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  • Jochen Lempert Field Guide May 6 to July 17, 2016 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. Ranging from medium-sized to small and tiny prints, the exhibition comprises Lempert’s now classic repertoire of flora and fauna, and focuses on a range of work produced over the last five years that examines the indexical nature of photography itself, notions of time and connections to the history of image making, mutability, classification and materiality. The subject of interest of Lempert’s work—animal life—is complemented by his exploration of the properties and materiality of the photographic image, as revealed in its developing and printing processes. While seemingly serendipitous, Lempert nevertheless pursues a very clear goal and aesthetic. His is a very careful, subtle world. In Vancouver the exhibition is generously supported by the Institut für Auslandsbeziehungen e.V. Organized by the Contemporary Art Gallery Vancouver in collaboration with the Cincinnati Art Museum. Jochen Lempert lives and works in Hamburg, Germany. Selected solo exhibitions include Cincinnati Art Museum (2015); ProjecteSD, Barcelona, Spain; Overbeck-Gesellschaft Verein von Kunstfreunden e.V., Lübeck, Germany; Städtische Galerie Nordhorn, Germany (2014); Hamburger Kunsthalle, Hamburg, Germany; Lulu, Mexico City, Mexico; Norma Mangione gallery, Torino, Italy (2013); Midway Contemporary Art, Minneapolis; Rochester Art Center, Rochester (2012); Museum Ludwig, Cologne, Germany; Front Room. Contemporary Art Museum St. Louis, Saint Louis (2010); Domaine de Kerguéhennec Centre d’Art Contemporain, Bignan, France; Culturgest, Lisbon, Portugal (2009). His work has recently been included in group exhibitions at Fotomuseum Antwerp, Belgium; Fotomuseum Winterthur, Switzerland; Museum für Gegenwartskunst Siegen, Germany; Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria; Fondation D’Enterprise Ricard, Paris; The Photographers’ Gallery, London; Marian Goodman, Paris; Biennial for Contemporary Art; FRAC Bretagne, Rennes, France; Heidelberger Kunstverein, Germany; Sprengel Museum, Hannover, Germany; and the Paris Triennial, amongst many others. His work is held in many public collections including: Fundació „La Caixa“, Barcelona, Spain; Colección Banco de España, Madrid, Spain; CNAP, Centre National des Arts Plastiques, Paris, France; FRAC Bretagne, Rennes, France; Kadist Art Foundation, Paris; Fondation Norac, Rennes, France; Les Abbatoirs–Musée d’art modern et contemporain and Frac Midi-Pyrénées, Toulouse, France; Museum Ludwig Köln; Museum Folkwang Essen; and Kunstmuseum Bonn, amongst many others. In 2005 Lempert was the winner of the Edwin-Scharff Preis, Hamburg and was shortlisted for the Deutsche Börse Photography Prize 2014. He is represented by ProjecteSD, Barcelona. MORE
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    06 May, 2016 – 17 Jul, 2016
    Jochen Lempert, Field Guide, Belladonna, 2013. Courtesy Cincinnati Art Museum. Photograph: Rob Deslongchamps.
  • Jérôme Havre Untitled (2010) 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
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    15 Apr, 2016 – 31 Aug, 2016
    Jérôme Havre, Untitled (2010). Courtesy the artist.
  • Window Spaces 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
    John Wood and Paul Harrison, Some words, some more words, 2016. Window spaces. Photograph SITE Photography.
  • Amaara Raheem May 16 to June 8, 2016 In partnership with Access Gallery and Burrard Arts Foundation’s Twenty-three Days at Sea, CAG hosts artist Amaara Raheem at the Burrard Marina Field House for a one month production period. Twenty-three Days at Sea offers a unique residency aboard a cargo ship sailing from Vancouver to Shanghai. Raheem, Sri Lankan born, and now based between Melbourne, Australia, and London, UK, is an in(ter)dependent dance artist. Feeding off her own experience of in-betweenness, Raheem’s practice investigates the aesthetics and ethics of mobility, placing language, objects and movement in parallel, in order to embody flux. Currently a PhD Candidate in the School of Architecture and Design, RMIT University, Raheem is ultimately interested in questioning the coherence of systems that humans create to “know” the world around them, creating arrangements that offer uncertainty, play and new possibilities. Following the residency, Raheem will feature in the group exhibition Twenty-three Days at Sea, Chapter One: Nour Bishouty, Christopher Boyne, Elisa Ferrari and Amaara Raheem which opens at Access Gallery on May 27, 2016. In Conversation: Amaara Raheem with Kimberly Phillips With performance by the artist Thursday, June 2, 2016, 7:00 PM Burrard Marina Field House Studio, 1655 Whyte Ave Amaara Raheem is ‘Twenty-Three Days at Sea’s’ fourth artist-in-residence. A Sri Lankan born dance artist, based between Melbourne, Australia, and London, UK, Raheem’s practice places her own body in fluid states to investigate the aesthetics and ethics of mobility. Raheem departed for Shanghai on the MV