MENU

What's On

Loading
Gallery Hours
Tuesday to Sunday 12 - 6pm
Free Admission
  • Mungo Thomson Time, People, Money, Crickets July 10 to August 30, 2015 B.C. Binning, Alvin Balkind Galleries and gallery façade Live Performance: Cricket Solos for Clarinet, Piccolo, Percussion, and Violin Friday, July 10, 8.30pm onwards Emery Barnes Park, Vancouver Richards and Davie Streets  The Contemporary Art Gallery presents a major solo exhibition by Los Angeles based artist Mungo Thomson. Time, People, Money, Crickets brings together a survey of work produced during the past five years, complemented by an extensive monographic publication. Combined, exhibition and publication provide an expansive opportunity to tease out the nuance and complexity of Thomson’s practice across his many media and forms. Central to Thomson’s artistic proposition is an embrace of context—be it situational, institutional, mass cultural or art historical—and it is through the intelligent breadth of his individual works that we are prompted to examine the perceptual mechanics of everyday life in relation to a wider historical and cosmic scale. The exhibition includes key works in film, sound, sculpture, performance and publication that approach perception and cultural mediation with economy and wit, often relying on existing forms of recognition and distribution. The exhibition features several large-scale mirror works from Thomson’s ongoing series TIME: person-sized, silkscreened mirrors bearing the iconic logo and red border of the international weekly news magazine. The mirrors are based on individual covers of the magazine that reference a variety of cultural and cosmological notions of time and history, forming a broad cumulative network of objects. Installed together, they form infinity spaces and kinesthetic configurations in which the viewer, the viewing context and other TIME mirrors are reflected and reversed endlessly, and the viewer finds themselves pictured within that network. Such associations are further elaborated by a new iteration of Thomson’s ongoing series Negative Space, photographic murals of inverted astronomical imagery sourced from the Hubble Space Telescope, here specially designed for the glass canopy that defines the entrance and exterior of the gallery. Thomson’s Crickets (2012-13) is an ambitious musical score for orchestra based on the chirping of crickets. Transcribed from a French compilation of field recordings from around the world—France, Cameroon, Senegal, Martinique, Borneo, Thailand and Venezuela—and produced in collaboration with Los Angeles composer Michael Webster, the score contains 25 movements, such as 12. Reunion Island, the Cirque de Cilaos at 1300 m. altitude, February 1998, nightfall in a banana plantation. Seen in an HD video, and shown alongside the sheet music, a 17-player classical ensemble simulates a chorus of crickets in flute, clarinet, violin and percussion. Crickets explores the distinctions between silence, sound, noise and music, using the aural backdrop that crickets represent—so ubiquitous that they have come to stand in for silence, and, in the context of performance, failure. Thomson and Webster have also developed Crickets for solo performers—individual musicians scattered around a park, each simulating the sound of a single cricket with a different instrument. Working with Vancouver New Music, CAG will present a live performance of Cricket Solos for Clarinet, Piccolo, Percussion, and Violin in Emery Barnes Park. Other works in the exhibition play with the context of the gallery or museum itself. Mail (2013) is the simplest intervention into the CAG’s everyday infrastructure. For the duration of the exhibition, once delivered, the mail remains on the floor, unopened, gradually becoming an obstacle to physical passage as well as to institutional function. Untitled (Margo Leavin Gallery, 1970– ) (2009) is a Super-16mm stop-motion film animation that flips through all the contacts in the business card rolodexes of Los Angeles’ Margo Leavin Gallery, which was founded in 1970 and closed in 2012, and where Thomson showed for over a decade. Consisting of thousands of contacts, each with their own particular relationship to the operation of the gallery – artists, framers, electricians, collectors, customs agents, florists, critics, exterminators – each card gets a single film frame, the film running at 24 frames per second. It