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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.

 

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Mungo Thomson - Time, People, Money, Crickets


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.

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Ryan Gander - Make every show like it's your last


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.

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Kim Beom


Julia Dault
Blame It On the Rain
May 1 to June 28, 2015
BC Binning and Alvin Balkind Galleries

The Contemporary Art Gallery presents a major solo exhibition by Toronto-born, New York–based artist Julia Dault. Through a selection of new and recent works, the exhibition reveals the importance to Dault of balancing spontaneous gesture with responsiveness to rules, logic and the constraints of materials. Physical negotiations are central to Dault’s textured paintings and improvised sculptures; both are exhibited in Blame It On the Rain.

Dault is interested in ‘embodied knowledge’ — how making is thinking — and reinserts the artist’s hand into a minimal aesthetic primarily interpreted as distanced and industrial. The artist’s rule-based painting involves responding to mass-produced elements — patterned silks, pleather, unmixed paint straight from the tube — with unconventional tools, such as squeegees, rubber combs and sea sponges. The limitations of these objects create quasi-standardized gestures that allow Dault to skirt the line between expressive abstraction and cool, machine-like facture. Erasure of her paintings’ topmost layers, which allows viewers to ‘see into’ the painting process, is as important to Dault as paint application.

Exploration of artistic labor recurs in Dault’s sculptures. Always improvising on site and working alone, the artist manipulates and coerces Plexiglas, Formica and other industrially produced materials into imposing curved forms, then affixes them to the gallery wall using straps and cords. Dault’s efforts can be understood as ‘private performances’ in which her physical capabilities are juxtaposed with the properties of the materials she employs. Each sculpture is titled with a time stamp that reflects the duration it took to complete the piece. In this gesture, as with her paintings, she hopes to underline the durational nature of the art-making process.

Dault’s work fuses the emphasis on process found in both Abstract Expressionist painting and post-Minimal sculpture. One unifying element is the artist’s fascination with patterns, and with the slippages and imperfections that reveal the human origins of what appears mechanical. Another is the search for variety within strict limitations. By devising expressive gestures through rules and reasoning indicative of post-Minimal and Conceptual art, Dault is part of a generation of artists acknowledging histories and legacies of art making while revitalizing abstraction today.

The exhibition complements Color Me Badd, presented at The Power Plant, Toronto in 2014-2015. The two institutions are working together on the first major monograph of Dault’s work, to be published by Black Dog Publishing later in 2015. The publication is made with generous support from the RBC Emerging Artist Project.

BIO
Julia Dault lives and works in Brooklyn, New York. She has held solo exhibitions at Marianne Boesky Gallery, New York (2015); The Power Plant, Toronto and China Art Objects Galleries, Los Angeles (2014); Galerie Bob van Orsouw, Zurich and Jessica Bradley Gallery, Toronto (2013); and White Cube Bermondsey, London (2012). She has also participated in group shows which include: Elevated, Art Gallery of Ontario, Toronto (2014-2015), Americana: Selections from the Collection, Pérez Art Museum, Miami (2013–2014); Outside the Lines, Contemporary Arts Museum, Houston (2013–2014); In the Heart of the Country, Museum of Modern Art, Warsaw; Inner Journeys, Maison Particulière, Brussels (2013); The Ungovernables, New Museum, New York; Roundtable, the Ninth Gwangju Biennale, South Korea (2012); and Making Is Thinking, Witte de With, Rotterdam (2011). Her work is in the collections of the Art Gallery of Ontario, Toronto; Museum of Modern Art, Warsaw; Pérez Art Museum, Miami; Saatchi Gallery, London; and the Solomon R. Guggenheim Museum, New York.

Dault is represented by Marianne Boesky Gallery, New York; Jessica Bradley Gallery, Toronto; and China Art Objects Galleries, Los Angeles.

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Julia Dault - Blame It On the Rain


Shannon Bool
Michelangelo’s Place
May 1 to June 28, 2015

The Contemporary Art Gallery presents the second part of a new commission in 2015 with Canadian artist Shannon Bool. Bool typically references a wide variety of art historical objects in her work, commenting on the role of decorative arts within art history, as well as on the change in meaning that occurs through the replication and alteration of significant cultural forms. Central to her practice is the paradoxical examination of the depth and psychological weight that surfaces carry, which she underlines in unorthodox material processes.

Located near to the gallery entrance is Michelangelo’s Place, the final version in a series of carrara marble benches Bool has recently produced.  The sculpture references the benches found circling the elevated Piazzale Michelangelo in Florence, built in 1869 to showcase copies of Michelangelo’s most famous works and to provide a panoramic view of the city.

At the Contemporary Art Gallery, Bool’s sculpture references the benches’ scale and appropriates the graffiti that covers them.  The graffiti, some of which is over 100 years old and ranges from tourist scribbles, love declarations and Italy’s first Labour Party, is mirrored to emphasize its materialization and the artist’s handwork. These energetic gestures of incision, gouging and defacing subvert the benches’ functionality by drawing attention to the individual experiences of the Piazzale’s visitors who chose to leave their own marks instead of consuming the magnificent views of the renaissance.  The carrara marble, signifying wealth and high renaissance material values is subjected instead to the every day banality of Florentine life and tourism, where the public turns away from its master narrative and carves its own signature.

Shannon Bool lives and works in Berlin. Solo exhibitions include: The Fourth Wall Through the Third Eye, Galerie Kadel Willborn, Düsseldorf; Walk Like an Etruscan, Daniel Faria Gallery, Toronto (2013); The Inverted Harem II, Bonner Kunstverein (2011);  CRAC Alsace, Altkirch, France; The Inverted Harem, GAK-Gesellschaft für Aktuelle Kunst, Bremen (2010); RMIT Project Space, Melbourne, Australia (2008). Group exhibitions include MMK2 Boom She Boom, Works from the MMK Collection, Frankfurt (2015); The Klöntal Triennale, Kunsthaus Glarus, Switzerland (2014); Soft Pictures, Fondazione Sandretto Re Rebaugengo, Turin (2013); Painting Forever!, KW, Berlin (2013); Justina M. Barnicke Gallery, Toronto (2013); the Sprengel Museum, Hannover (2012); 7×14, Kunsthalle Baden-Baden; Rock Opera, CACP Museum of Contemporary Art, Bordeaux (2009); Drawing on Sculpture: Graphic Interventions on the Photographic Surface, Henry Moore Institute, Leeds (2007); Make Your Move, Projects Arts Centre, Dublin; Spiralen der Erinnerung, Kunstverein in Hamburg; Carbonic Anhydride, Galerie Max Hetzler, Berlin (2006). Work is held in the collections of The National Gallery of Canada, Berlinische Galerie, Berlin; Fondazione Sandretto, Turin, MMK Museum fur Modern Kunst, Frankfurt am Main; Lenbachhaus, Munich, and the Saatchi Collection, London. She is represented by Kadel Willborn Gallery in Düsseldorf and Daniel Faria Gallery, Toronto.

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Shannon Bool - Michelangelo’s Place


Opening: Thursday, February 28 – 7-10pm
All welcome.

The Contemporary Art Gallery presents Medium-Based Time by Berlin-based Canadian artist Jeremy Shaw, featuring a black and white 16mm film of transgender voguer Leiomy Maldonado, an HD video installation that reworks archival ethnographic film into a dystopian science fiction narrative, and a new series of light-activated UV prints in the windows of our street façade.

The exhibition centres on Variation FQ (2011-13), in which Shaw worked with legendary voguer Leiomy Maldonado to produce a film that explores aspects of subculture, dance, gender, power and special effects. “Vogue” is a primarily black and latino, gay subculture that evolved out of the drag balls of New York in the 1980s and includes a fluid, yet raw dance style based around miming the poses of models from high fashion magazines.

The film sets Leiomy starkly lit against a black void performing her signature freestyle dance teetering between elegance and violence. As the film progresses, Shaw introduces step-and-repeat style visual effects, originally created by Canadian animator Norman McLaren in his 1968 ballet film Pas de deux. In Pas de deux, this optical printing technique embellishes the seduction between a male and female ballerina as typically choreographed for the stage. In Variation FQ, the use of special effects creates a ghostly layering and repetition of Leiomy’s image in her most virtuosic gestures and extends the experience of abandon evident in the consequences on her human body. Leiomy’s performance is accompanied by Shaw’s original soundtrack that combines a minimalist piano score with contemporary chopped and pitched audio techniques. This merging of classical composition with manipulated pop a cappella MP3’s is emblematic of Shaw’s fascination of the interdependence between high and low taste cultures.

Shaw’s practice amplifies conceptual strategies within the transcendence-seeking experiences of popular culture, as well as in the speculative nature of scientific mapping of these phenomena. In keeping with this ongoing interest in and around altered states, we premiere Quickeners (2014), a pseudo-documentary that puts the role of truth telling into crisis.

Set five hundred years in the future, Quickeners tells the story of Human Atavism Syndrome (H.A.S.), an obscure disorder afflicting a tiny portion of the Quantum Human population to desire and feel as their Human Being predecessors once did. A species wirelessly interconnected to The Hive, Quantum Humans have evolved to operate solely on pure rational thought and they have achieved immortality. Quickeners is set against a cinéma vérité aesthetic, reworking archival documentary footage from a gathering of Pentecostal Christian snake handlers to illustrate the story. As the film unfolds, an authoritative Quantum Human narrator comments on what we witness: indecipherable testimonials, sermons, songs, prayers, convulsive dancing, speaking-in-tongues, serpent handling and ecstatic states that Quantum Humans define as “Quickening”.

Incorporating elements of science fiction, ethnographic survey, neuroscience and belief systems, Quickeners collates these disparate themes into a succinct whole to discuss varying notions of evolutionary progress with clinical indifference. This alchemical fusion suspends belief of the fantastic situation by its use of familiar, outmoded technology, meticulous audio editing and subtitles. As the piece builds to a cathartic climax of media techniques and special effects – caught in limbo between ritual documentary and music video – the Quantum Humans surrender to this evolutionary throwback of perceived biological transcendence, while the film attempts to incite a similar phenomenological response in the viewer.

Alongside these film/video works in our window vitrines hangs Degenerative Imaging (In The Dark) (2015), a new series of light-activated, glow-in-the-dark vinyl cut-outs that reference star and planet stickers. Though presumably designed with the aspiring child astrologer’s bedroom in mind, these stickers are also commonly found adorning the walls and ceilings of the teenage psychonaut; more likely used to “trip out” than to plan a trip. Rather than the cosmos, Shaw’s source material comes from 3D SPECT scan renderings of the degenerative effects of cumulative mind-altering substance use on the blood flow and metabolism of the human brain. The representational language of neuroscience, or at least the populist aesthetic familiar in health and pharmaceutical advertising, is reformatted here as a mechanism to enhance altered states while viewing their supposed biological effects on the brain. The prints are charged by fluorescent light once per hour, causing them to glow strongly and then fade, glow and fade; static time-based mediums on repeat.

Variation FQ is generously loaned by the Rennie Collection, Vancouver

Quickeners was co-produced by the Contemporary Art Gallery with the Centre d’Art Contemporain Genève for the BIM 14 and Johann König, Berlin, with the generous support of a grant from BC Arts Council: Special Project Assistance – Innovations; the Fmac and the FCAC.

Exhibition is supported by Inform Interiors and Best Film Service Inc.

This exhibition forms part of the Capture Photography Festival, running from April 2 to 29.

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Jeremy Shaw - Medium-Based Time


Shannon Bool
The Flight of the Medici Mamluk

January 23 to April 19, 2015
Off-site: Yaletown-Roundhouse Station, Canada Line

The Contemporary Art Gallery presents an ambitious new commission at the Yaletown-Roundhouse Station by Canadian artist Shannon Bool. Originally from Vancouver Island, she attended Emily Carr University before studying in New York, Frankfurt and moving to Berlin.

Bool typically references a wide variety of historical and monumental decorative objects in her work, from Michelangelo’s David to the ornamentation on Etruscan tombs. While the Tuscan themes in recent projects specifically developed during her 2013 residency at the Villa Romana in Florence, her reinterpretation of these objects is characteristic of her practice in commenting on the role of decorative arts within art history, as well as on the change in meaning that occurs through the replication and alteration of significant and well known items.

For the Yaletown-Roundhouse Station, Bool has worked with a photographer to document the 16th Century Egyptian Medici Mamluk carpet, recently rediscovered stored in the Palazzo Pitti in Florence, Italy.  Mamluk style carpets figured significantly in Mediterranean commerce, appearing in Venetian paintings of this time, and are characterized by a central medallion surrounded by a variety of smaller geometric motifs, forming a kaleidoscopic appearance, the palette limited to red, blue, green and yellow tones. In many such carpets the vast and complex patterns suggest notions of eternity and evoke cosmic associations with Buddhist thought. While undoubtedly they should not be read as some form of direct mapping of philosophical intent, the designs themselves may be influenced by such ideas from central Asia and also reflect patterns in Moorish architecture which connect to similar philosophical readings of mathematical logic and infinity.