Hanjin Geneva on April 19, and upon her return from Asia in May, the Contemporary Art Gallery will host her at the CAG Burrard Marina Field House Studio to process the experience and produce her work for the exhibition, which opens May 27, 2016. At this event, held in her temporary place of residence at the CAG Field House, Raheem and Access Director/Curator Kimberly Phillips will converse about the role of anticipation and imagination in her preparations for the residency voyage, and Raheem will perform a new work in response to her time at sea. More information to follow at accessgallery.ca. Amaara Raheem is a Sri Lankan born, Melbourne and London based dance artist. Her practice investigates the ethics and aesthetics of mobility, placing language, objects, and movement in parallel, in order to embody flux. She is currently a PhD candidate in the School of Architecture and Design and RMIT Melbourne. Twenty-Three Days at Sea: A Travelling Artist Residency is an Access Gallery initiative, produced in partnership with the Burrard Arts Foundation and the Contemporary Art Gallery. Partial sponsorship of the sea voyages is graciously offered by Reederei NSB, assistance in Asia by China Residencies and Art Contraste, and at the Port of Vancouver by the International Longshore and Warehouse Union. Access is grateful for the ongoing support of the Canada Council for the Arts, the British Columbia government through the BC Arts Council and BC Gaming, the City of Vancouver, and our donors, members, and volunteers. MORE
    Amaara Raheem, Flying (2016). Video still. Courtesy the artist.
  • To the Shore June 7 to July 17, 2016 Events Room In 2015, the Contemporary Art Gallery inaugurated a new annual award for an emerging artist from SFU’s School for the Contemporary Arts. This spring we present To the Shore by 2015 award recipient Anchi Lin, her first solo exhibition. In this single channel video Lin enacts the sound of waves hitting a shoreline through the simple act of sweeping. Rooted in recollection and memory of place, the work playfully explores domestic routines drawing attention to the meditative quality of action while the audience and the performer transcend their physical reality. Anchi Lin obtained her BFA in Visual Arts at Simon Fraser University in 2015. Her work has manifested within the realm of performance and video art. Concepts such as language and gender are the basis of her practice while Lin’s Taiwanese aboriginal background has invariably been the catalyst for her examination of identity and cultural norms. Her work continues to navigate realms that fall between individual and collective consciousness. MORE
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    07 Jun, 2016 – 17 Jul, 2016
    Anchi Lin, To the Shore, (2015). Video still. Courtesy the artist.
  • Isabel Nolan The weakened eye of day July 29 to October 2, 2016 B.C. Binning and Alvin Balkind Galleries The Contemporary Art Gallery presents a major new body of work by Irish artist Isabel Nolan, conceived as a single project across successive evolving presentations at the Irish Museum of Modern Art, Dublin, Mercer Union, Toronto and CAG. Nolan’s work encompasses text, sculpture, drawing and textiles, and often begins with the close scrutiny of individual literary or artistic works, or evolves out of consciously erratic and diverging enquiries into the aesthetics of varied fields. Ranging from cosmology, to theories and systems of medicine detailing the makeup and workings of the human body or to illuminated manuscripts, all provide potential stimuli for investigation. The exhibition takes its title from the English novelist and poet Thomas Hardy’s The Darkling Thrush (1899), in which the sun, described as “the weakening eye of day”, is a dismal star drained of its force by a gloomy pre-centennial winter afternoon. As the sun’s gaze weakens, so flags the spirit of the poet who, until interrupted by birdsong, sees only the inevitability of death in the cold world around him. The show thereby examines how light manifests as a symbol in our thoughts, obsessions and pursuits, and oscillates around a series of ideas as a material account of the known and unknown strangeness of the world, from the formation of the planet’s crust to the death of the sun and the enduring preoccupation with light as a metaphor for truth, hope and optimism. Writing is an important tool for Nolan, and at the beginning of the show, a single sculptural form appears perhaps as the protagonist of an improbable story. Rock founded place (2014) is a large-scale scrolled text written by Nolan that imagines the viewpoint of the oldest rock in the world, whose exposure to deep time and the precariousness of existence is profoundly different to our own. In this world, time, knowledge and forms of life are recognizable yet play utterly different histories and roles than in our own civilization. Throughout the exhibition, individual pieces unfold to both seduce and disarm. Nolan uses this as a device to cause us reflection upon our relationship to light as a means by which the world