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
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
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
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
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
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.MORE
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.
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: firstname.lastname@example.org 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
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.
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.
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.MORE
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 BaileyMORE