By combining patterns from and with historical vernacular objects, Bool’s interventions play with the mechanical reproduction of geometric sources and iconography. In previous work taking impetus from floor surfaces, Bool made Casino Runner (Aztec Inn) by blowing up a segment of a cheap wall-to-wall carpet encountered at a Las Vegas casino hotel. The original carpet was laden with random appropriations from ancient Aztec culture and Anatolian ornaments, which the artist underlined in having her version hand woven by Turkish weavers. The casino itself is a throwback to the iconic Art Deco monument, the Aztec Hotel that still operates in Monrovia, California. American Art Deco used the powerful geometry of ancient Mexican civilizations to break from European aesthetic traditions. Bool’s carpet, exquisitely hand-knotted by traditional village weavers in Anatolia, Turkey, heightens – even fetishizes – the production values combining the sublime and hysterical experience of entering a casino with the distinctly Eastern reading of a Western sensibility.

Here, Bool has painstakingly pieced together images of the Mamluk carpet for the Yaletown-Roundhouse Station, itself unusual due to its gigantic size and pristine condition, to reproduce the whole carpet at almost exact scale across the glass façade of the building. Amazing in its detail, intricacy and partial signs of use, the image records literally and metaphorically both the patterns and passages of time, in much the same way as the busy station is itself an embodiment of a space of people passing through. Suspended in the everyday space of the station and tilted as if afloat, the work shows some of the mathematical and geometrical sensibilities that are seldom acknowledged but directly influenced renaissance thought.

This will be the first new commission by Bool with the Contemporary Art Gallery during 2015, a second project to evolve for late spring.

Presented in partnership with the Canada Line Public Art Program – IntransitBC.

Shannon Bool lives and works in Berlin. Solo exhibitions include: The Fourth Wall Through the Third Eye, Galerie Kadel Willborn, Düsseldorf; Walk Like an Etruscan, Daniel Faria Gallery, Toronto (2013); The Inverted Harem II, Bonner Kunstverein (2011);  CRAC Alsace, Altkirch, France; The Inverted Harem, GAK-Gesellschaft für Aktuelle Kunst, Bremen (2010); RMIT Project Space, Melbourne, Australia (2008). Group exhibitions include MMK2 Boom She Boom, Works from the MMK Collection, Frankfurt; The Klöntal Triennale, Kunsthaus Glarus, Switzerland (2014); Soft Pictures, Fondazione Sandretto Re Rebaugengo, Turin; Painting Forever!, KW, Berlin; Justina M. Barnicke Gallery, Toronto (2013); the Sprengel Museum, Hannover (2012); 7×14, Kunsthalle Baden-Baden; Tactical Support, Gallery Tracy Williams, New York; Rock Opera, CACP Museum of Contemporary Art, Bordeaux (2009); Drawing on Sculpture: Graphic Interventions on the Photographic Surface, Henry Moore Institute, Leeds (2007); Make Your Move, Projects Arts Centre, Dublin; Spiralen der Erinnerung, Kunstverein in Hamburg; Carbonic Anhydride, Galerie Max Hetzler, Berlin (2006). Work is held in the collections of Berlinische Galerie Landesmuseum Fur Moderne Kunst, Fotografie und Architektur, Berlin; MMK Museum fur Modern Kunst, Frankfurt am Main; Lenbachhaus, Munich, and the Saatchi Collection, London. She is represented by Kadel Willborn Gallery in Düsseldorf and Daniel Faria Gallery, Toronto.

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Shannon Bool - The Flight of the Medici Mamluk


Only a Free Individual Can Create a Free Society is a new film installation by German artist Grace Schwindt which revisits discussions she witnessed as a child surrounded by individuals in Frankfurt, Germany. The dialogue running through the film is from an interview that Schwindt conducted with a leftwing activist influenced by the 1960s and 1970s political landscape, shaped by the Frankfurt School, the Outer Parliamentary Opposition and the Baader Meinhof Gang.

Rather than aiming to gain a better understanding of the past, Schwindt attempts to take a system apart — to undo it. Nothing is assumed to be neutral and every movement, word, gesture or colour is understood to have cultural, social, political or economic implications. The artist constructs her own processes of translating language into vivid material, choreographing dancers, set, props, costume, lighting, sound, camera movement and words as elementary forms carrying symbolic power. Each element is equally important and should be read together as a melody where the words or functions of ‘chair’ or ‘terrorism’, ‘clothing’ or ‘freedom’ have equal status.

At feature film length Only a Free Individual Can Create a Free Society is the product of an extensive rehearsal period with eleven dancers and a dramaturge over a period of five weeks using diagrams to map out a detailed choreography. The film features highly coloured and geometric costumes using aluminium, cardboard, silk and velvet, as well as extensive post-production to create a narrative that questions how freedom was, and is, understood, who has access to it and what political and social structures need to be in place to create a free society. Alongside the installation the exhibition included a newly commissioned sculptural piece, redolent of images pictured in the film. Constructed from salt crystals, bronze and ceramic, it has a bodily suggestion, evoking a sense of place and subject through its shape, materiality and form.

Only a Free Individual Can Create a Free Society’ was commissioned by FLAMIN Productions through Film London Artists’ Moving Image Network, Eastside Projects, Birmingham; The Showroom, London; Badischer Kunstverein; Contemporary Art Gallery, Vancouver; Site Gallery, Sheffield; Tramway, Glasgow; ICIA, University of Bath; and Zeno X Gallery. Supported by Arts Council England, Hessian Film Fund and The Jerwood Charitable Foundation.

Presented with PuSh International Performing Arts Festival.

Grace Schwindt (born 1979, Germany) is an artist based in London working with film, live performance and sculpture. Her theatrical sets for film works use minimal architectural elements and props to mark a location, in which she places bodies including her own. Using a tightly scripted choreography in which every move relates to institutionalised systems she investigates how social relations and understandings about oneself are formed, often through acts of exclusion and destruction. The artist’s interviews with individuals often serve as a starting point for fictionalised dialogues delivered by performers. Represented by Zeno X Gallery in Antwerp, her work is distributed by Argos Centre for Media and Art. Recent solo presentations include South London Gallery; ICA, London; Whitechapel Gallery, London; Spill Festival, Basement, Brighton; Collective Gallery, Edinburgh and White Columns, New York. Schwindt was shortlisted for this year’s Jarman Film Award.

Running time: 80 min

Screening times: 12pm, 1.30pm, 3.00pm, 4.30pm daily during gallery opening hours

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Grace Schwindt - Only a Free Individual Can Create a Free Society


The Contemporary Art Gallery presented the first solo exhibition of Canadian artist Krista Belle Stewart, the culmination of fall 2014 residencies at the Nisga’a Museum and Western Front comprising new works developed in Nisga’a and at her ancestral home in Douglas Lake, BC.

Stewart’s practice reclaims personal and cultural narratives from archival material, situating them in dialogue with contemporary Indigenous discourse and engaging the complexities of intention and interpretation. In relation to this reframing of documents, Stewart’s new installation considers First Nations women’s self-representation and sovereignty. Working with her personal stories and those of the women she met in Nisga’a, Stewart investigates how cultural knowledge is created and exchanged, weaving together new lens-based works with archival photographs and objects from Nisga’a.

Central to the exhibition was an ongoing project, a bucket filled with distinctive dried clay from land owned by Stewart on the Douglas Lake reservation, and passed down to her from her mother’s family. Not only is this a physical connection to her heritage but also a response to the continued dispossession of First Nations women’s land rights. The projections in the exhibition depicted two geographically and culturally diverse landscapes, showing personal stories rooted in an understanding of place evoking a diversity of embedded experiences on Indigenous land.

In 1998 the Nisga’a Nation signed a treaty with the BC and Canadian governments that recognized their land sovereignty and right of self-government, the first to be signed in the province since the 1850s. Such recent challenges to government control of Indigenous lands, also including the current fight against Kinder Morgan and the Northern Gateway pipelines and “Idle No More”, highlight a growing urgency in First Nations communities to detach from Canada’s colonial confines. Although delineated by the Canadian government, both reservation and sovereign lands offer potential in developing new and revived connections with pre-colonial First Nations economic and political traditions.

Opened in 2011 in the town of Laxgalts’ap (also known as Greenville), the Nisga’a Museum holds over 300 repatriated cultural objects that have been absent from the community for over a century. It is a multifarious space operating as a potential economic driver in the community as both a monument to and entry point into Nisga’a culture, while also existing as a site seeking to develop intimate dialogues among contemporary Nisga’a and their ancestors. While hosting a permanent installation that utilizes the tropes of colonial histories through the development of a linear and didactic narrative of Nisga’a culture, it is also an institution evolving through engagement with local community. Lacking detailed archival notes on each object, the museum has focused on connecting Nisga’a oral histories with these artefacts through tours and ongoing conversations with community elders. The Nisga’a is made up of four pdeek (tribes): Laxsgiik (Eagle), Gisk’aast (Killer Whale), Ganada (Raven), and Laxgibuu (Wolf). With ceremonies, customs and histories specific to each tribe there are layers of conflicting interpretations and information for many objects in the collection. Through the repatriation of their material cultural history is emerging a contemporary revival of precolonial traditions, asserting the museum as platform for active knowledge exchange across generations and offering opportunities for personal and collective decolonization.

Alongside new works Stewart selected pieces from the Nisga’a Museum including an image showing a Nisga’a woman in a full chief’s regalia surrounded by men dressed in traditional and western clothing. Originally shot by Benjamin Haldane, a Tsimshian photographer from Alaska who travelled throughout the Nass Valley area in the early 1900s actively documenting the people of his community until his death in 1941. Recording a time of great cultural and social upheaval on the northwest coast his images of families, social events and traditional ceremonies such as potlatches (illegal at the time) document a contemporary and evolving culture. Haldane’s photographs offer an example of First Nations self-representation, a counter to the more usual colonial-settler’s gaze.

There is a kinship between Haldane’s and Stewart’s practices through the production of complex and diverse documents of First Nations self-representation. Within this Stewart infiltrates male-centered narratives of colonial culture and reasserts connections to pre-colonial matriarchal traditions while considering the tensions present between the institution as colonial support structure and a living entity shaped by the community it represents.

This project was made possible with the generous support provided by the First Peoples’ Cultural Council, British Columbia Arts Council, the Nisga’a Nation through the Nisga’a Lisims Government. Production was supported through a Media Arts Residency at the Western Front. Additional assistance provided by Budget Car and Truck Rental, Terrace.

Krista Belle Stewart is a member of the Upper Nicola Band of the Okanagan Nation, living and working in Vancouver and Brooklyn. Exhibitions include Fiction/Non-fiction at The Esker Foundation, Calgary and Music from the New Wilderness, Western Front, Vancouver. At Western Front, Stewart produced a collaborative multimedia performance working with, circa 1918, waxcylinder recordings by anthropologist James Alexander Teit of her great-grandmother, Terese Kaimetko. A string quartet responded live to Stewart’s loops of these traditional Okanagan songs presented alongside visual projections. Most recently, Stewart was commissioned by the City of Vancouver as part of the “Year of Reconciliation,” Public Art Project at the entrance to the Canada Line City Centre Station at Granville and Georgia where Stewart’s Her Story, a public photo mural and video installation, utilized footage of a CBC documentary entitled Seraphine: Her Own Story, a scripted interpretation of her mother’s journey from residential school to becoming BC’s first Aboriginal public health nurse. This work was also exhibited in Where Does it Hurt? at Artspeak. Stewart juxtaposes the 1967 film, in which her mother plays herself, alongside a video of her mother’s Truth and Reconciliation Commission interview, generating a conversation between depiction and lived experience.

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Krista Belle Stewart - Motion and Moment Always


Lotte van den Berg
Cinema Imaginaire
February 4 to ’6, 3pm and February 7 “to 8, 10:30 am and 3pm
110-“750 Hamilton Street (meeting point)
150 min, no intermission, $36
www.ticketstonight.ca
604 605 8284 ext.200

It happens in small groups, at an outdoor location. You will be given a series of assignments — say, focusing on a given object, or watching a certain person walk down the street. It’s not nearly as simple as it sounds and, as they say, results may vary. You may gain a sense of how your sight has been conditioned over a lifetime. You may realize, with dismay, how little you actually notice of what crosses your eyes every day. You may discover something beautiful, even revelatory, that you’d ignored a thousand times in your life. What van den Berg gives us is a sensory adventure, a reminder of how much our perception can be altered, and, on a simpler level, a reintroduction to the pleasures of the senses. There’s beauty all around us — all you have to do is look. Please note: This performance involves walking, and takes place in parts outdoors, rain or shine.

Presented with PuSh International Performing Arts Festival.

Lotte van den Berg works in the realms of theatre, cinema and dance, performing in North America, Europe and Africa. Her work
is defined by its concern for everyday reality and for uniting theatre and audiences. Her current projects are Cinema Imaginaire and Building Conversation; in both works audience members become active participants. Past works include Les Spectateurs (2010) and Agoraphobia (2011–2012).