is framed. She provides opportunities to reveal the contingency not only of our own world, but also of our myriad ways of knowing and being in it. Underpinning this is a desire to examine and capture in material form the occasions of intensity that can define our encounters with the objects around us; inexplicable and unsettling moments that leave us with a heightened awareness of what is means to be alive. For the artist this exploration happens through making things; whether these things are sculptures, textiles, photographs or texts. Monumental or intimate in scale, they are presented to us as tentative and precarious markers of the experience of our place beneath the sun. Across all spaces at CAG, discrete works trace a progression reflective of different human attempts to understand our place in the universe. From Rock founded place we might move to consider a small-scale abstract painting such as Dreams of no thing, no time (2014), the enigmatically diagrammatic steel construction Somewhere between Andromeda and Vulpecula: Sky Atlas (2014) or Fourfold sorrows (Jesus you look so sad) (2015), an impressive woven carpet connecting wall to floor. Contemplating these and other pieces such as the collection of brightly coloured ceramic vessels, Nothing new under the sun (2014), all combine to reflect Nolan’s interest in the way colour and light are used to express religious or spiritual sensibilities. Elsewhere, the intimate drawings Based on my recent observations (1–7) (2014) and the large-scale photograph The view from nowhen (2014) are informed by modern cosmology, wherein scientific theories and technologies articulate our contemporary relationship to the universe. And as we meander through the space of the gallery, we are finally confronted by what at first appears a somewhat surreal image, this mural of two donkeys photographed in Bully’s Acre, a former public cemetery located near the Royal Hospital Kilmainham in Dublin. Referred to in myth and folklore from around the world as well as embodying different symbolic references in classical and ancient cultures and across different faiths, these donkeys provide a provocation that cannot be met: a stubborn and inscrutable view from a world that can never be fully known. As with all of Nolan’s oeuvre, the works in The weakened eye of day reveal, through their very subjective and intimate nature, the arbitrariness and inherent absurdity of attempting to tackle the enormity of these subjects through the process of object making. Yet the objects are made and for Nolan they also find, with varying degrees of (un)certainty, their place under the sun. Originated by the Irish Museum of Modern Art, Dublin, this new selection of work for the exhibition is presented in collaboration with Mercer Union, Toronto and Contemporary Art Gallery, Vancouver. The exhibition is supported by the Culture Ireland programme for 2016 celebrating Ireland’s Centenary. We also acknowledge the generous assistance of Kerlin Gallery, Dublin. Isabel Nolan lives and works in Dublin, Ireland. Recent solo exhibitions include Mercer Union, Toronto (2016); Launch Pad, New York; Kerlin Gallery, Dublin (2015); Sean Kelly Gallery, New York; Irish Museum of Modern Art, Dublin (2014); The Return Gallery, Goethe Institut, Dublin; Musée d’art Moderne de Saint-Etienne (2012); The Model, Sligo (2011); Gallery Side 2, Tokyo (2010); Douglas Hyde Gallery, Dublin; ARTSPACE, New Zealand (2008); Project Arts Centre, Dublin (2005). Nolan represented Ireland at the 2005 Venice Biennale in a group exhibition, “Ireland at Venice 2005”. Other recent group shows include Lofoten International Arts Festival (LIAF), Svolvær, Norway; Artspace, Sydney (2015); Wallspace Gallery, New York (2014); Palais de Tokyo, Paris; David Nolan Gallery, New York; Villa Datris, Fondation pour la Sculpture Contemporain, France; Lewis Glucksman Gallery, Cork (2013); EVA International, Limerick (2012); Stephen Friedman Gallery, London;  Talbot Rice Gallery, Edinburgh (2011); Scottish National Gallery of Modern Art, Edinburgh (2010); Accademia d’Ungheria, Rome; The Daejeon Museum of Art, South Korea; Bielefelder Kunstverein, Germany; Limerick City Gallery of Art, Ireland; AkkuH, Hengelo, The Netherlands; Centre Culturel Irlandais, Paris; Millennium Court Arts Centre, Portadown, Northern Ireland; SMART Project Space, Amsterdam (2009); Tanya Bonakdar Gallery, New York; Stroom Den Haag (2007). Work is held in public collections of the Irish Museum of Modern Art; The Hugh Lane Gallery, Dublin; Allied Irish Bank; Arts Council of Ireland; Kildare Co. Council and various private collections in Europe and USA. Nolan is represented by Kerlin Gallery, Dublin. MORE
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    29 Jul, 2016 – 02 Oct, 2016
    Isabel Nolan, 'The weakened eye of day' (installation view), Irish Museum of Modern Art, Dublin. 7 June – 21 September, 2014.
  • 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
    Re-Visions, detail. Telus Garden Building.
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Current Exhibitions