is a kinetic portrait, pairing analogue technologies, of a group of people randomly and uniquely brought into orbit together around a single cultural enterprise. People (2011) is an ongoing series of photographs of visitors to art exhibitions with the art on view removed in Photoshop, leaving only people staring into the voids of empty white rooms. These images are taken from the web as well as privately commissioned by Thomson from professional events photographers. In 2011 Thomson produced a magazine collecting these uncanny images modeled on the American tabloid “People”. Originally distributed unannounced by mail, it is exhibited here as a free takeaway for visitors. Void and Observer (2013-15) is a series of sculptures modeled on the phenomena of ‘error coins’—rare and collectible coins that result from a production mistake at the US mint, in which a blank coin planchet is mis-struck by the die that carries the coin image. In Thomson’s reworking of the phenomenon, made with 3D printing and jewelry casting, these coins take on a cosmological dimension, as an off-center John F. Kennedy appears to be contemplating the void of the unstruck side of a half-dollar, and as other error coins in other US denominations resemble planetary bodies in phase or eclipse. Kept in the pockets of the staff of the CAG and displayed upon request, the coins will orbit and revolve around each other throughout the day. Mungo Thomson: Time, People, Money, Crickets is organized by the Contemporary Art Gallery, Vancouver and SITE Santa Fe. A new 200-page monograph of Thomson’s work, Time, People, Money, Crickets, published by CAG with SITE Santa Fe is available at the gallery, special exhibition price of $25. Mungo Thomson lives and works in Los Angeles. Solo exhibitions, performances and projects have taken place at ArtPace, San Antonio (2014); SITE Santa Fe, Santa Fe (2013); The Times Museum, Guangzhou, China (2013); The Aspen Art Museum, Aspen (2012); The Hammer Museum, Los Angeles (2008); The Kadist Art Foundation, Paris, France (2007); and Galeria d’Arte Moderna e Contemporanea (GAMeC), Bergamo, Italy (2006), among others. Selected group exhibitions include The 2nd CAFAM Biennale, CAFA Art Museum, Beijing, China (2014); A Guest Without A Host Is A Ghost, Beirut and Townhouse Gallery, Cairo, Egypt; Imitatio Christie’s, Galleria Zero, Milan (2014); Turn off the Sun: Selections from La Colección Jumex, Arizona State University Art Museum, Tempe, AZ (2013); Public Diary, Tokyo Metropolitan Museum of Photography, Tokyo, Japan (2013); The Pacific Standard Time Public Art and Performance Festival, Los Angeles, USA (2012); Untitled (12th Istanbul Biennial), Istanbul, Turkey (2011); Exhibition Exhibition, Castello di Rivoli, Torino, Italy (2010); Compilation IV, Kunsthalle Düsseldorf, Düsseldorf, Germany (2009); The 2008 Whitney Biennial (2008); and PERFORMA05 (2005). Thomson’s work is held in the collections of the Whitney Museum of American Art, New York; the Museum of Contemporary Art, Los Angeles; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Walker Art Center, Minneapolis; and FRAC Ile-de-France, Paris, France, among others. Thomson is represented by galerie frank elbaz, Paris, France.   MORE
    Mungo Thomson, 'Time, People, Money, Crickets'. Installation view, SITE Santa Fe, 2013 Photo: Eric Swanson.
  • Maddie Leach June to July Taking up residency in June, Maddie Leach will begin research towards a Vancouver-based project. Leach’s practice is one that seeks ways of making artworks as a means to interpret and respond to specific context, through a lengthy process of enquiry and social interaction establishing relationships between form, materials, locations, histories, events, individuals and communities. Leach was nominated for the Walters Prize 2014 for If you find the good oil let us know (2012–›2014), created during a two year residency at Govett-Brewster Art Gallery in New Plymouth, a town known for its oil and gas exploration on New Zealand’s North Island. The project centered on 70 ‚litres of supposed ‘whale oil’. With layered and complex associations to whaling from indigenous sustenance to colonial/capitalist industry, whale oil speaks to New Zealand’s past and evokes its new economic boom in crude oil exploration. Leach sought to return this mythic substance to the sea, beginning a tangential journey that ended with a cube of cement made from the firing of 70 litres of mineral oil relocated to the seabed several kilometres off the coast. Through such ephemeral aesthetic actions and an unfolding public dialogue, this search for the authenticity of the ‘whale oil’ connected fragmented industrial and cultural narratives central to the context of New Zealand. Sharing her unfolding research, Leach then invited fourteen individuals to offer written letters as responses to the work, the only stipulation being to begin the letter with ‘Dear.’ The texts became a series of ‘Letters to the Editor’ in the Taranaki Daily News developing a curious narrative composed by multiple authors, from scientists to sailors, cement workers to oil-industry executives. MORE
    Icon
    07 Jun, 2015 – 14 Jul, 2015
    Maddie Leach, If you find the good oil let us know (2012 - 2014) New Plymouth, New Zealand. Photograph by Shaun Waugh.
  • Walter Scott July 1 to 31, 2015 Scott is an artist from Kahnawake whose work is based in writing and illustration and is known for his ongoing comic book series, Wendy, which follows the fictional narrative of a young woman living in an urban centre, whose dreams of contemporary art stardom are perpetually derailed by her fears and desires. In July, Scott will begin research towards a new Vancouver-specific commission exploring collaborative performance and script writing. He will also be leading workshops with the Native Youth Program at the Museum of Anthropology. Scott will also be working along side artist Keg de Souza on the summer youth program EXCHANGE. Scott currently lives and works between Toronto and Montréal. For the Images Festival 2015, Scott produced Wendy Live! where a cast of English, Japanese and Mohawk-speaking performers enacted the newest Wendy book before its 2016 North American English-language release. Alongside his comic work, Scott produces work involving printmaking and sculpture and is represented by Macaulay & Co. Fine Art, Vancouver. He recently completed a residency at the Koganecho Bazaar, Yokohama, Japan.   MORE
    Icon
    01 Jul, 2015 – 31 Jul, 2015
    Walter Scott, extract from 'Wendy', 2015.
  • Australian artist de Souza investigates the politics of space informed through a formal training in architecture combined with her experiences such as squatting in Redfern, Sydney. De Souza’s work emphasises participation and reciprocity, and often involves the process of learning new skills and fostering relationships to create site and situation-specific projects. For over ten years she has self-published her hand-bound books and ‘zines under the name All Thumbs Press. In Vancouver, De Souza will develop a series of community based workshops throughout 2015-16 engaging participants in a critical dialogue regarding local food production. De Souza is working closely with various local urban farmers, food security activists and community members to explore the food politics within the city as both evidence of and a metaphor for urban displacement through gentrification. Continuing this research de Souza will host a public picnic in April. In 2013, de Souza developed projects for the 5th Auckland Triennial, 15th Jakarta Biennale and the 4A Centre for Contemporary Asian Art, Sydney. More recently, at the Delfina Foundation, London, she hosted a series of picnics held inside an inflatable tent installation designed to fit within the gallery space. Notionally “traditional” English food such as cucumber sandwiches, Cornish pasties and Ploughman’s Lunches were made linking to specific cultural histories as a way to discuss class, privilege, space and colonialism. As picnickers ate and spoke, de Souza mapped the discussion on the floor creating a giant cartography of the conversation. Also in 2014 she completed a residency with KUNCI Cultural Studies Center in Yogyakarta, Indonesia working closely with community organizers and residents of Kampung Ratmakan to create an inflatable ghost house and a film featuring drawings by local children made during a ghost story workshop. Their local government had announced a major development plan affecting the Ratmakan area and the squatters residing there started to be displaced. The area is built on a graveyard so ghosts are constantly appearing to the residents, ongoing exorcisms by the local ghost expert, paralleling their own evictions in the living world. MORE
    Keg de Souza, Temporary Spaces, Edible Places: Vancouver Picnic, April, 3, 2015. Burrard Marina Field House.