Creator: Lotte van den Berg | Dramaturg: Sodja Lotker | Guide: Howard Lotker | Producer: Antwan Cornelissen | Publicity: Karin van de Wiel | Manager: Anneke Tonen | Location Scouts: Other Sites* Developed in collaboration with Het Huis Utrecht and part of Festivals in Transition / Global City Local City with support of the Culture Programme of the European Union. Funded by the City of Utrecht and the KfHeinfun. Supported by Performing Arts Fund NL.

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Lotte van den Berg - Cinema Imaginaire


Shimabuku
When Sky Was Sea
November 21, 2014 to January 11, 2015
B.C. Binning and Alvin Balkind Galleries

The Contemporary Art Gallery presented the first large-scale survey exhibition in North America of work by renowned Japanese artist Shimabuku. Demonstrating the breadth of the artist’s practice, works revealed an essential correspondence to things elsewhere in a wider world, insisting on our grasp of the continuity that exists between art and (non-art) life. As he travels the world, interacting with strangers, and conversing with nature, Shimabuku instigates moments of poetry, humour and surprise.

Including pieces dating back to the mid-1990s, when he first emerged as an artist in Japan, through to presenting a wide variety of more recent work for which he has since become internationally celebrated, the exhibition exemplifies an extraordinary curiosity and freedom of expression. Shimabuku uses installation, video, photography, drawings, sculpture and events alike to convey his intense fascination with the natural world—equally the animal and vegetable realms—and the countless manifestations of human culture within it. His artistic proposition is essentially one of storytelling and discovery. He encourages us to assume an “alien” identity whereby we break with established habits of perception and enjoy experiences as if they are happening to us for the first time.

From the beginning, incongruity has characterised much of Shimabuku’s work, seen in early performances such as Tour of Europe with One Eyebrow Shaved (1991) or Christmas in the Southern Hemisphere (1994), the gentle surrealism of the works is compelling. Shimabuku is not so interested in discovering the reasons why, instead preoccupied, through a joyful approach, with unions of myth or mystery and the everyday. This is epitomized by Something that Floats / Something that Sinks (2008), a work through which the artist draws our attention to the fact that some pieces of fruit and vegetables float in water or appear to swim, while others sink. It is wonderful and ostensibly miraculous.

The inversion of the way things are conventionally seen to be is crucial to Shimabuku’s practice. He is interested in what is normal being made strange and often picks up the theme of the journey in his work, the means by which difference occurs through translation in both time and space. The photograph Cucumber Journey (2000) commemorates a two week performance travelling slowly north on British canals while learning to pickle vegetables. He has stated, “I think cooking and art are similar. They are both about unexpected meetings of far-away ingredients, to create something delicious, something good”. In his video Then, I decided to give a tour of Tokyo to the octopus from Akashi (2000) we see him with an octopus in a fishtank taking a Shinkansen train to Tokyo. There they make touristic visits to the Tokyo Tower and the famous Tsukiji fish market before getting back on the train for a return trip so that the octopus can be submerged again, back home in the Akashi Sea. The artist refers to this work as his Apollo project, involving as it did an adventure far from the natural habitat of the octopus – the fishtank being the equivalent of a spacecraft – isolated from the surrounding atmosphere so that the octopus could survive its voyage into unfamiliarity. We easily imagine how weird our world must have seemed to the octopus whilst being reminded of how “wonderful” such a creature is from our point of view.

The involvement of others, not only in the consumption but also the production of his work, marks Shimabuku out as a major figure in the recent development of relational art practice. He has produced many events, interventions and performances that are very open to audiences, to the point that they become active participants. When the Earth Turned to Sea (2002) requires dozens of volunteers to fly Chinese fish kites, the result is a shoal of fish in the sky – or a flock of fish – and so the world is turned upside down. Passing through the rubber band (2000), similarly invites gallery visitors to step through the stretching loops, a simple act of fun and wonder via the most modest of means, as in all of his works the marvellous emerges from the mundane.

The exhibition is complementary to and produced in partnership with Ikon Gallery, Birmingham, UK and Kunsthalle Bern, Switzerland.

Shimabuku (1969, born in Kobe, Japan) lives and works in Berlin. Selected solo exhibitions include: Sea and Flowers, Barbara Wien Wilma Lukatsch, Berlin; City in the sea, Air de Paris, Paris; Flying Me, Kunsthalle Bern, Switzerland (2014); Something that Floats/Something that Sinks, Ikon Gallery, Birmingham, UK and Noto, 21st Century Museum of Contemporary Art, Kanazawa, Japan (2013); Leaves Swim, Nogueras Blanchard, Barcelona, Spain (2012); Man should try to avoid contact with alien life forms, Centre international d’art et du paysage de l’Île de Vassivière, Vassivière, France; On the water, CAPC musée d’art contemporain de Bordeaux (2011); The Watari Museum of Contemporary Art, Tokyo (2009); DAAD galerie, Berlin; Wilkinson Gallery (2007); Swansea Jack Memorial Dog Swimming Competition, Glynn Vivian Art Gallery, Swansea (2003); Then, I Decided To Give a Tour of Tokyo To the Octopus From Akashi, Galerie Yvon Lambert, Paris (2002); America, Hiroshima City Museum of Contemporary Art, Japan (1994).

He has participated in several group exhibitions including: The Great Acceleration, Taipei Biennial , Taipei Fine Arts Museum (2014);  Aquatopia, Tate St. Ives and Nottingham Contemporary, UK; Re: emerge, Sharjah Biennial 11, UAE (2013); Mount Fuji does not exist, Frac Île de France – Le Plateau, Paris (2012); Impossible Community, Moscow Museum of Modern Art; Kaza Ana/Air Hole: Another Conceptualism from Asia, The National Museum of Art, Osaka, Japan; International Triennale of Contemporary Art, Yokohama (2011); Eating the Universe: Food in Art, Kunsthalle Düsseldorf, Germany (2009); Between Art and Life, Centre d’Art Contemporain, Genève, Switzerland; Experimenta FOLKLORE, Frankfurter Kunstverein, Germany (2008); Beautiful New World: Contemporary Visual Culture from Japan, Long March Project, Beijing, China; How to live together, MAC: Museo de Arte, Belo Horizonte, Brazil (2007); How to live together, 27th Bienal de São Paulo; Berlin-Tokyo Tokyo-Berlin, Neue Nationalgalerie, Berlin; International 06, Liverpool Biennial, Liverpool (2006); Expat-Art Centre, ICA, London + Musee de Art Contemporain, Lyon, France (2004); Utopia Station, 50th Venice Biennale, Venice (2003); Facts of Life, Hayward Gallery, London (2001); Elysian Fields, Centre Georges Pompidou, Paris (2000); Space, Witte de With, Rotterdam (1999);  Everyday, 11th Biennale of Sydney, Australia (1998).  Shimabuku is represented by NoguerasBlanchard Gallery, Barcelona and Madrid; Air de Paris galerie de’art contemporain, Paris and Barbara Wien Wilma Lukatsch Gallery, Berlin.

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Shimabuku - When Sky Was Sea


The Contemporary Art Gallery presents the first Canadian solo presentation of work by Swedish artist Gunilla Klingberg, two new interrelated large-scale commissions across the gallery façade and off-site, both challenging and exploiting the opportunities presented at each location.

 

Klingberg’s practice is characterized by the intersection of received knowledge, folk beliefs, popular culture and divergent cultural activities. Her work draws our attention to how complicated the connections between these systems are, but it also plays with the things that arise in this encounter, a pivotal feature being an interest in what is produced by the hybridization of distinct cultures, traditions and geographies. The disparate and heterogeneous are interwoven creating meanings that mutate to form a new context.

 

At the gallery and the Yaletown-Roundhouse Station, two murals of seemingly quasi-oriental pattern appear to evoke cosmic mandalas, transforming the individual spaces and enveloping the viewer in light and colour, shifting patterns and reflections. Klingberg’s work surrounds us. We are seduced, made part of a special atmosphere, immersed within the work rather than just looking at it. Her interest in using patterns and movement to manipulate our seeing, to influence our state of consciousness and our sensory impressions, has links with Op Art and the psychedelic movement of the late sixties, appropriate touchstones in the recent history of the counter culture in this part of the world.

 

However, what at first glance appears to recall a certain set of values and moments in time has another dimension, a different shared experience. If we look more closely we see that the intricate ornamentation, the symmetrically repeated symbols of these murals, is made up of something much more mainstream, corporate logos from Canadian low cost and high street stores. Concepts are intertwined: while science might appropriate metaphors from mythologies or New-Age ideas borrow from the language of the natural sciences, here spirituality merges with everyday consumer culture. Klingberg suggests that they are analogous, that both seem to promise the same thing: a state in which nothing is uncomfortable or threatening – the possibility of total, rapid satisfaction of our needs and desires, accessible to everyone. The images are so familiar that we no longer think about them, yet they present a subconscious influence uniting us in a no-man’s land between the public and the private. She evokes a spirit of community, or of communality, and poses questions regarding what it would be to have something in common.

 

Amid the proliferation of progressively similar goods it is the small, meaningful differences that count. The world around us is increasingly transformed into a surface filled with signs—computer screens, urban space, advertisements, the pages of newspapers— the most tangible properties being disposability and change. It is these surfaces that concern Klingberg. Our urban environment, its dwindling public places increasingly invaded by homogenous architecture and development, the objects we own, all constitute an intricate system of codes, messages and ideologies, our choices and participation tantamount to consuming. The boundary between art and design is often drawn along the line of utility and usefulness. But the edge becomes increasingly elastic when the difference between the values of these forms depends not so much on their functionality as on their seductiveness or power of rhetorical persuasion. Thus Klingberg’s work moves further than a mere critique of brand fetishism, the lure of contemporary global labels, beyond just pointing things out and rejecting them. It poses the awkward question of whether being alternative to a mainstream or on the “outside” is any longer possible. Might a more critical and appropriate assessment lie in revealing and acknowledging the subtle and insidious way in which we are all drawn into a sense of fascination with the things that surround us. Through her work we find ourselves in a situation in which we feel the power of images and beliefs being examined. We are all complicit.

 

The exhibition is supported by Iaspis, the Swedish Arts Grants Committee’s International Programme for Visual Artists.

 

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Gunilla Klingberg - Brand New View (Vancouver)


Jürgen Partenheimer
The Archive – The Raven Diaries
September 12 to November 9, 2014

The Contemporary Art Gallery presents the first solo exhibition in Canada of work by acclaimed German artist Jürgen Partenheimer. Reflecting the diversity of the artist’s practice, the exhibition comprises works on paper, text, printmaking, ceramics and sculpture, produced in Vancouver in spring 2014 during his recent residency as the Audain Distinguished Artist-in-Residence, hosted by Emily Carr University of Art + Design .

Partenheimer’s work is essentially abstract; his drawings and paintings are remarkable for their fragile beauty, whilst sculpture and ceramic work, suggesting some usefulness, remain elusive with respect to any specific function. His visual language, the particular form of poetic abstraction, and his life-long interest in notions of representation with consideration of locality, space and place, suggest a key resonance with artistic practice in the city, asserting continuity between these forms and an experience of daily life.

The imaginary archive that gives the exhibition and associated book its title provides the framework for the exhibition based on the oeuvre of the artist. They are the visible expression of both intellect and emotion carrying traces of their process, temporality and correspondence with other objects. To this end, in Vancouver the exhibition has a subtitle, The Raven Diaries, referencing the symbol and characteristics of the Raven to west coast First Nations culture, while simultaneously drawing analogies to similar figures in cultural myths elsewhere in the world, and especially to the role of the artist as trickster, representative of a catalyst for change in life, for creativity and humour.

Additionally, a selection of Partenheimer’s ceramic works will be on view at the Museum of Anthropology, UBC, Vancouver in the Koerner European Ceramics Gallery. Reflecting Partenheimer’s interest in the interconnectivity of cultural disciplines, in October we will host performances of electro-acoustic music by Vancouver Electronic Ensemble as part of the Vancouver New Music Festival.

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Jürgen Partenheimer: The Archive – The Raven Diaries


The Contemporary Art Gallery presents a major new commission for the Yaletown-Roundhouse Station by influential Vancouver–based photographer Marian Penner Bancroft.

Since the late sixties, Penner Bancroft has defined herself as a photographer, dedicating her practice to the medium, meditating on its conventions while also considering the dematerialization of the art object; combining conceptual art strategies as well as pushing the presentation and production of the photographic image into more immersive forms. She is known for drawing attention to the lines between where an image begins and what constitutes an image – at times using the physical framing device as a tangible three-dimensional photographic field.

The subject of Penner Bancroft’s work often resides in the personal, following her family, tracking their daily movements both real and, in the case of her ancestors, imagined. She embeds these inquiries into images of the landscape, using visual traces of a colonial transit to and across Canada as part of an individual yet generalized narrative of immigration and displacement. In recent years she has widened the scope of her research to include the histories of the fur trade, farming, music and religion in relation to the landscape and mapping.