Jochen Lempert
Field Guide
May 6 to July 17, 2016

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.

Ranging from medium-sized to small and tiny prints, the exhibition comprises Lempert’s now classic repertoire of flora and fauna, and focuses on a range of work produced over the last five years that examines the indexical nature of photography itself, notions of time and connections to the history of image making, mutability, classification and materiality. The subject of interest of Lempert’s work—animal life—is complemented by his exploration of the properties and materiality of the photographic image, as revealed in its developing and printing processes. While seemingly serendipitous, Lempert nevertheless pursues a very clear goal and aesthetic. His is a very careful, subtle world.

In Vancouver the exhibition is generously supported by the Institut für Auslandsbeziehungen e.V. Organized by the Contemporary Art Gallery Vancouver in collaboration with the Cincinnati Art Museum.

Jochen Lempert lives and works in Hamburg, Germany. Selected solo exhibitions include Cincinnati Art Museum (2015); ProjecteSD, Barcelona, Spain; Overbeck-Gesellschaft Verein von Kunstfreunden e.V., Lübeck, Germany; Städtische Galerie Nordhorn, Germany (2014); Hamburger Kunsthalle, Hamburg, Germany; Lulu, Mexico City, Mexico; Norma Mangione gallery, Torino, Italy (2013); Midway Contemporary Art, Minneapolis; Rochester Art Center, Rochester (2012); Museum Ludwig, Cologne, Germany; Front Room. Contemporary Art Museum St. Louis, Saint Louis (2010); Domaine de Kerguéhennec Centre d’Art Contemporain, Bignan, France; Culturgest, Lisbon, Portugal (2009). His work has recently been included in group exhibitions at Fotomuseum Antwerp, Belgium; Fotomuseum Winterthur, Switzerland; Museum für Gegenwartskunst Siegen, Germany; Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria; Fondation D’Enterprise Ricard, Paris; The Photographers’ Gallery, London; Marian Goodman, Paris; Biennial for Contemporary Art; FRAC Bretagne, Rennes, France; Heidelberger Kunstverein, Germany; Sprengel Museum, Hannover, Germany; and the Paris Triennial, amongst many others. His work is held in many public collections including: Fundació „La Caixa“, Barcelona, Spain; Colección Banco de España, Madrid, Spain; CNAP, Centre National des Arts Plastiques, Paris, France; FRAC Bretagne, Rennes, France; Kadist Art Foundation, Paris; Fondation Norac, Rennes, France; Les Abbatoirs–Musée d’art modern et contemporain and Frac Midi-Pyrénées, Toulouse, France; Museum Ludwig Köln; Museum Folkwang Essen; and Kunstmuseum Bonn, amongst many others. In 2005 Lempert was the winner of the Edwin-Scharff Preis, Hamburg and was shortlisted for the Deutsche Börse Photography Prize 2014. He is represented by ProjecteSD, Barcelona.