  • Ryan Gander Make every show like it’s your last September 11 to November 1, 2015 The CAG presents an ambitious exhibition with UK artist Ryan Gander comprising a shifting selection of new and recent works centered on the artist’s ongoing conceptual investigations and playful cultural cross references. Ideas of concealment, accessibility in every sense, and of a deliberate obfuscation to send our minds challenged and reeling, has been a constant ploy for Gander. Works are characterized most typically by a conceptual as well as formal rigour, often drawing together a layered range of sources and referents. For example in the video and associated off-site poster campaign, Imagineering (2013), there is a clear sense of play in the way work is constructed, and play as both an intellectual mode as well as a physical activity. The series of sculptures I is … (2013) evince a smart way with the art of storytelling in an immensely complex yet subtly coherent body of work which in its combination of the personal with the historical, delivers an emotional pull that is not only intellectually arresting, but also affecting in its humour, its delight in suggesting a dialogue between seemingly disparate objects or provoking associations tinged of sadness. Organised by the CAG and produced in collaboration with Frac Île de France — Le Plateau, Paris; Manchester Art Gallery, UK; Centre for Contemporary Art, Derry~Londonderry, Northern Ireland; OK Offenes Kulturhaus / Center for Contemporary Art, Linz, Austria; Aspen Art Museum, Aspen, Colorado and Musée d’art contemporain de Montréal. MORE
    Ryan Gander, Magnus Opus (2013). Animatronic eyes, sensors. Dimensions variable. Courtesy frac île-de-france/Le Plateau, Paris. Photograph Martin Argyroglo.
  • Liz Magor Six Ways to Sunday #06: Peep Hole Art Centre, Milan, Italy Via Stilicone, 10, Milano, Italy - www.peep-hole.org September 24 to December 5, 2015 In autumn 2015 the Contemporary Art Gallery has been invited to take over Peep-Hole in Milan for the final instalment of their Six Ways to Sunday initiative. On this occasion, CAG will present a major solo exhibition of work by Vancouver based artist Liz Magor. One of the most celebrated and influential figures of her generation, the exhibition will focus on a selection of recent and new work, and in a nod to the immediate historical context of Arte Povera in that area of Italy, primarily include a series of blankets including an ambitious new piece, alongside other sculptures incorporating fabric samples, clothing and labels. The 1980s proved to be a momentous time in Magor’s career when her work was included in the Sydney Biennale (1982), the Venice Biennale (1984) and at Documenta 8 (1987) in Germany. During this time the artist’s work shifted towards an investigation of the social and emotional life of objects and their capacity to hold and reflect personal and collective histories and identities. Characteristic of her ongoing practice, the blanket works investigate the ontology of ordinary or familiar objects, which she remakes or repurposes, and presents in new contexts. These “serviceable objects” as she calls them, are redolent with association, discarded yet still imbued with and reflective of shared meaning.       MORE
    Icon
    24 Sep, 2015 – 05 Dec, 2015
    Liz Magor,'The Old One', (detail) 2015. Wool, paint, cellophane.162 x 24 x 1 inches. Courtesy the artist Courtesy of Catriona Jeffries Gallery, Vancouver.
  • Kim Beom December 11, 2015 to January 24, 2016 For Kim Beom’s first solo exhibition in Canada, the Contemporary Art Gallery will present a selection of artwork spanning across twenty years of the artist’s practice. Kim stands as a pinnacle of contemporary art in South Korea. Working within a conceptual art framework, his ideas are grounded in the lateralization of image making from language to physical form. He often visualizes puns materially tipping language into the absurd creating comic forms that regularly draw from popular culture. This solo exhibition will function as a survey of his practice tracing shifts in material and form, as well as will follow a tangential line through his work that humorously pokes at the way we come to see and know things. MORE
    Icon
    11 Dec, 2015 – 24 Jan, 2016
    Kim Boem, Sleeping Chicken (with Steam Broccoli) (2006). Courtesy the artist.
Icon