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Marian Penner Bancroft - Boulevard


Headlines & Last Lines in the Movies transforms the façade of the Contemporary Art Gallery, wooden cladding covering its frontage and south east corner. Resembling a construction site, the structure becomes the ground for the work; the title a precise description of itself.

In this new mural, Brüggemann writes headlines from current newspapers, from local to global, in combination with excerpts of last lines from popular films. “Forget it Jake, its Chinatown” could be spray-painted next to “Enbridge Pipeline Rejected”, the juxtaposition of appropriated texts creating both a familiarity and an oddly appropriate pairing suggestive of narratives that may exist to connect current news items with scripted dialogue.  With one text residing in the real, the other in the fictive, in combination they create a barrage of information that Brüggemann unifies into a totality of black text. The overlay forms a graphic field that is only partly legible, language creating an immersive installation that draws colloquial phrases into dense cacophonic arenas. The work seems declaratory, but what it is trying to communicate is drowned out by volume, intensity and opacity.

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Stefan Brüggemann - Headlines and Last Lines in the Movies


The Contemporary Art Gallery presents a survey exhibition of work by Canadian artist Kelly Richardson, best known for her immersive projection works which create environments prompting a questioning of our relationship to the natural world.

The universe Richardson constructs can seem somewhat bleak, devoid of all but the strangest forms of life, and notionally touching upon issues within ecological discussion and environmental debate. Yet if we consider nature not as omniscient, but mediated, appropriated, subjugated and vulnerable, then by examining any simple concept of the “natural”, Richardson actually makes the interrogation even more urgent. Immense and unsettling projections show animated scenes of primordial swamps or forests, desolate moonscapes or eerie holographic trees flickering in and out of view. And yet the videos are open-ended, drawing us in to develop our own narratives for these unsettling scenes, which could be humanity’s last attempt at caring for a ruined planet. Even though she leaves the questions unanswered, it’s clear that she is suggesting we should project farther into the future than we’re comfortable doing, a quality enhanced in understanding how these works are made. A particular quality in Richardson’s videos– in addition to technical facility and her embrace of beauty as a way to prime us about the disturbing undercurrents snaking through her otherwise seductive work – is the way she seems to look back from the future.

The exhibition comprises a selection of recent major projections and photographs. In the large-scale, multi-screen installation of Leviathan (2011) we are confronted with an all-encompassing projection. Through the image and its reflections on walls and floors, it occupies or rather infiltrates the space, implicating us as audience as we simultaneously behold and are contained within the image. It asserts itself, with its Biblical title, as suggestive of some kind of apocalyptic flood, the swirling water appearing to almost envelop and swallow up the viewer. The works too are in many other ways absorbing; they elicit a terrible beauty through the seduction of surface.  And yet this slow, churning motion becomes almost hypnotic, a narcotic mesmerizing image, an illusion perhaps not at odds with the evocation of a notional poisonous or toxic liquid; a substance that is at once of our world but at the same time transforming, of becoming somewhere else.

Richardson’s work touches also on the notion of the sublime, that mixture of awe, hope and fear that reveals something uncomfortable about the depth and darkness of human desire.  While technically pristine, in part through the process of computer manipulation and invention of form, her work has precedents in sources as seemingly disparate as the romantic landscape paintings of the late 18th century or the B-horror and science-fiction films of the 1970s and 80s. She has stated: “I’m interested in that contradiction at this critical time in human history when current predictions for our future are not just unsettling, but terrifying.”

The notion of the artificial is brought to bear in contemplation of what might be considered natural, in part reinforced by the visual polish of the moving images, which reach the point where most viewers are unable to distinguish between what is real and what is computer-generated. In Orion Tide, (2013) we see rocks and foliage littering the ground, convincing us of some form of scrub land. Then an eerie, distant sound warns us of that which follows, the slow eruption of a lit pod from the surface. Trails of flame and smoke lead the eye up through the dark sky and then out of sight, followed by another and another and another. Are they escape pods —final humans abandoning all hope— or are they a death rattle of a dying planet? Richardson deftly avoids simplistic environmental and sci-fi cliché with a painterly sense of narrative mystery.

The exhibition is developed in collaboration with the Northern Gallery for Contemporary Art, UK; Grundy Art Gallery, Blackpool, UK; Towner, Eastbourne, UK and Albright-Knox Art Gallery, Buffalo. An extensive monograph accompanies the exhibition.

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Kelly Richardson - Legion


The Act of Seeing with One’s Own Eyes is a group exhibition of recent film and video that seeks to interrogate notions of uncertainty within the documentary format. Work by ten artists engages with the conventions of source footage, narrative voice and re-enactment, questioning perceptions of such devices, while also reclaiming them in order to redefine their intent and potential. Not all works critique these characteristics, but each examines the consumption of knowledge and truth, using the body as form and performance as a site, to address where meaning may reside.

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The Act of Seeing with One’s Own Eyes


Kevin Schmidt’s solo exhibition at the Contemporary Art Gallery presents a survey of recent works including two major new pieces, EDM House and High Altitude Balloon Harmless Amateur Radio Equipment, both made in 2013.

Schmidt is an artist who has consistently developed a body of work that addresses notions of a displaced spectacle, often within a consideration of the sublime. This ongoing proposition is tackled not so much through exclusive references to landscape, of being awestruck at the point of apprehending such beauty and wilderness, but by juxtaposing seemingly disparate elements within these environments. Works are often situated in remote locations, where Schmidt stages remarkable events which transfer elements of urban culture into untouched natural contexts. In this way, he simultaneously examines both the seductive elements of contemporary cultural production and the constructions that surround the idea of nature.

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Kevin Schmidt


The Contemporary Art Gallery presents an ambitious new neon commission across our building façade with PuSh International Performing Arts Festival, as part of a larger partnership of presentations, performances and events with British artist Tim Etchells. Arguably best known for his work with Forced Entertainment, Etchells has developed his own practice as an artist outside of their ground-breaking performances, his solo work is diverse, moving from a base in performance into visual art and fiction. Through writing, producing neon, video and text, collaborations with the photographer Hugo Glendinning on photographic work, and performance projects with an ever-expanding group of artists from around the world, including Franko B and Vlatka Horvat, Etchells opens up new possibilities to approach related ideas via different routes by working across these different media and contexts.

In all aspects of his practice Etchells is often concerned with live-ness and presence, with the unfolding of events in time and place. The site where things happen could be an LCD monitor or a computer screen, a stage, the space of a page, a gallery, a found location, a street, or some private space — a room or a car for instance — in which a person might listen to the radio or read a text. Who Knows is typical of Etchells’ approach in that something happens — there is an encounter, a process, the unfolding of an event and its implications, and an exploration of the dynamic relationship between the work and the viewer. Who Knows reveals a fascination with rules and systems in language and in culture, in the way these structures are both productive and constraining. Individual phrases of ‘I know’, ‘You know’, ‘We know’, ‘They know’, produces a playfully paranoid flavour, yet a tone that takes on something of the surveillance, snooping, watching topic, that’s even more on our minds since the information leaked by former intelligence contractor Edward Snowden in May of last year. Through the repetition of phrases, the text stages or implies an event or an idea that is at once unravelled and assembled. The mechanisms and economies of this process — of exposure and concealment, construction and deconstruction, appearance and disappearance — are at the heart of what Etchells does.

In addition to this installation we co-present a series of performances — The Quiet Volume with Ant Hampton and Sight Is The Sense That Dying People Tend To Lose First with Jim Fletcher — and public talks involving Etchells detailed elsewhere in this bulletin. Collectively these form our hosting of Tim Etchells as PuSh Festival 2014 artist-in-residence. Presented in partnership with PuSh International Performing Arts Festival, Vancouver.

Born in 1962, Tim Etchells is based in Sheffield and London, UK and is the artistic director of Forced Entertainment, a theatre company founded in 1984. With Forced Entertainment he has directed, written, and occasionally performed in, dozens of critically acclaimed performance works that have been shown at major festivals and theatres around the world.

Recent solo exhibitions include Sketch and Butchers (both London); Netherlands Media Art Institute and de Appel, Amsterdam; Void Spaces, Site Gallery, Sheffield; Sparwasser HQ, Berlin; Art Sheffield 2008; ArtFutures, Bloomberg SPACE, London; Exit Art, New York; Kunsthaus Graz; Manifesta 7, Rovereto, Italy; Acts of Voicing, Württembergischer Kunstverein, Stuttgart; Aichi Triennale, Aichi Arts Center, Nagoya and Lonely at the Top: Modern Dialect, MuHKA, Antwerp. Etchells co-curated and commissioned work in the Performing Sculpture section of the DLA Piper series This is Sculpture at Tate Liverpool (2009) and took part in the Gothenburg International Biennale, What a Wonderful World; After Architecture, CASM, Arts Santa Mònica, Barcelona and The Malady of Writing, MACBA, Barcelona in 2009. His books include a critical exploration of contemporary performance and theatre as well as an introduction to his work with Forced Entertainment titled Certain Fragments (Routledge, 1999), a book of short stories, Endland Stories (Pulp Books, 1998), an ironic dream dictionary, The Dream Dictionary for the Modern Dreamer (Duckworth, 2004), and a novel titled The Broken World (Windmill, 2009).

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Tim Etchells - Who Knows - PuSh Festival Artist-In-Residence 2014


As part of our contribution to Capture, Vancouver’s first annual city-wide photography festival, we present a new installation by American artist Mungo Thomson. Central to Thomson’s artistic proposition is that of context – be it institutional, cultural or that of everyday life – and it is through the breadth of his individual works that we are prompted to grasp the many challenges to our perception in the things we encounter daily. For Thomson is interested in the space between things, the subtext or background that consistently draws our attention. He has made works which record notional ‘silence’ – the sound of a room when no one is in it, the applause between songs on every live recording by Bob Dylan – produced works in a range of media based on TIME magazine, and made interventions into spaces which causing us to re-evaluate our expectations, such as Coat Check Chimes, his contribution to the 2008 Whitney Biennial Exhibition, where Thomson  replaced the 1,200 coat hangers in the Whitney Museum’s coat check with custom-made, musically tuned coat hangers that were modeled on orchestral triangles.

When we look at the stars we are actually bathed in the light of the past, and for Thomson this is another way to think about the history while simultaneously considering the ‘contemporary’ – that which constitutes our present is a set of signals between which there are gaps. Negative Space is an ongoing series of photographic murals of inverted astronomical imagery sourced from the Hubble Space Telescope. Thomson works with the Hubble archive in an ongoing way, generating a negative image every time the Hubble generates a positive one. Through a simple command in Photoshop, blacks become whites, whites become blacks, and all other colors are transformed into their complement. These images are then made into site-specific photographic murals for empty walls and installed like wallpaper, indoors and out, temporary and permanent. The project also includes an artist book, an original font, and a screensaver.

The project at Yaletown-Roundhouse Station, Canada Line is presented in partnership with Capture and the Canada Line Public Art Program – IntransitBC.

This project heralds a more comprehensive exhibition of Thomson’s work to be presented at the Contemporary Art Gallery in 2014-15 produced in collaboration with SITE Santa Fe and accompanied by the first monograph to examine Thomson’s practice.

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Mungo Thomson - Negative Space


The Contemporary Art Gallery presents the first solo exhibition in Canada by French artist Aurélien Froment, comprising an ambitious body of newly commissioned work.

Froment has produced an exhibition which focuses on the series of educational toys (Spielgaben or play gifts) designed by Friedrich Fröbel (1782–1852), the German founder of the original Kindergarten. Froment’s longstanding interest in Fröbel was aroused by the openness of the system of objects he devised, which has paradoxically resulted in both their survival and disappearance. For Froment as for Fröbel, each shape begets another, each form foreshadows a second; all images are keys to other images. Replicas have been produced based on historical artifacts, presenting for the first time in an exhibition, the play gifts in the complete sequence as imagined by their author. The objects are presented alongside an ensemble of photographs, which map Fröbel’s pedagogy, while drawing connections with earlier, as well as future uses of the geometric grid. Fröbel Fröbeled is therefore an exhibition on Fröbel, with Fröbel — an exploration of his art, as well as a reflection on what lies beneath his system of objects.

Drawing on the ideas of philosopher Jean-Jacques Rousseau and the experiences of Swiss pedagogue Johan Pestalozzi, Fröbel advocated for a practice of education where the child and the teacher are co-workers, with play and self-activity at the center of the learning process. To this end Fröbel introduced activities such as singing, dancing, gardening, map making and created a series of educational toys, the play gifts. He brought together existing children’s toys (wooden blocks, woollen balls, sticks), stripped of any signs suggesting pre-determined educational purposes such as letters, numbers, figures or colours and sequenced these within an overarching system of relationships in which each toy foreshadows the next while being transformed. A soft woollen ball turns into a hard wooden sphere; a sphere into a cube via a cylinder; a cube is divided into smaller cubes and so on, until volumes become surfaces, surfaces become lines and lines are segmented towards infinity. Continuity and opposition systematically order the world of Fröbel’s gifts. Since the mid-nineteenth century, many educationalists and manufacturers appropriated the influential Kindergarten material and while establishing it as a prominent feature of modernity, the consistency of Fröbel’s ideal was slowly diluted, lost or abandoned.

