in high esteem in western culture. Through centuries of colonial violence and capitalist extraction these specific objects sit in private and museum collections around the world detached from the action, ritual, communities and physical bodies that they were made for. Disembodied heads without voice, these masked bodies are “stilled,” re-contextualized as stand-ins to represent otherness, here a reflection on western perceptions of blackness.
Jérôme Havre lives and works in Toronto having completed his studies at the École Nationale Supérieure des Beaux-Arts in Paris. Since 2001 he has exhibited in Europe, Africa and North America, including most recently Talking Back, Otherwise, Jackman Humanities Institute, University of Toronto; Paradis: La fabrique de l’image, 14N 61W, Martinique; Land Marks, Peterborough Art Gallery, all in 2015. Havre is currently artist in residence at the Art Gallery of Ontario.MORE
Wrapping around the gallery building, the new commission Some words, some more words (2016) by British artist duo John Wood and Paul Harrison, continues their ongoing investigation into the world that surrounds us, the objects we encounter and use daily, and our fundamental engagement with the physical universe in all its sometime or seemingly futile existence. Characteristically playful, phrases are deliberately juxtaposed and positioned against each other to create a fragmentary narrative, drawing our attention to the familiar made strange by altering perceptions of the surrounding architecture and revealing the what and how of how we read language.
John Wood and Paul Harrison live and work in Bristol, UK. Notable solo exhibitions include Von Bartha, Basel; NTT InterCommunication Center, Tokyo; Carroll/Fletcher, London (2015); Museo de Antioquia, Medellin, Columbia (2014); Frist Centre, Nashville, H&R Block Artspace, Kansas and the Contemporary Arts Museum, Houston (2011-12); Kunstmuseum Thun, Switzerland; University of California, Santa Barbara (2010); Ikon Gallery, Birmingham (2009); PICA, Perth (2008); Mori Art Museum, Tokyo (2007); Middlesbrough Institute of Modern Art, UK (2005); Tate Britain, London; MoMA, New York; MIT, Boston (2004) and Chisenhale Gallery, London (2002).MORE
From fall 2015 to Spring 2016, CAG presents a six-month independent study residency with locally based artist, Fabiola Carranza. Considering the intertwining of art practice, community organization and public programing, Carranza is using the Burrard Marina Field House as a studio space from where to conduct her own research and to collaborate with CAG on a series of public programs. The artist’s multi-faceted practice focuses on issues that arise from the historical and cultural specificities of her source materials, be it photographs, poems or found objects, whereby she attempts to draw out humour and pathos through a combination of intuitive experimentation and study.
Using the space as a site to examine open learning and discussion, and as a means to foster her own artistic development, Carranza’s programming extends the use of the field house to the immediate members within her artistic community alongside bi-monthly studio visits with both CAG staff and other artists working with the gallery. Events have seen invitations made to a series of artists, poets and musicians, including for example, poetry workshops for visual artists led by local writer Marguerite Pigeon, and a stream of music/art events coordinated by Sydney Hermant.
Events have included:
Ceramics Workshop with Nathalee Paleonelli.
Thursday, November 26, 2015
Turkish Coffee Readings with Dilara Akay: poster commission by Derya Akay.
Saturday, November 28, 2015
Cochineal Dye Vat Workshop and Napkin Sewing.
Thursday, December 17, 2015
Epic Dresses: Where Poetry and Women’s Work interweave.
Seminar with Marguerite Pigeon
Wednesday January 27, 2016
J’ai Faim, J’ai Froid (I’m Hungry, I’m Cold) – Sing for Your Supper
Open Mic with MC Casey Wei and special guests Monique Levesque and Nikki Hever
Thursday, March 3, 2016
Telus Garden Building
Fourth Floor, 510 West Georgia St.
Open Monday to Friday, 8am – 4pm
Commissioned by TELUS, Re-Visions is a new permanent, site-specific five-channel media installation developed by eight local emerging artists facilitated by the CAG and Cineworks. Mentored by Jem Noble, Brian Lye and Josh Hite, Re-Visions seeks to produce new representations of place through the group’s diverse responses to our city in motion. The installation engages with themes of temporal and spatial transformation, the landscape of Vancouver portrayed through constant, yet fluctuating changes in infrastructure, community and communications. Playing with the idea of a contemporary “city symphony” — an experimental documentary genre that mimics city rhythms in an attempt to create a portrait of everyday city life — the installation turns to repetition and abstraction, rather than literal representation.MORE
Join us to celebrate the opening of our new exhibition.