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Jochen Lempert - Field Guide


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Current Exhibitions

Jérôme Havre
Untitled (2010)
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

Jérôme Havre - Untitled


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Current Exhibitions

Window Spaces

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).

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John Wood and Paul Harrison - Some words, some more words


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Current Exhibitions

Amaara Raheem
May 16 to June 8, 2016

In partnership with Access Gallery and Burrard Arts Foundation’s Twenty-three Days at Sea, CAG hosts artist Amaara Raheem at the Burrard Marina Field House for a one month production period.

Twenty-three Days at Sea offers a unique residency aboard a cargo ship sailing from Vancouver to Shanghai. Raheem, Sri Lankan born, and now based between Melbourne, Australia, and London, UK, is an in(ter)dependent dance artist. Feeding off her own experience of in-betweenness, Raheem’s practice investigates the aesthetics and ethics of mobility, placing language, objects and movement in parallel, in order to embody flux. Currently a PhD Candidate in the School of Architecture and Design, RMIT University, Raheem is ultimately interested in questioning the coherence of systems that humans create to “know” the world around them, creating arrangements that offer uncertainty, play and new possibilities.

Following the residency, Raheem will feature in the group exhibition Twenty-three Days at Sea, Chapter One: Nour Bishouty, Christopher Boyne, Elisa Ferrari and Amaara Raheem which opens at Access Gallery on May 27, 2016.

In Conversation: Amaara Raheem with Kimberly Phillips
With performance by the artist
Thursday, June 2, 2016, 7:00 PM
Burrard Marina Field House Studio, 1655 Whyte Ave

Amaara Raheem is ‘Twenty-Three Days at Sea’s’ fourth artist-in-residence. A Sri Lankan born dance artist, based between Melbourne, Australia, and London, UK, Raheem’s practice places her own body in fluid states to investigate the aesthetics and ethics of mobility. Raheem departed for Shanghai on the MV Hanjin Geneva on April 19, and upon her return from Asia in May, the Contemporary Art Gallery will host her at the CAG Burrard Marina Field House Studio to process the experience and produce her work for the exhibition, which opens May 27, 2016.

At this event, held in her temporary place of residence at the CAG Field House, Raheem and Access Director/Curator Kimberly Phillips will converse about the role of anticipation and imagination in her preparations for the residency voyage, and Raheem will perform a new work in response to her time at sea. More information to follow at accessgallery.ca.
Amaara Raheem is a Sri Lankan born, Melbourne and London based dance artist. Her practice investigates the ethics and aesthetics of mobility, placing language, objects, and movement in parallel, in order to embody flux. She is currently a PhD candidate in the School of Architecture and Design and RMIT Melbourne.

Twenty-Three Days at Sea: A Travelling Artist Residency is an Access Gallery initiative, produced in partnership with the Burrard Arts Foundation and the Contemporary Art Gallery. Partial sponsorship of the sea voyages is graciously offered by Reederei NSB, assistance in Asia by China Residencies and Art Contraste, and at the Port of Vancouver by the International Longshore and Warehouse Union. Access is grateful for the ongoing support of the Canada Council for the Arts, the British Columbia government through the BC Arts Council and BC Gaming, the City of Vancouver, and our donors, members, and volunteers.

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Burrard Marina Field House Studio - Amaara Raheem


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Current Exhibitions

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

Off-site: Re-Visions - Telus Garden Building


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Current Events

On the last Saturday of each month, the CAG invites all ages to drop-in for short exhibition tours and free art making activities that respond to our current exhibitions.

Saturday, May 28, 12–3pm
Plant Patterns
Responding to Jochen Lempert’s photographs of flora and fauna participants will use crayons to create rubbings of leaves, feathers and other natural materials to create a collage. Guided, hands-on exploration of Beatty Biodiversity Museum fossils and specimens will also be offered.

Presented in collaboration with ArtStarts on Saturdays. For more details visit: www.artstarts.com/weekend

We acknowledge the generous support of the Hamber Foundation for our Family Day program.

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Family Art Day | Plant Patterns


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Learning Resources

Are you a teacher seeking to develop work with your class based on our exhibitions? Or are you planning a field trip and would like further guidance?