Throughout his career, Fröbel continually refined his play gifts to achieve the greatest scope through their different forms, relations and applications. They constitute a modest but complex body of works, used for object lessons and often accompanied by analogies and stories, something tangible to enhance the understanding of something conceptual.

Individual sets comprised balls, blocks, sticks, paper folding and weaving, peas and clay. From simple geometrical shapes could appear a chair, a worker’s house, a train, a ruin or a flower, as well as introducing abstract notions such as unity and interconnectedness. Each gift would be used in short sessions of directed play. Collector and scholar Norman Brosterman states in his seminal book Inventing Kindergarten, that “unlike the building blocks, mosaic toys, and traditional crafts that were their forebears, the gifts were never available for entirely ‘free play’. Their use was always related to the three realms: forms of nature (or life), forms of knowledge (or geometry, mathematics and science) and forms of beauty (or art).” The potential of each toy and its associated applications were therefore multiplied according to their ability to represent, demonstrate or to be arranged in a pleasing way.

In the exhibition, each gift is also used and depicted by Froment in a number of different ways. To the three realms proposed by Fröbel — nature, knowledge and beauty — Froment suggests to add two others — cultural forms and material forms — revealing aspects of the gifts’ own history while reflecting on its mediation within a contemporary public art gallery. In some of the accompanying photographs, the gifts are staged based on engravings featured in Fröbel’s own manuals and literature that followed. Representing a throne, a church, a castle, a cross or a sentry box, the photographs draw the imaginary atlas of an archetypal world rooted in the nineteenth century. Whether photographed by Froment like diagrams, models, products or architecture, they perform, alongside their related toy, some of the instructions provided in the early handbooks while potentially becoming again loose instructions themselves. Divorced from their original publication context and captions, freed from their layout, the constellation of images in the exhibition unfolds as another gift.

If the first series of photographs notionally illustrate uses of the play gifts while mapping a model world, other predominantly small-scale images relate more specifically to the biography of the German pedagogue. Fröbel lived and worked close to his birthplace in Thuringia, central Germany. He founded his first institution for early childhood education in 1837 in the small town of Bad Blankenburg where two years later, he coined the term ‘Kindergarten’. Juxtaposed with the graphic educational material, this series of views of the countryside near Jena (the former East Germany near the Czech Republic border) show a reality without clear narrative, yet situates geographically, socially and culturally the genesis of Fröbel’s project. Through this Froment implies a complex relationship between the objects, images, ideas, places and us as audience. The work becomes the vehicle to draw our attention to changed contexts and so perceptions shift. We contemplate ideas not in a void but think while practising.

Alongside the exhibition in Vancouver, the CAG is working in partnership with DIM Cinema at The Cinematheque to present Interludes: Aurélien Froment. Complementing the exhibition, the films selected by Froment often use the format of instructional videos. Taking place on January 20, 2014 at 7.30 pm, works to be screened include The Apse, the Bell and the Antelope (2005); Pulmo Marina (2010); Théâtre de poche (2007); Fourdrinier Machine Interlude (2010); Camillo’s Idea (2012).

The exhibition is made in collaboration with Villa Arson, Nice, France; Spike Island, Bristol, UK; Frac Île de France — Le Plateau, Paris, France; Heidelberger Kunstverein, Germany. A publication will be developed in 2015 bringing together this new commission and the various presentations in the exhibition tour.

Research toward the production of this work is funded by a grant from programme ‘Hors les murs’ 2011 of the Institut Français. The exhibition is supported by the Consulat Général de France à Vancouver and Institut Français.

Born in 1976 in Angers, France, Aurélien Froment lives and works in Dublin. Solo exhibitions by Froment have been presented at Le Credac, Ivry-sur-Seine; Musée départemental de Rochechouart; Centre culturel français, Milan; Marcelle Alix, Paris; CCA Wattis, San Francisco; Montehermoso, Vitoria-Gasteiz; Bonniers Konsthalle project room, Stockholm; The Physics Room, Christchurch; Motive Gallery, Amsterdam; Frac Champagne-Ardenne, Reims; Module du Palais de Tokyo, Paris; Project Arts Centre, Dublin and Les Laboratoires d’Aubervilliers.

Group exhibitions include The Encyclopedic Palace, 55th Biennale di Venezia; Curiosity, Turner Contemporary, Margate; Mind is Outer Space, Casey Kaplan Gallery, New York, (2013); Descriptive Acts, SF MoMa, San Francisco; Tactics for the Here and Now, Bucarest Biennale 5; In the Holocene, MIT List Visual Arts Center, Cambridge; Hapax Legomena, Mercer Union, Toronto (2012); A Terrible Beauty is Born, Biennale de Lyon; Our Magic Hour, Yokohama Triennale; Dystopia, CAPC, Bordeaux (2011); 2 1/2 Dimensional, deSingel, Antwerp; 10,000 Lives, Gwangju Biennale; Art Parcours, Basel (2010); Paper Exhibition, Artist Space, New York; From the Gathering, Helen Pitt Gallery, Vancouver; The Space of Words, Mudam, Luxembourg (2009); The Way in which it Landed, Tate Britain, London; Word Event, Kunsthalle Basel; The Great Transformation, Frankfurter Kunstverein; Inaugural festival, Nam June Paik Center, Seoul (2008).

Froment is represented by Marcelle Alix, Paris and Motive Gallery, Brussels.

 

 

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Aurélien Froment - Fröbel Fröbeled


American artist James Welling emerged as an important figure in the ‘Pictures Generation’, an influential group of artists working in New York in the 1980s, famous for their pioneering use of photography. This exhibition brings together a hundred and fifty of Welling’s early, experimental and abstract works from this period. The exhibition is presented in partnership with MK Gallery, Milton Keynes, UK and Centro Galego de Arte Contemporànea in Santiago de Compostela, Spain.

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James Welling - The Mind on Fire


At the Contemporary Art Gallery we present a solo exhibition by Turkish artist Meriç Algün Ringborg, her first in a museum in North America, comprising a new large-scale commission sited across the façade of our building. Visitors are invited to ‘read’ the gallery, the work wrapping around the outside as individual phrases envelope the physical structure.

Through the appropriation of methodologies that include collecting, systematizing, and list making, much of Algün Ringborg’s practice centres on notions of cultural identity, language, belonging, and the adjoining bureaucracies. In 2012 Billboards were made for the exhibition Show Off that took place in Malmö and Nicosia respectively. The questions presented derive from The Concise Book of Visa Application Forms, 2009, the work inserting queries for private information into the public realm. At a time when immigration is at the forefront of topical news stories, the project gained significant resonance. Line No.1 (Holy Bible) (2010) was first realized at Index in Stockholm, the complete contents of the Bible running as a single line of text at eye level around the gallery room. A second version in the larger space at Witte de With, Rotterdam incorporated different versions and translations aside from the King James Version of 1611 first used in Sweden, to create a topography of vertical lines mapping across the space.

The new work at the Contemporary Art Gallery has the English dictionary as its starting point and using only selected definitions of specific words, this ambitious commission appears as a series of inter-related sentences which compose mini-narratives, realized in a way that seems to incorporate different voices and characters. As such the work evolves out of the dictionary akin to a fragmentary novel or short story, a series of episodes branching out into a loose meta-narrative concerning writing as a creative act as implied through the use of this ‘found’ language.

Vancouver, a city renowned internationally for the significance of its visual arts practice that conceptually re-pictures space and assigns meaning of the global in the local, provides a stimulating and challenging context for this piece by Algün Ringborg. Shown outside, the work intervenes in the urban fabric, addressing the narratives implicit in everyday routine and our daily lives. Furthermore its siting on the external surface of the gallery incites an evocation of the porosity of meaning that may emerge from such a public institution, through a contemplation of and dissemination of ideas seeping into the public domain. One might anticipate visitors and viewers are prompted into a personal reflection on reading the text based on recollection of previous encounters and exhibitions.

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Meriç Algün Ringborg - Metatext


This is the first solo institutional exhibition of work by American artist Kay Rosen in Canada. Renowned for her textbased works, presented across a range of formats and scales, Rosen uses space and colour to assert the physical property of language and elaborate new meaning from familiar phrases, often with characteristic wry humour. For Rosen words are both subject and material; playing with their visual representations through meticulously considered typography, colour and layout, she employs puns, anagrams and vernacular phrases to create visual connections which examine the structures and mechanisms of language as well as our encounters with it. Before becoming a visual artist, Rosen studied comparative and applied linguistics, a background which continues to inform her thinking.

For this new commission, Rosen has created two new works including a large-scale intervention across the front of the building. CUTOUT is just that, a formal play on double meaning that quite literally describes the very action and construction of its making. Letters are reversely cut from sheets of coloured vinyl, using the black appearance of the window glass itself to define their form and enabling the cut out letters to become what they spell. Furthermore, Rosen makes a simple cut into one letter of a word to generate another. Deceptively straightforward, in this way the ‘C’ from ‘cut’ was once an ‘O’ that formed the word ‘out.’ Both emphasizing and tracing this action, dashed lines mark the area removed.

Rosen often renders something that was once invisible visible. For example, a simple colour change of the two last letters in ABCDEFGHI in the mural Hi (1998) exposes a pre-existent word within the systematic order of the first nine letters of the alphabet. This slight shift of emphasis has the potential to affect pronunciation, turning our usual listing of letters into ABCDEFG ‘Hi.’ Different versions of this work have also used the physical properties of a building to reveal the alphabet’s potential to form words through minimal gesture; in this case by segregating ‘H’ and ‘I’ from the rest of the letters around an outside corner. Whereas the poetics in Rosen’s work position it within the lineage of Concrete Poetry where linguistic signs form the structure of an object or picture to be perceived rather than a text to be read, her work is equally grounded within conceptual practice. Situated around the corner from CUTOUT, a second work reveals a different aspect of Rosen’s practice. Visual presentation is not used to merely emphasize specific meaning, but to articulate formal gestures that unfold spatially over time. Where one piece is focused on ‘rescuing words from meaning’ the other uses language to generate strong imagery, making evident the social structures that determine its reading.

While a formal syntactical interpretation dominates much of the discourse surrounding Rosen’s work, many pieces convey political comment. Duck in the Muck (aka Exxon Axxident) from 1989, has been remade in a new version for one of our picture windows. Originally a list of ten different spellings of ‘Duck in the Muck’ alternating with an equal number of misspelled ‘Quacks’, for the Contemporary Art Gallery, Rosen has reduced the text, added vibrant layers of colour, and uses the window frame as a means to divide the text into six component parts: one duck in the muck surrounded by variant quacks. Although the title references the Exxon Valdez crude oil spill off the coast of Alaska in 1989, Rosen has chosen the work for its topical relevance to this part of the world. As a vast and extensive system of oil pipelines stretching from Alberta across British Columbia and into the United States are being established, Rosen draws our attention to recent history, and an image of potential dangers to come.

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Kay Rosen


The Contemporary Art Gallery presents the first solo exhibition in Canada of work by the renowned British artist Mike Nelson. Comprising two significant new commissions, the exhibition includes an ambitious series of sculptures produced in partnership with The Power Plant in Toronto, and a new photographic work made in association with the Walter Phillips Gallery in Banff, its starting point family photographs taken between 1957 and 1972 by the distinguished Canadian
anthropologist Dr. Wilson Duff.

Nelson is best-known for his labyrinthine architectural installations that unfold as narrative structures, where the viewer moves through rooms like a reader turns pages in a novel. These immersive environments are often seemingly abandoned, devoid of figures, yet imagining the unseen occupants of these intricate spaces is central to the viewer’s experience. For I, IMPOSTOR, Nelson’s major work for the 54th Venice Biennale (2011), much of the elaborate space appeared vacated, with the exception of a small room where lines of drying black and white photographs hung from wires that crisscrossed the ceiling. These images documented a seventeenth century caravanserai, photographed within the very building that housed a previous installation by Nelson during the 2003 Istanbul Biennale. The darkrooms within the Venice piece were a reconstruction of those adapted ‘found’ spaces in the Eminönü district of Istanbul, the architecture within the British Pavilion a disjointed facsimile from memory and from the photographs of the caravanserai. Visualizing this ghostly photographer supposedly moving through the same space as the viewer, simultaneously suggested the architecture as narrative, but confused time and space; a shift of cities and decades shadowing personal and world histories. It presented a fractured and multi-layered narrative, a set of atmospheres that similarly inform Nelson’s discrete sculptural works.

While his cultural references are broad, touching on particular moments in science-fiction, literature and the Beat era, much of Nelson’s work can be linked through an archetypal figure of the lone wanderer. For the Contemporary Art Gallery, Nelson revisits ideas and forms first seen in The Amnesiacs, a serial project begun in 1996, which references a narrative involving an imaginary cast of characters — a group of ‘outsiders’ to the mainstream who uncannily resemble a disembodied late twentieth century biker gang, albeit without bikes. These quintessential outlaws of myth and literature, as depicted in the popular imagination of North America, are paralleled here with another favourite genre; that of the hunter or fur trader, exploring both groups’ economic underpinning of these romantic façades, and the resulting conflicts involved in the expansion of territory.