Current Exhibitions

Mungo Thomson
Time, People, Money, Crickets
July 10 to August 30, 2015
B.C. Binning, Alvin Balkind Galleries and gallery façade

Live Performance: Cricket Solos for Clarinet, Piccolo, Percussion, and Violin
Friday, July 10, 8.30pm onwards
Emery Barnes Park, Vancouver
Richards and Davie Streets 

The Contemporary Art Gallery presents a major solo exhibition by Los Angeles based artist Mungo Thomson.

Time, People, Money, Crickets brings together a survey of work produced during the past five years, complemented by an extensive monographic publication. Combined, exhibition and publication provide an expansive opportunity to tease out the nuance and complexity of Thomson’s practice across his many media and forms.

Central to Thomson’s artistic proposition is an embrace of context—be it situational, institutional, mass cultural or art historical—and it is through the intelligent breadth of his individual works that we are prompted to examine the perceptual mechanics of everyday life in relation to a wider historical and cosmic scale. The exhibition includes key works in film, sound, sculpture, performance and publication that approach perception and cultural mediation with economy and wit, often relying on existing forms of recognition and distribution.

The exhibition features several large-scale mirror works from Thomson’s ongoing series TIME: person-sized, silkscreened mirrors bearing the iconic logo and red border of the international weekly news magazine. The mirrors are based on individual covers of the magazine that reference a variety of cultural and cosmological notions of time and history, forming a broad cumulative network of objects. Installed together, they form infinity spaces and kinesthetic configurations in which the viewer, the viewing context and other TIME mirrors are reflected and reversed endlessly, and the viewer finds themselves pictured within that network. Such associations are further elaborated by a new iteration of Thomson’s ongoing series Negative Space, photographic murals of inverted astronomical imagery sourced from the Hubble Space Telescope, here specially designed for the glass canopy that defines the entrance and exterior of the gallery.

Thomson’s Crickets (2012-13) is an ambitious musical score for orchestra based on the chirping of crickets. Transcribed from a French compilation of field recordings from around the world—France, Cameroon, Senegal, Martinique, Borneo, Thailand and Venezuela—and produced in collaboration with Los Angeles composer Michael Webster, the score contains 25 movements, such as 12. Reunion Island, the Cirque de Cilaos at 1300 m. altitude, February 1998, nightfall in a banana plantation. Seen in an HD video, and shown alongside the sheet music, a 17-player classical ensemble simulates a chorus of crickets in flute, clarinet, violin and percussion. Crickets explores the distinctions between silence, sound, noise and music, using the aural backdrop that crickets represent—so ubiquitous that they have come to stand in for silence, and, in the context of performance, failure. Thomson and Webster have also developed Crickets for solo performers—individual musicians scattered around a park, each simulating the sound of a single cricket with a different instrument. Working with Vancouver New Music, CAG will present a live performance of Cricket Solos for Clarinet, Piccolo, Percussion, and Violin in Emery Barnes Park.

Other works in the exhibition play with the context of the gallery or museum itself. Mail (2013) is the simplest intervention into the CAG’s everyday infrastructure. For the duration of the exhibition, once delivered, the mail remains on the floor, unopened, gradually becoming an obstacle to physical passage as well as to institutional function. Untitled (Margo Leavin Gallery, 1970– ) (2009) is a Super-16mm stop-motion film animation that flips through all the contacts in the business card rolodexes of Los Angeles’ Margo Leavin Gallery, which was founded in 1970 and closed in 2012, and where Thomson showed for over a decade. Consisting of thousands of contacts, each with their own particular relationship to the operation of the gallery – artists, framers, electricians, collectors, customs agents, florists, critics, exterminators – each card gets a single film frame, the film running at 24 frames per second. It is a kinetic portrait, pairing analogue technologies, of a group of people randomly and uniquely brought into orbit together around a single cultural enterprise.