May 7 to July 17, 2016
B. C. Binning and Alvin Balkind Galleries
The Contemporary Art Gallery presents the first major museum exhibition in Canada devoted to the celebrated German photographer Jochen Lempert. Trained as a biologist, Lempert photographs plants, animals and other natural phenomena with both scientific acumen and a poetic appreciation of natural beauty. His approach is scientific as well as humorous. Always working in black and white, his work engages with a diverse range of subjects and genres, ranging from everyday views to abstracted details. Photographic series alternate with single pictures, highly contrasted images with almost blank papers, through which multiple links and subtle associations are woven.MORE
Inside Out: Studio, Gallery, Street
Open call: Visual Art Summer Youth Intensive
Arts Umbrella, Contemporary Art Gallery and SFU collaboration
August 8 to 26, 2016
Inside Out: Studio, Gallery, Street is a three week visual arts intensive speci cally designed for youth between the age of 14 and 19 interested in developing their visual art practice.
It will provide a stimulating and challenging experience for young artists committed to experimentation and pushing the boundaries of their own art making in a supportive studio environment.
Youth will have the opportunity to work with leading artists, curators and educators in Vancouver as they explore and produce a range of contemporary art practices such as the context-speci c installation, large-scale collaborative sculptures and exhibition making. Participants will engage in critiques and discussions about developing ideas, working with materials and viewing works of art.
The program will culminate in a one-day exhibition at CAG.
Application Deadline: Monday, June 6, 2016 for accepting applications. Space is limited, please apply soon. The fee for the intensive is $480.00.
Application forms are available at http://www.artsumbrella.com/vasi
For more information about the program, please contact: Holly Schmidt, Assistant Curator at h.schmidt@ contemporaryartgallery.caMORE
Camille Norment and Experimental Music Unit – Songs for Glass Island, was presented on Saturday, April 9, 2016, at Pyatt Hall, VSO School of Music. It was an engaging, performative sound work with Norwegian/US artist/musician Norment collaborating with Victoria’s Experimental Music Unit: Tina Pearson, George Tzanetakis, and Paul Walde.
It is intriguing that their collaborative sonic exploration departed from Robert Smithson’s unrealized earthwork project for Southwest BC, Glass Island (or Island of Broken Glass), proposed shortly before he created the famous (or is it infamous?) Spiral Jetty. Smithson’s project to cover an islet in the Strait of Georgia with crushed glass was drowned by the noisy objections of environmentalists, yet it’s echoes live on through a completely different type of (sonic) exploration. So, how does one project live through the failure of another?
A highlight of Norment and EMU’s event was our introduction to the glass armonica, a rare and legendary instrument dating back to the eighteenth century that uses glass, water and fingertips to create otherworldly sounds. These tuned glass “singing bowls” reputedly have healing properties, leading to reactions from the listener that vary from mesmerized to fearful, and even to a one-time ban on its use … strange but true! Mozart has even penned works for this enchanting instrument, and it’s other worldly sounds have accompanied music by contemporary musicians such as Linda Ronstadt, David Gilmour and Björk.
In an interview published in e-flux about her recent exhibition at the 2015 Venice Biennale, Norment touched on her fascination with the powers of sound: “I am interested in how music has long been used to facilitate both the forging and transgressing of cultural norms. Sound permeates all borders. Throughout history, fear has been associated with the paradoxical effects music has on the body and mind, and its power as a reward-giving de-centraliser of control.”
Norment’s work has been described as visceral and poetic. From my personal perspective, much of my graduate research at SFU explores the human’s phenomenological relationship with the world, how our sensual experience with the surrounding environment plays a key role in defining who, and what, we are. Moreover, from an aural perspective, it is important to recognize that our location in the sonic environment is critical to our understanding and perception of it. I enjoyed exploring both of these concepts, and more, at Norment’s and EMU’s concert, immersing myself into the spellbinding soundscape.
– Jorma Kujala
Songs for Glass Island was presented by the CAG in partnership with LaSaM Music, Victoria and is supported by the Office for Contemporary Art Norway through its program for International Support, The Canada Council for the Arts, The University of Victoria through its Distinguished Women Scholars Fund, the Orion Fund in Fine Arts and the Department of Visual Arts.MORE