In this new work it is as if a beachcomber has gathered material from the ocean, imagined by Nelson as a gigantic intelligent entity, much like that of Lem’s planet ‘Solaris’, sifting the debris as a means to uncover truths about contemporary culture and our place within it. The roving characters, The Amnesiacs, have come together as interpreters, deciphering the collected material by creating assemblages akin to some form of disjointed memory or flashback, that when brought together may effect communication or reveal hidden meaning, the potential for a new and unified system of understanding. Nelson originally developed these thoughts after the unexpected death of his friend and collaborator, Erlend Williamson. In 1996 he had fallen to his death whilst climbing in the Scottish Highlands, at the time that Nelson was working on his first incarnation of what would become The Amnesiacs. Williamson, an artist and mountaineer whose family ancestry was of Orcadian descent, will contribute again; this time parts of his own narrative, and the very materials that surrounded him — those that remain present in his absence — will be woven into the fabric of the work.

Each of the new works is derived from the Canadian landscape: one is quite literally built with flotsam and jetsam collected off local shores, while the other re-imagines it. The second new piece is a sequence of projected 35mm slides produced during recent road trips across British Columbia and into Alberta, images that appear out of time. Collectively they trace another movement across the landscape as well as capture momentary pauses, underlining human interventions to the land. Nelson’s interest in the photographic depiction of the Canadian landscape came through seeing a series of slides from Dr. Wilson Duff’s family trips across the province, presented at the Museum of Anthropology in Vancouver. As an anthropologist Duff was dedicated to understanding North West Coast cultures, even such private holidays were spent viewing aboriginal festivals or visiting the workshops of totem pole carvers. These images resonated with Nelson as much as the objects in the museum, as a language to be unraveled. They were of a time and place, but already displaced. In relation to this, Nelson has made a work that talks about the land itself and the artistic traditions inherent within it, especially those borne out of North America in the twentieth century and their re-translation as part of a British oeuvre. Nelson unearths the possible re-reading of such activities as cultural imperialism within both strands of the movement — an accusation that could ultimately be reflected within the activities of the artist himself.

Mike Nelson is represented by 303 Gallery, New York; Galleria Franco Noero, Turin; Matt’s Gallery, London; and neugerriemschneider, Berlin.

We acknowledge the generous support of Rick Erickson and Donna Partridge, Jane Irwin and Ross Hill, and Randy and Julia Heward.

With thanks to the Erlend Williamson Art Foundation.

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Mike Nelson


The Contemporary Art Gallery presents the first exhibition of work by Polish artist Monika Sosnowka in Canada. Best known for her ambitious architectural and sculptural installations which simultaneously embrace and resist the spaces they occupy,  Sosnowska’s exhibition obliquely references her hometown of Warsaw and the economic shift that has occurred since the collapse of communism in 1989 to the present day. Characteristically the artist’s sculptures recall familiar objects transformed in some way –  dysfunctional stairways that join one floor to the other but to no purpose or large-scale metal cubes and girder structures twisted and wedged into existing gallery spaces.

At the Contemporary Art Gallery we present a series of new painted steel sculptures, redolent of broken market vendor stands, referencing actual forms salvaged from Jarmark Europa Stadium, originally the site of a large market that sold everything from imitation Nike training shoes to pirated CDs and DVDs. The market opened with the onset of capitalism and ended last year when the stadium was destroyed to make way for a new national stadium that was built in time to host Euro 2012. Collectively these series of objects evoke a sense of architecture, yet through absence they poignantly suggest that as with all structures we inhabit or that give form to our daily routines, social space is subject to change over time.

This exhibition is presented in collaboration with the Southern Alberta Art Gallery, Lethbridge, which will exhibit the works from September 28 – November 24, 2013.

Sosnowska is represented by Galerie Gisela Capitain, Cologne; Hauser and Wirth, Zurich, London and New York; Kurimanzutto, Mexico City and The Modern Institute, Glasgow.

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Monika Sosnowska


The Contemporary Art Gallery presents the first solo exhibition in a public institution of work by Canadian artist Itee Pootoogook. A resident of Cape Dorset, Nunavut, he belongs to a generation of Inuit artists who are transforming and reshaping the creative traditions that were successfully pioneered by their parents and grandparents during the second half of the 20th century. In his large-scale graphite and coloured pencil drawings, Pootoogook shows us an image of modern northern life quite different from the one we are accustomed to seeing both historically and in much Inuit work. In this vast and often inhospitable region, instead of traditional subjects such as igloos and parka-clad hunters and their prey, we are shown an everyday world, one made up of recognizable contemporary accoutrements including snowmobiles, boats, soft drinks and television sets.

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Itee Pootoogook - Buildings and Land


A special version of a landscape drawing, Sky at Night by Itee Pootoogook is presented large-scale at Yaletown-Roundhouse Station, Canada Line, its physicality altering as light changes throughout the day, its imagery deliberately playing with and gaining meaning from the specificity of the site.

A resident of Cape Dorset, Nunavut, Pootoogook belongs to a generation of Inuit artists who are transforming and reshaping the creative traditions that were successfully pioneered by their parents and grandparents during the second half of the twentieth century. In his large-scale graphite and coloured pencil drawings, Pootoogook makes images of places, people and things, observed with prosaic intimacy. The solo exhibition Buildings and Land at the Contemporary Art Gallery, focuses not on works involving portraits of family and friends but on those images that picture the things which structure daily routine in this part of Canada — buildings, landscape and the means to travel to other parts of the country.

The project is presented in partnership with the Canada Line Public Art Program – IntransitBC.

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Itee Pootoogook - Sky at Night


Erin Shirreff’s solo exhibition at the Contemporary Art Gallery will be the first presentation dedicated exclusively to the artist’s film and video work. It may seem a somewhat unexpected focus given Shirreff’s definition of herself as a sculptor. And yet her investigation into the language and perception of materiality has less to do with the presentation of physical objects than specifically to that of our experience of forms – how sharing the same space with a ‘thing’ varies from looking at its representation.

Shirreff is known for reproducing sculpture as images or making sculpture that distils the essence of a photograph, playing these two elements against one another as a means to prompt and test the viewer’s response. In Knives (2008) for example, she modeled a variety of knife-like forms from Plasticine, subsequently presenting them as a series of black and white photographs; her most recent sculptures made from ash and cement resemble photographs, their surfaces giving way to reveal themselves as planes an inch thick as we move around them.

Such preoccupation with the properties and potency of sculpture in relation to photographic reproduction grew out of Shirreff’s consideration of the work of Tony Smith; New Piece from 1966 made from black painted steel, in particular held a fascination, so much so that she made a pilgrimage to see it in person. Her actual experience of the work however revealed an unexpected level of engagement, making her question the limitations of sculpture as well as her own abilities as a viewer. She comments, “It left me wondering whether the encounter, sharing the same material space as the object, was somehow more difficult, perhaps more intimidating, complicated, or somehow overwhelming, and that I didn’t equal it. What was clear was that I wasn’t able to let myself be as absorbed into the physical encounter as I was by the experience of the image. That remove offered by the reproduction opened up this contemplative space.”

Each of the four works presented at the Contemporary Art Gallery focus on an image of a building, sculpture or landscape and seek to similarly evoke such a quality. Typically these silent videos are made from subtle combinations of stills or, in the case of Sculpture Park (Tony Smith), by the camera panning across a static object. The original images are further transformed by simple means such as the tracking of daylight across their surfaces, by modifications through colour alterations or other such analogue effects. Changes can also play with the illusion of three dimensions as the pieces unfold. Lake uses an image of Lake Okanagan in B.C. where Shirreff grew up and her family still lives, the picture taken from an early 1980s tourism magazine. For this work Shirreff re-photographed the original image many times sequencing these as a series of stills, deploying subtle shifts in colour and light to alter the original hand-painted quality.

These nuanced adjustments appear in all of Shirreff’s videos. Some modifications highlight the qualities of the original photograph, revealing dust on its surface or illuminating the glossy quality of the paper, reinforcing its status as object. In drawing attention to the material properties of the initial image used, Shirreff builds a tension between the subject and the formal values of its representation. Whether it is a photograph of a Medardo Rosso sculpture from 1896 or the United Nations Building in New York, the thing or scene being represented is no longer the point of focus. Shirreff challenges our understanding of the nature of images themselves, their intrinsic qualities and our encounter with them.

The exhibition is presented in collaboration with Carleton University Art Gallery, Ottawa and Agnes Etherington Art Centre, Kingston, collectively marking the first comprehensive exhibition of Shirreff’s work in Canada. Each venue presents unique exhibitions, drawing out varied strands in her rich body of work, and have come together to produce her first monograph. The publication features essays by Sandra Dyck and Jan Allen and an interview with the artist by Jenifer Papararo.

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Erin Shirreff - Pictures


Nancy Holt is one of the leading artists of her generation and a pioneer in conceptual, site-specific art and film and video work. She is one of a group of important international artists who initiated the Land art movement in the late 1960s. The Contemporary Art Gallery brings together a selection of photographs from 1967 onwards, many seen for the first time, alongside pivotal film works.

Holt deals with themes centering on memory, perception, time and space. She uses the natural environment as both medium and subject with a focus on the cyclical time of the universe, the daily axial rotation of our planet Earth and its annual orbit around the sun. Photography has always played a central role within her work, both as a way of engaging with the landscape and as a way of documenting site-specific projects.

This exhibition includes major photographic pieces, including early work such as Concrete Visions (1967), an important project made on Dartmoor while visiting the UK with the artist Robert Smithson over forty years ago, Trail Markers (1969); a series of photographs entitled Light and Shadow Photo-Drawings (1978); and photographs by Holt of her most famous work, Sun Tunnels, 1973 – 76 among others. Vancouver itself could not be a more appropriate location for this exhibition, the city renowned for its setting within magnificent natural surroundings, the ongoing photographic legacies in picturing within international visual arts practice, and also being the site for the seminal Glue Pour (1970) by Robert Smithson, Holt’s late husband.

 

 

 

 

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Nancy Holt - Selected Photo and Film Works


CAG Window Spaces and off-site at Yaletown-Roundhouse Station, Canada Line and Fieldhouse Studio Residency Program.

In partnership with the City of Vancouver Fieldhouse Studio Residency Program, the Contemporary Art Gallery presents Canadian artist Raymond Boisjoly as our inaugural resident artist. For six months he will occupy the Burrard Marina Field House, using it as a studio and a place for community engagement, coinciding with the launch of As It Comes, two new interrelated public works. The title appears at the Yaletown-Roundhouse Station as a discrete piece, humorously foreboding, and more comic than terrifying, presented in brightly coloured vinyl like a credit from a B-list horror film. Linked to the text in the gallery windows, Boisjoly removes all suggestions of the past, not to deny what has become history, but with the intent to restore belief systems that are still intact.

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Raymond Boisjoly - As It Comes - Window spaces


CAG Window Spaces and off-site at Yaletown-Roundhouse Station, Canada Line and Fieldhouse Studio Residency Program.

In partnership with the City of Vancouver Fieldhouse Studio Residency Program, the Contemporary Art Gallery presents Canadian artist Raymond Boisjoly as our inaugural resident artist. For six months he will occupy the Burrard Marina Field House, using it as a studio and a place for community engagement, coinciding with the launch of As It Comes, two new interrelated public works. The title appears at the Yaletown-Roundhouse Station as a discrete piece, humorously foreboding, and more comic than terrifying, presented in brightly coloured vinyl like a credit from a B-list horror film. Linked to the text in the gallery windows, Boisjoly removes all suggestions of the past, not to deny what has become history, but with the intent to restore belief systems that are still intact.

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Raymond Boisjoly - As It Comes - Yaletown-Roundhouse Station


The Contemporary Art Gallery presents the first solo institutional exhibition in North America for Romanian artist Ciprian Muresan.

Artistic and literary works are the starting point for Muresan who appropriates them in a reflective project that intersects with the recent history of Romania and other Eastern European countries
and, more generally, ponders the realities of the contemporary world. Included in the show are two newly commissioned pieces by the Contemporary Art Gallery with our partners FRAC Champagne-Ardenne and Centre d’Art Contemporain, Geneva: an installation, Recycled Playground, which gives the exhibition its title and overarching tone, and a companion video Protesting Against Myself. A selection of other significant works is also presented. Juggling humour and critique, the artist highlights the structures and processes of all forms of power.

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Ciprian Muresan - Recycled Playground


Based on ideas suggested in a visit to the Dr. Sun Yat-Sen Classical Chinese garden in Vancouver, for their first commissioned performance in Canada, French artists Hervé and Maillet brought a humble object into the gallery — a gongshi — a form redolent of or somehow manifest as a ‘scholar’s stone’, a repository of information and knowledge. Traditionally gongshi are not very big, you can transport them easily. They are not made by man, but by natural elements, yet they can appear artificial, and at the same time sum up the passing of time and the actions of nature. They could be considered to resemble the wandering of the mind.