People (2011) is an ongoing series of photographs of visitors to art exhibitions with the art on view removed in Photoshop, leaving only people staring into the voids of empty white rooms. These images are taken from the web as well as privately commissioned by Thomson from professional events photographers. In 2011 Thomson produced a magazine collecting these uncanny images modeled on the American tabloid “People”. Originally distributed unannounced by mail, it is exhibited here as a free takeaway for visitors.

Void and Observer (2013-15) is a series of sculptures modeled on the phenomena of ‘error coins’—rare and collectible coins that result from a production mistake at the US mint, in which a blank coin planchet is mis-struck by the die that carries the coin image. In Thomson’s reworking of the phenomenon, made with 3D printing and jewelry casting, these coins take on a cosmological dimension, as an off-center John F. Kennedy appears to be contemplating the void of the unstruck side of a half-dollar, and as other error coins in other US denominations resemble planetary bodies in phase or eclipse. Kept in the pockets of the staff of the CAG and displayed upon request, the coins will orbit and revolve around each other throughout the day.

Mungo Thomson: Time, People, Money, Crickets is organized by the Contemporary Art Gallery, Vancouver and SITE Santa Fe. A new 200-page monograph of Thomson’s work, Time, People, Money, Crickets, published by CAG with SITE Santa Fe is available at the gallery, special exhibition price of $25.

Mungo Thomson lives and works in Los Angeles. Solo exhibitions, performances and projects have taken place at ArtPace, San Antonio (2014); SITE Santa Fe, Santa Fe (2013); The Times Museum, Guangzhou, China (2013); The Aspen Art Museum, Aspen (2012); The Hammer Museum, Los Angeles (2008); The Kadist Art Foundation, Paris, France (2007); and Galeria d’Arte Moderna e Contemporanea (GAMeC), Bergamo, Italy (2006), among others. Selected group exhibitions include The 2nd CAFAM Biennale, CAFA Art Museum, Beijing, China (2014); A Guest Without A Host Is A Ghost, Beirut and Townhouse Gallery, Cairo, Egypt; Imitatio Christie’s, Galleria Zero, Milan (2014); Turn off the Sun: Selections from La Colección Jumex, Arizona State University Art Museum, Tempe, AZ (2013); Public Diary, Tokyo Metropolitan Museum of Photography, Tokyo, Japan (2013); The Pacific Standard Time Public Art and Performance Festival, Los Angeles, USA (2012); Untitled (12th Istanbul Biennial), Istanbul, Turkey (2011); Exhibition Exhibition, Castello di Rivoli, Torino, Italy (2010); Compilation IV, Kunsthalle Düsseldorf, Düsseldorf, Germany (2009); The 2008 Whitney Biennial (2008); and PERFORMA05 (2005). Thomson’s work is held in the collections of the Whitney Museum of American Art, New York; the Museum of Contemporary Art, Los Angeles; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Walker Art Center, Minneapolis; and FRAC Ile-de-France, Paris, France, among others. Thomson is represented by galerie frank elbaz, Paris, France.

 

MORE

Mungo Thomson - Time, People, Money, Crickets


Icon

Current Exhibitions

Maddie Leach
June to July

Taking up residency in June, Maddie Leach will begin research towards a Vancouver-based project. Leach’s practice is one that seeks ways of making artworks as a means to interpret and respond to specific context, through a lengthy process of enquiry and social interaction establishing relationships between form, materials, locations, histories, events, individuals and communities.

Leach was nominated for the Walters Prize 2014 for If you find the good oil let us know (2012–›2014), created during a two year residency at Govett-Brewster Art Gallery in New Plymouth, a town known for its oil and gas exploration on New Zealand’s North Island. The project centered on 70 ‚litres of supposed ‘whale oil’. With layered and complex associations to whaling from indigenous sustenance to colonial/capitalist industry, whale oil speaks to New Zealand’s past and evokes its new economic boom in crude oil exploration. Leach sought to return this mythic substance to the sea, beginning a tangential journey that ended with a cube of cement made from the firing of 70 litres of mineral oil relocated to the seabed several kilometres off the coast. Through such ephemeral aesthetic actions and an unfolding public dialogue, this search for the authenticity of the ‘whale oil’ connected fragmented industrial and cultural narratives central to the context of New Zealand. Sharing her unfolding research, Leach then invited fourteen individuals to offer written letters as responses to the work, the only stipulation being to begin the letter with ‘Dear.’ The texts became a series of ‘Letters to the Editor’ in the Taranaki Daily News developing a curious narrative composed by multiple authors, from scientists to sailors, cement workers to oil-industry executives.