The CAG offers engaging arts learning for students from K-12.  Our school programs involve an interactive guided tour of gallery exhibitions and the option of thematically connected art making. Rooted in enquiry and discussion our education programs invite students and teachers to creatively explore visual art materials and processes as well as critically reflect upon the power of contemporary art to engage diverse themes, perspectives and complex ideas.

Our school programs are designed to meet the areas of learning identified in the BC Education Ministry’s Arts Education curriculum.

Program Options:

Guided Program

1 hr. – $50.00 (maximum 30 students)

The guided program for students from K-12 involves an insightful, inquiry-based exploration of the exhibitions allowing for creative learning and developing key transferable skills such as problem solving, communication and literacy.

Guided Program + Art Making activity  

2 hrs. – $90 (maximum 30 students)

For the guided program combined with art making activities in response to our exhibitions for students from K-12, in-depth tours of current exhibitions combine with workshops investigating the techniques, medium and practices of the work on display. These workshops enable meaningful dialogue to emerge developing critical thinking, making and understanding.

Considering spending a full day with your class in downtown Vancouver? We are in close proximity to a range of other cultural organizations that also offer school programming.

For more information or to book a program for your class, please email: learning@contemporaryartgallery.ca or telephone 604 681 2700.

To apply for funding to support your visit to the CAG, please visit daytrippers.ca

Download PDF of school brochure for further information.

Exhibitions for 2016/2017

Jochen Lempert: Field Guide
May 7 – July 17, 2016

German photographer Jochen Lempert’s black and white images of plants, animals, and other natural phenomena capture a diverse range of species and ecologies, ranging from everyday views to microscopic details his work ventures between scientific and artistic study. READ MORE.

Isabel Nolan: The weakened eye of day
July 29 – October 2, 2016

Isabel Nolan’s exhibition is an unfolding story of light as a central metaphor for truth and optimism. This exploration of our place beneath the sun includes text works, sculpture, ceramics, drawings, paintings and photographs.

Guillaume Leblon
October 14, 2016 – January 1, 2017

New York-based French artist, Guillaume Leblon creates fictional spaces through sculptures made with familiar everyday objects. A figurative presence is suggested through imprints, clothing and other remnants.

Haroon Mirza
January 13 – March 19, 2017

U.K artist Haroon Mirza makes immersive kinetic installations that deal with the distinctions between noise, sound and music. For CAG plant forms and solar panels are used to explore the interplay and friction between sound and light waves and electric current.

Group show: Photography
March 31 – June 18, 2017

Presented as part of the Capture Festival, more details to come.

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School Programs


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Recent Posts

My first day as Curatorial Intern at the CAG consisted of, amongst other things, the meticulous repacking of fifteen rulers, two balls of string, a wooden broom, one big ball of blue tape and one pint-sized tennis court. Working along side and shadowing Assistant Curator, Jas Lally, the careful packing these objects made up the de-installation of John Wood & Paul Harrison’s I Didn’t Know I Didn’t Know It.

Over the course of three days, I Didn’t Know I Didn’t Know It was photographed, dusted, taken apart into its smallest components, and packed neatly away exactly as it had been received three months prior. After noting museum wax residue, dust accumulation, and any small changes made to the works in the condition reports, all the pieces were placed back in their respective packaging (with careful attention in every strip of packing tape!). Finally, I worked alongside Jas as we put our highly honed Tetris skills to work, delicately lifting and sliding the works into formation in the crate. The gallery was swept clean, and the walls painted. John Wood and Paul Harrison had officially left the building.

Being involved in my first de-installation and seeing the removal of the works from the gallery from start to finish was an eye-opening experience. Although the end of an exhibition can be bittersweet, the satisfaction of packing up the show, scrupulously recording and photographing it, and seeing the objects off to their next home proved well worth all the hard work. As the crates were wheeled out the door, the anticipation of receiving the work of upcoming artist, Jochen Lempert, settled in. Witnessing the life cycle process of an exhibition was nothing short of a cathartic experience! Don’t worry if you missed out on the exhibition as their window work Some Words Some More Words is still on display until August 28.

– Brennagh Bailey

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De-installing John Wood & Paul Harrison’s ‘I Didn’t Know I Didn’t Know It’ – Brennagh Bailey


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