The performance was generated through an intensive few days of rehearsals leading up to the actual event with Hervé and Maillet working closely with a team of CAG volunteers and local participants who performed and assisted in presenting the work to the visitors and audience.

Generously supported by Institut Français and the Consulat général de France à Vancouve, and presented with PuSh International Performing Arts Festival.

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Louise Hervé and Chloé Maillet - Scholar's Rock


What stories simmer just beneath the surface of the public spaces that we dwell in? What characters are the strangers we
brush shoulders with? What characters are we? Argentinean artist Mariano Pensotti’s ingeniously voyeuristic work Sometimes I think, I can see you places writers in public spaces and uses them as literary surveillance cameras. Over the three weekends of the 2013 PuSh Festival, a group of Vancouver writers including Michael Turner, Lisa C. Ravensbergen, Adrienne Wong, Kay Slater, Charles Demers, Anakana Schofield, OZ and Caitlin Chaisson, were stationed in the lobby of the Vancouver Art Gallery and the atrium of the Vancouver Public Library Central Branch equipped with laptops connected to projection screens. Their directive? To write a live account of whatever it is they saw — or imagine they saw — in these urban surroundings. Through the eyes and minds of these various writers, speculations unfolded, narratives were woven, and the anonymous individuals around us became implicated in a series of beautifully spontaneous fictions.

Mariano Pensotti is known internationally as one of the foremost directors in contemporary theatre. His work El pasado es un animal grotesco was presented on a revolving stage in the Fei and Milton Wong Experimental Theatre at PuSh, and his work La Marea presented outdoors in the streets of Gastown at PuSh 2011.

Presented with PuSh International Performing Arts Festival, The Playwrights Theatre Centre and Vancouver Art Gallery, and supported by Vancouver Public Library.

Produced with Ciudades Paralelas, a co-production between HAU Berlin and Schauspielhaus Zürich, in collaboration with Goethe-Institute Warschau and Teatr Nowy.

January 18-20, January 25-27 and February 1-3, 12-4 pm.

Located at the Vancouver Public Library, Central Branch Atrium and Vancouver Art Gallery, Lobby.

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Mariano Pensotti - Sometimes I think, I can see you


The screenings of work by Smith and Robakowski brought together two filmmakers who interrogate the language and mechanics of film itself. They share an interest in the world unfolding around them and in front of the camera, examining occasions and incidents with a humour which undercuts the rigorous nature of their work. Both reveal the narrative potential within the everyday while simultaneously making us aware of the actual and constructed nature of the images we are viewing.

British filmmaker Smith’s work is associated with ‘structural film’, an experimental and analytical approach focused on the illusionary nature of the media itself, specifically looking at its ‘material’ qualities such as the projected light, the film strip and the projection apparatus. The series of films shown here from the 1970œs and 1980œs including his iconic The Girl Chewing Gum (œ1975), demonstrate how Smith expands on the concerns of structuralist practice through new means, including the use of narrative structure, the relationship between sound and image, humour and a close engagement with popular culture.

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John Smith - Shorts


The screenings of work by Smith and Robakowski brought together two filmmakers who interrogate the language and mechanics of film itself. They share an interest in the world unfolding around them and in front of the camera, examining occasions and incidents with a humour which undercuts the rigorous nature of their work. Both reveal the narrative potential within the everyday while simultaneously making us aware of the actual and constructed nature of the images we are viewing.

Józef Robakowski is a pioneer of independent Polish film. From the early 1970œs he interrogated the language, material and mechanics of film, combined with a long-standing interest in conceptualist avant-garde traditions filtered through an insistence on authenticity and personal identity. Presented were a series of pieces produced between 1970 and 2009œ including From My Window, 1978 ˆŠŸ‰– 1999ˆŠŠŠ (2000) shot from Robakowski’s apartment. By filming the world around him and narrating everyday events in his own, often wryly humorous voice, he deployed a kind of personal resistance to the political situation imposed upon him.

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Józef Robakowski - My Own Cinema


Knowledge, Kindliness and Courage is the first solo exhibition in North America of Turner Prize nominee, Nathan Coley. This major presentation includes Unnamed (2012), a new commission in the gallery and We Must Cultivate Our Garden, installed on the roof of the Pennsylvania Hotel in the Downtown East Side at Carrall Street and East Hastings Street.

Presented off-site We Must Cultivate Our Garden (2006) a largescale illuminated text work held aloft on a scaffolding structure, evokes just such concerns. Taken from the last line of Candide by Voltaire, the statement is powerful and complex. The use of the plural ‘we’ is inclusive, conveying the sense that a joint effort is necessary for an endeavour to have any effect. The imperative ‘must’ lends an active, almost dictatorial tone. The words ‘cultivate’ and ‘garden’ are loaded with metaphorical weight: we can cultivate our minds, our souls, our relationships as well as the soil. Our ‘garden’ might constitute a house, a spirit, a child or a patch of land. In some ways it can be considered a call to arms, suggestive that a hunger for knowledge and understanding can be satiated through investigation and hard work rather than reliance on fate, tenuous beliefs or social standing. Coley is interested in the idea that the sentence is open to multiple forms of translation and interpretation, this element of ambiguity crucial whereby the onus is placed on the viewer to locate a meaning which interests them. Indeed, through his work, the artist reveals the unconscious of the architecture and cityscapes he interrogates, investigating social as much as physical constructions. Or as Coley says, ‘It’s in your imagination.’

 

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Nathan Coley - We Must Cultivate Our Garden


Knowledge, Kindliness and Courage is the first solo exhibition in North America of Turner Prize nominee, Nathan Coley. This major presentation includes Unnamed (2012), a new commission in the gallery and We Must Cultivate Our Garden, installed on the roof of the Pennsylvania Hotel in the Downtown East Side. Unnamed forms the centerpiece to the exhibition, over 30 recycled headstones informally gathered together, supported on stout cedar batons. These ‘ready-made’ objects produce a powerful presence resonating with Coley’s ongoing investigations as to how our environment speaks of collective desires and beliefs through its embodiment of social histories.

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Nathan Coley - Knowledge, Kindliness and Courage


This was the first solo exhibition in Canada for Shanghai based artist Xu Zhen who has emerged as one of the most inventive and provocative artists working in China today. A co-founder in 1998 of the influential artist-run space BizArt Art Center, he has also organized seminal exhibitions including Art for Sale (1999) staged at a Shanghai shopping mall. His work is characterized by tackling authoritarian gestures and clichés of human ambition often with a wry sense of humour that counters any notion of value.

The Contemporary Art Gallery presented an installation, a cluster of small sculptural pieces, slightly-larger-than-life-size replicas of a mosquito. At first glance the gallery room appeared empty and yet closer inspection revealed the space occupied by insects which appeared to be sucking blood from the building, glowing red as they drink in the nutrition needed. This creature is an effective symbol and with context vital to meaning, Xu Zhen offers a subtle and witty take on cultural politics.

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Xu Zhen - The Last Few Mosquitoes


The Contemporary Art Gallery worked with Vancouver artist Gareth Moore to co-commission a project comprising seven new films, screened offsite and a series of related posters in the window spaces at the gallery.

For Children’s Films Moore approached a number of international artists to produce short films for children, each person free to focus on any particular topic, shaping the content and form of their respective piece. Artists invited consist of some from Europe as well as other Vancouver based practitioners familiar to our local audiences. Moore then collated the two to five minute pieces into one longer work, providing it with open and closing credits, each section acting as a discrete but interconnected episode.

Akin to the early days of cinema with travelling magic lantern shows, weekly screenings of the 16mm films took place in different locations throughout the city of Vancouver such as community centres, schools and a tent in Emery Barnes Park in downtown Vancouver.

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Children's Films


The Contemporary Art Gallery presented the first North American exhibition by Dublin-based artist Sarah Browne, a survey including the artist’s entry for the 2009 Venice Biennale. Using ‘the economy’ as the basis for her artistic practice, Browne works with small communities of people, documenting resourceful forms of exchange to reveal the hidden social relations that exist in smallscale economic structures, summations of collective intention or desire typically influenced by emotional affects. Within the current context of austerity measures and failing markets, such an undertaking could not be more relevant. By processes such as filmmaking, sculpture and publishing the potential for a more radical resourcefulness is sought as a manifestation of creative opposition to prevailing systems. Vancouver with its immediate history of Vietnam draft dodgers and alternative island lifestyles provided an interesting backdrop for Browne’s work.

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Sarah Browne - How To Use Fool's Gold


WAVES by Vancouver based and French born artist Nicolas Sassoon is the second commissioned work for the Yaletown-Roundhouse Station as part of the CAG’s offsite exhibition programme. It is part of Sassoon’s ongoing body of work using Moiré patterns – a visual blur inadvertently discovered by Swiss photographer Ernst Moiré – whereby two images are overlaid to create a third ‘plane’. The resulting optical effect causes the eye to see movement where there is none.

The Moiré pattern designed for the Yaletown-Roundhouse Station is created by physical layering a symmetrical configuration of vertical, curved black lines on top of a coloured pixelated background. With no focal point the mural is activated by the movement of the viewer. As commuters pass by the two overlapping planes, horizontal waves appear to undulate rhythmically across the surface. Initially disorientating, sustained viewing creates an immersive effect, altering our usual encounter with the entrance of the station, erasing its glass side as if revealing another dimension.

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Nicolas Sassoon - WAVES


American Leg was Josephine Meckseper’s first exhibition in Canada. For the site-specific work, Meckseper created eight self-contained window treatments in the Contemporary Art Gallery’s street-front vitrines. Originally intended for retail, these window spaces served as ready-made structures for Meckseper’s ongoing investigation into consumer society and archaeology of the present.

Meckseper’s work unites modernism with the formal language of commercial display, combining mass-produced objects with images and artifacts of recent historical and political events. Consumerism as an unrelenting presence in our daily lives is reflected in the artist’s highly polished sculptural installations which offer a critique of capitalist economy and lay bare some of its contradictions.

In her installation for the CAG, she refined each window into austere compositions of single sculptures centred against a black background. A repeated vertical text graphically set in a typeface referencing German Jugendstil added a further critical dimension as well as carried a personal resonance for Meckseper. The text’s aesthetic was appropriated from elements of early 20th Jugendstil architecture in Worpswede, Germany where her great great uncle, Heinrich Vogeler lead a utopian artist movement. Meckseper’s connection of contemporary consumer culture to Jugendstil is its development as a form of aesthetic and political resistance to the mainstream.

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Josephine Meckseper - American Leg


This was the first solo exhibition in Canada of work by Los Angeles based artist Matthew Monahan. The survey for the first time brought together three distinct phases of his practice: early works using drywall, more recent pieces from the series utilizing large sheets of glass and industrial ratchet straps more usually seen securing heavy loads, and these combined with new works in cast bronze often standing atop columns or structures made from materials found in the foundry – bricks from smelting ovens, large sheets of metal. Running throughout was Monahan’s interest in the interplay between two and three dimensions, between drawing and materiality, infused with personal mythology and a self-reflective look at the conventions of museum display.

Selected from work made during the past eight years, Monahan’s figurative sculptures and drawings evoke artifacts from another time or era. With their battered, weathered surfaces and contorted, fragmented bodies, they could be ancient totemic figurines, tribal masks or chunks of Greco-Roman statuary. But instead of marble, wood or stone, Monahan imbues less weighty materials like Styrofoam, wax and paper with a sense of substance, meaning and artificial patina. Some figures perch on rectangular pedestals of unfinished drywall, whose raw edges and exposed fixings interrupt any impulse toward preciousness; others are contained within glass cases simultaneously acting as container, plinth and discrete element within the overall sculptural composition.

 

 

 

 

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Matthew Monahan


The Contemporary Art Gallery presented the first solo exhibition in a public institution of the work of Chinese artist Guo Fengyi (1942-2010).

Self trained, Guo Fengyi belongs to an older generation who’s embracing of Chinese folk culture combines with traditions of wisdom and myth. Her large-scale drawings comprise intricate details and obsessive mark-making to articulate ideas of spiritual and metaphysical significance.

She began drawing after illness brought her to the healing practice of Qiquong (a traditional Chinese health practice as a means to cultivate qi energy within the body). Combined with her study of theories of mysticism, she began having visions which she felt compelled to translate into drawing. Fengyi’s subject matter encompasses these traditional concepts of thought with cosmology, acupuncture energy maps, divination and dynastic sites – all systems which are disappearing in a modernizing China. Her works are charged in every sense, bringing together notions of creativity as acts of everyday life. Redolent of fields of energy and magnetic auras, drawings manifest as suggestions of the human form, otherworldly beings and internal body parts, mapped against diagrammatic evocations of invisible worlds surrounding and influencing our existence.