MORE

Burrard Marina Field House - Maddie Leach


Icon

Current Exhibitions

Walter Scott
July 1 to 31, 2015

Scott is an artist from Kahnawake whose work is based in writing and illustration and is known for his ongoing comic book series, Wendy, which follows the fictional narrative of a young woman living in an urban centre, whose dreams of contemporary art stardom are perpetually derailed by her fears and desires. In July, Scott will begin research towards a new Vancouver-specific commission exploring collaborative performance and script writing. He will also be leading workshops with the Native Youth Program at the Museum of Anthropology. Scott will also be working along side artist Keg de Souza on the summer youth program EXCHANGE.

Scott currently lives and works between Toronto and Montréal. For the Images Festival 2015, Scott produced Wendy Live! where a cast of English, Japanese and Mohawk-speaking performers enacted the newest Wendy book before its 2016 North American English-language release. Alongside his comic work, Scott produces work involving printmaking and sculpture and is represented by Macaulay & Co. Fine Art, Vancouver. He recently completed a residency at the Koganecho Bazaar, Yokohama, Japan.

 

MORE

Burrard Marina Field House - Walter Scott


Icon

Current Events

Feedback Series: Murray Isman, Lucas Abela and Giorgio Magnanensi
Tuesday, July 28, 7pm

This feedback event will respond to ‘Crickets’ by Mungo Thomson. Bringing together three individuals from diverse backgrounds, participants will engage with these seemingly disparate experiences and knowledge to create new interpretations of Crickets. Murray Isman is a Professor of Applied Biology (Entomology/Toxicology) at the University of British Columbia; Lucas Abela a performance artist and Giorgio Magnanensi a composer, conductor, musician and artistic director of Vancouver New Music.

MORE

Feedback Series: Murray Isman, Lucas Abela and Giorgio Magnanensi


Icon

Learning Resources

Keg de Souza: Preservation

Saturday, August 1, 3pm-6pm & Sunday August 2, 11am–2pm
Burrard Marina Field House
1655 Whyte Avenue

Keg de Souza with special guests, Lori & Steve Snyder
Please note this is a two day event held at the Field House

Join CAG, Burrard Marina Field House artist-in-residence Keg de Souza for an urban foraging expedition culminating in jam making, experimental mapping and a discussion exploring local foods, cultural preservation and the continuing effects of colonization in contemporary Vancouver.

The event features two local guest collaborators working with de Souza. Lori Snyder is an Indigenous Herbalist specializing in urban foraging for wild, edible and medicinal plants and Steve Snyder harvests wild berries and has been a master jam maker for the last 15 years.

This two-day event begins with a special introductory talk led by Lori Snyder focussing on the native blackberry, the introduced blackberry and other native plants. Participants will then forage on the banks surrounding the Field House which are covered with wild Himalayan Blackberries – an invasive, “colonizing”, non-native species in Vancouver.

On the second day, local master jam maker, Steve Synder will be our special guest for the jam making session. While communally making jam, discussion will focus on the act of preserving these locally dominant berries, questioning whose culture is in fact preserved and how this can be linked to colonial narratives. This discussion will culminate in an experimental mapping of our dialogue.

The event will take place on unceded Indigenous land belonging to the Coast Salish peoples.

Participants are encouraged to share their recipes; stories and knowledge with the group . Please bring your own jam jar and basket for collecting berries.

Please RSVP to learning@contemporaryartgallery.ca to reserve your place and for more details.

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

MORE

Keg de Souza - Preservation - free two day workshop


Icon

Recent Posts

After much anticipation, Mungo Thomson makes his return to the CAG with his solo exhibition, Time, People, Money, Crickets, opening this Friday. The team has been hard at work preparing for the show. Now that it is down to the last few days of the install, I talked to programs assistant Jas Lally to find out about the challenges they have faced and the exciting things that will be occurring over the next month.

Because of the multitude of mediums explored by Mungo, from sculpture to performance to film and sound, the preparation has been unique. “When we install the works we have to be careful about the TIME mirror pieces in particular, because they  weigh about 100 pounds each, so they’re quite heavy,” Jas said. “We’ll have to be careful with the projection of the rolodex film as well.” Untitled (Margo Leavin Gallery 1970-)(2009) is a stop-motion 16mm film. “I am very excited to work with a 16mm projector again after Jeremy Shaw’s exhibition earlier this year” Jas added.

All of the pieces have been shipped from SITE Santa Fe, who the CAG is collaborating with to present this exhibition. The only issue was a slight hold up at the border. “You have to be prepared for delays in customs clearance,” Jas mentioned. “Once you speak to the agent and explain that it is artwork, it works out.” Thankfully, they are here in perfect shape and being hung up/suspended/tested/configured for Friday evening.

Jas mentioned that she is looking forward to Void and Observer (2013-2015). “Hopefully the viewer will read the label and go, ‘Hey, where’s this piece?’ I think the mis -marked coin will be the most unique and the most interactive piece.” The front desk staff might just have the answer.

Mungo’s Crickets (2012-2013), which one will be able to see, hear and read in the large gallery room, will also be performed live on the night of the opening. “We collaborated with Vancouver New Music to have four musicians perform the piece in neighbouring Emery Barnes Park,” Jas smiled, “The musicians will essentially be playing the role of  crickets. That will be fun.” This work definitely defines the show, being presented in live performance, video, sound and debossed score during the course of the exhibition.

Jas also organized a feedback talk around Crickets on July 28 with speakers Murray Isman, Professor of Applied Biology from UBC; Lucas Abela, a performance artist and Giorgio Magnanensi, Artistic Director of Vancouver New Music. “It’s really about getting something different and taking a chance. I hope the speakers will be able to engage with their personal experiences and reflect upon the piece,” Jas explained her unexpected choice of participants. “I believe that it’s important to bring in different perspectives so that the viewer has a more engaged experience.” We can’t wait to hear what the speakers have to say.

Finally, Jas expounded why we should all be looking forward to Mungo’s show. “Well, it’s Mungo! He’s been really great to work with and you can see how invested he is in his work.  It is going to be interesting to see how all the works come together in relation to each other, the everyday life, the wider historical contexts and the cosmic scale. I am most excited to see how the interactive aspects of the exhibition work out whereby the public are no longer just the audience, but participants.”

Join us this Friday, June 10 at 7pm for the opening, and head over to Emery Barnes Park at 8:30pm for the live performance of Cricket Solos for Clarinet, Piccolo, Percussion and Violin. Don’t miss the Feedback Talk on July 28, either! 

- Kelli Sturkenboom

 

 

MORE

Behind the Scenes on Time, People, Money, Crickets


Icon

Visit CAG

555 Nelson Street
Vancouver, British Columbia
Canada V6B 6R5

T 00 1 604 681 2700
F 00 1 604 683 2710

Gallery Hours
Tues – Sun 12 – 6 pm



  • Closed on British Columbia statutory holidays
  • The galleries are wheelchair accessible
  • The Gallery is free of charge
  • Suggested donation of $5


Reference Library



Icon

CAG Shop


Icon

Join/Give


Become a Member


The CAG is a not-for-profit reliant on member support. As a Member of the CAG, you are supporting contemporary art now and playing a role in its future.

Make a Donation


Help support the only free public art gallery in Vancouver.
Donate Now

Exhibition
Archive

01-15

top