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Guo Fengyi


Frances Stark’s pivotal feature length video My Best Thing is a digital animation, which traces the development of two sexual encounters that progress into conversations about film, literature, art, collaboration and subjectivity. It is a personal narrative that considers the artist’s use of online sex-chat rooms as vehicles for her creative process. The poignant conversations Stark captures are often comic, heightened by the animation itself where she used Xtranormal, a free 3D-movie making software, to render herself and her male counterparts as cartoons, naked except for fig leaves, speaking in computer-generated voices. In conveying the complexity of her interests Stark manages to imbue these commonly disparaged internet sites, as well as their users, with positive, productive and social characteristics.

A publication co-published by the Contemporary Art Gallery, Koenig Books, London, and the Walter Philips Gallery, Banff accompanied the exhibition. It features a text by prominent British curator Mark Godfrey who addresses Stark’s resolve in representing her broad, and at times clashing, interests from her recently found enthusiasm for the controversial dancehall musician Beenie Man to her homage for the highly respected feminist painter Sylvia Sleigh.

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Frances Stark - My Best Thing


Typically Massey’s work accentuates and amplifies natural phenomena, often heightened through artificial means or via slight manipulations, exploring notions of time and space, and the mutable connections between them.

In Via Lactea (above Glacier Lake) Massey deftly combines 171 narrow-field photographs of the night sky on the same strip of film, achieved by making minor adjustments to camera angle over a lengthy period of time. Even though the image is artificially constructed, the luminous pattern of the starry night-time sky retains its convincingly poetic expanse while throwing into question the veracity of the photographic image. Its blueness is much closer to that of a daytime sky and as such connects to the location whereby it greets passengers as they arrive or depart at the station. By linking notions of celestial navigation – wayfaring – to more contemporary means of travel, Via Lactea throws into flux a consideration of temporality and site.

Scott Massey lives and works in Vancouver. He studied photography at Emily Carr University of Art & Design. His work is in private and public collections including Visual Art Collection, Office of Foreign Affairs (Canada), the Rennie Collection,Vancouver and the Surrey Art Gallery.

Presented by the Contemporary Art Gallery in partnership with Canada Line Public Art Program – IntransitBC.

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Scott Massey - Via Lactea (above Glacier Lake)


The Contemporary Art Gallery presented the first major exhibition of Vancouver artist Scott Massey. With the discrete work Aurorae sited in the windows and Via Lactea (above Glacier Lake) at the Canada Line station, Massey linked both locations through two new pieces dealing with shifts in notions of time and place and the mutable connections between them. Typically Massey’s work often accentuates and amplifies natural phenomena, often heightened through artificial means or via slight manipulations. His interest in challenging our perception of the natural world or urban landscape is exemplified in a series of photographic and light works.

 

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Scott Massey - Aurorae


The Contemporary Art Gallery presented the premiere of The Pixelated Revolution a new performance by Lebanese actor, director, and playwright Rabih Mroué. Mroué’s storytelling pits facts against propaganda imbued with a particular sense of humour and a visual sensibility. By means of a semi-documentary style of theatre, his often-controversial work draws attention to issues and events overlooked in the current political climate of the Middle East. Taking the form of a lecture-performance about the usage of mobile phones during the Syrian revolution, The Pixelated Revolution examines the contemporary and recent phenomenon of photographs made during such events of conflict, broadcast and shared via Facebook and other virtual communication tools, as a means to direct and communicate events to the world.

Presented in partnership with PuSh International Performing Arts Festival and grunt gallery.

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Rabih Mroué - The Pixelated Revolution


Looking for a Missing Employee is a thoughtful and provocative performance puzzle in which Mroué follows the true story of a man who disappears from his low-level post at the Ministry of Finance in Beirut, never to be seen again. Merging storytelling with live sketching, the artist takes us on a perplexing search for the ‘truth’, littered with a sea of documents, clippings, photos and found objects. The material accumulates under multi-camera live feeds as we are exposed to the ways media shapes public perception, rumours, accusations, political conflicts and scandals. What unfolds is a commentary on the phenomenon of disappearance and proof that “between the truth and a lie, there is but a hair.”

Supported by The Roundhouse. Presented in partnership with PuSh International Performing Arts Festival and grunt gallery. This tour is made possible through the collaboration of P.S. 122 (New York), On the Boards (Seattle), Walker Art Center (Minneapolis) and The Andy Warhol Museum (Pittsburgh).

Rabih Mroué, Looking for a Missing Employee
The Roundhouse, January 26–28, 8pm
Post-show discussion led by Vanessa Kwan, January 27

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Rabih Mroué - Looking for a Missing Employee


This was the first exhibition in Canada of work by British artist Robert Orchardson. Inspired by science fiction films and the work of architects and designers who engage with ways of thinking about the future, Orchardson is all too aware of the inherent paradox in visualizing the unknown, any attempt immediately foiled as it becomes instantly familiar. In setting out to imagine ‘things to come’, such endeavours unavoidably speak to us of the here and now. For Orchardson, his artistic proposition compels us to reassess utopias of the past, this revisiting however more than a mere act of longing. Instead it implies a restaging of unfulfilled possibilities as he grapples with fresh meaning and opportunity.

Approached through a triangular opening at the CAG, the wall construction pervaded the whole gallery, reinforcing the deliberate sense of entering another world. Against this, the series of coloured objects resemble the amorphous motifs that feature in paintings by surrealist artist Yves Tanguy. The result was an environment that speaks of competing implications of potential and redundancy; abstraction versus figuration; the immediate present as opposed to somewhere else.

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Robert Orchardson - Endless Façade


The Contemporary Art Gallery presented the exhibition Endless Renovation an evolving installation by Corin Sworn, which combined found objects and texts, light and shadows, storytelling and speculation. With this work, Sworn transformed the Alvin Balkind Gallery into a set animated by audio and images.

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Corin Sworn - Endless Renovation


To create is to relate was the first exhibition in Canada of the influential work of Sister Corita Kent who came to fame for her silkscreen prints while teaching at Immaculate Heart College in Los Angeles in the 1960s. The exhibition developed in association with the Corita Art Center, Los Angeles and MOCFA, San Francisco focuses on Corita’s work from this period when we see the rapid visual move from a muted palette to one where figurative style is replaced by an increasing use of large areas of intense abstract colour. Mixing advertising slogans and poetry in her silkscreens and commandeering nuns and students to help make ambitious installations, processions and banners, Corita’s work is now recognized as some of the most striking – and joyful – American art of the 60s. The exhibition also shows a shift in the manner Corita brings words into her compositions often fragmented whereby they become image. The size of the serigraphs also increases and for Corita the absorption of the burgeoning media signage, commercial systems and slogans she saw play an important role in the development of her work. She embraced the urban environment, the commonplace becoming far from empty wasteland, rather a vehicle for hope and rejoicing. In someday is now (1964) for example, the partial block letters clearly derive from SAFEWAY supermarkets; somebody had to break the rules (1967) has the phrase jumbled but taken from a laundry detergent of the day.

Corita’s work and its community engagement marked a decade of utopian thinking but were rooted in the belief that direct action can cause real change. As such she asserts the continuum between daily life and art through her work, and challenges our expectations of what and how we encounter art. This lack of division between form and activity makes for a compelling argument against the notion of detached art experience both for artists and the audience. In this way, it chimes with the Contemporary Art Gallery in our belief that art and its conventions should not be divorced from our everyday experience and have meaning to everyone.

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Corita Kent - To create is to relate


The CAG presented the first exhibition in North America devoted entirely to the vignettes of British wood engraver, artist and naturalist Thomas Bewick. Born in Cherryburn, near Mickley, Northumberland in 1753, Bewick worked in Newcastle until his death in 1828. Clearly influenced by his childhood on a small farm on the banks of the river Tyne, Bewick’s love of the countryside is reflected in his detailed woodcuts of animals, birds and rural scenes. Amongst his most ambitious projects were illustrations for General History of Quadrupeds (1790) and History of British Birds (two volumes, 1797 and 1804), both of which also included a great number of vignettes. Bewick referred to these as ‘tale-pieces’. Intended as illustrations of “some truth or point of some moral” they provide an invaluable insight into social history while also demonstrating the artist’s imagination and wit. As such these narrative works provided an interesting counterpoint to the work of many internationally established artists in Vancouver, engaging in image making which critically examines and reflects on the city and conditions which surround them. The presentation of historical work is intended to challenge our understanding of what a contemporary art space should show and as such reinforces the notion that everything was once contemporary, retaining meaning for future generations, just as much as what is contemporary now will inevitably become historical.

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Thomas Bewick - Tale-pieces


Federico Herrero is well-known as an abstract painter who uses unconventional locations and surfaces as a context for his large scale graphic murals. While Herrero at times works inside galleries, he often works with difficult sites whether it is the horizontal expanse of an exposed rooftop or the narrow corner of the custodian’s closet. His work, through form, colour and context directly addresses the division between art and social life, attempting to build a bridge between art as a specialized commodity and its larger place in the community. To address these concerns and extending our exhibition programme into the streets, the Contemporary Art Gallery commissioned Herrero to design a mural for our windows, using his formal vocabulary as a visual membrane, bringing our presence directly into the city. Also working with Autobox Media, the CAG designed a program, using Layar Reality Browser to create a virtual mural to be applied on selected sites throughout Vancouver. The artwork is accessible through any smartphone. Please go to http://offsite.contemporaryartgallery.ca for full details.

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Federico Herrero - Vibrantes


A Way To Go was the first part of the “GPS PROJECT” generated through the Education Program of Contemporary Art Gallery.

The word “Alley” comes from the original French root word “Allée” which literally translates as; A Way To Go. This was a walking journey project that consisted of using the GPS mobile device to navigate an alternative route through the downtown core by only taking alleyways and shortcuts. The passage was less distracting than crowded streets and avoided being a target for consumers by staying off the main roads. These routes are named after brief encounters with objects and/or subjects found in each individual alleyway rather than being named after important political figures or national historical references like most main roads in Vancouver. The names of the alley were included in the GPS map application. Through this journey, the participants came across site-specific installations, images activated by the GPS device, video clips and information about hidden spaces in the back alley.

Examples of this were images taken from inside an abandoned Japanese Auto Centre that has no access to the general public. Also an installation that was installed behind the fenced up corner in an underground parking lot to prevent homeless over-night staying, another example were details about a recycled water container underneath the Emery Barnes Park. This project continued to unfold describing more hidden objects/subjects in the allies of Vancouver’s downtown core over the following 3 months.

This program is generously supported by TELUS, 2010 Legacies Now and the Canadian Art Foundation. With thanks to Hannah Hughes and Autobox.

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Ron Tran - A Way To Go


In 2011 the Contemporary Art Gallery presented Flesh and Blood, a major touring exhibition of recent work by Canadian artist Shary Boyle. The exhibition, curated by Louise Déry, director of the Galerie de l’UQAM, was launched at the Art Gallery of Ontario in Toronto, travelled to the Galerie de l’UQAM, in Montreal and then to its final presentation in Vancouver.  The installation at the Contemporary Art Gallery featured three new works by Boyle exclusive to Vancouver.

Flesh and Blood reflected the artist’s vision and versatility and included drawing, painting and porcelains, creating an installation that drew upon ancient mythology, fiction and fantasy in an exploration of psychological and emotional conditions.

A number of characteristics are key to understanding Boyle’s work: stylistic contract and ornamental excess, the mechanisms of seduction, an evocation of a weird, theatricality of subject and manifestation of social politics.  Her examinations of scenes and subject matter associated with childhood and adolescence, in turn reference surrealist landscapes, fairytales, cartoons and illustrated novels that recall fantastic worlds or prophetic futures.

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Shary Boyle - Flesh and Blood


For American artist Sharon Hayes’ first solo exhibition in Canada, the CAG presented In the Near Future (2005-2008) her multifaceted and dynamic installation, incorporating 13 slide projectors and nearly 250 different images. The numerous images were gathered from audience members over four years as part of performances Hayes staged in six cities.

Hayes invited onlookers to document her enactment of 13 lone protests. In select public sites she picketed with placards bearing anachronistic and ambiguous slogans. Some she made up, altered or directly appropriated from bygone protests, such as, “Who approved the war in Vietnam?” is a phrase originally used in 1962 at the Charter Day Protest at the University of California and “I am a Man” a slogan taken from the civil rights movement during the Memphis Sanitation strike in 1968.  Each performance is a paring down of the basic strategies of street protest – the way text, body, and place and time go together to define a subject and create a common language. Hayes’ discursive and aesthetic investigation in the history of protest chimes directly with the recent success of mass protests in Tunisia, Egypt, and Yemen, and the worldwide support for the Libyan revolt.

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Sharon Hayes - In the Near Future


For their first solo exhibition in Canada, the CAG presented Beyond Guilt – The Trilogy (2003-2005) a collaborative video series by Israeli artists Ruti Sela and Maayan Amir.

The work’s currency rests in its daring and mischievous blend of sex and politics and its jumbling of subject and author. The trilogy begins with Beyond Guilt #1 shot in the bathrooms of night clubs in Tel Aviv where the artists record themselves negotiating sexual encounters. In Beyond Guilt #2, through an online chat room, the artists invited men to a hotel room where discussions of sexual preferences lead to talk of experiences in the army and the Israeli-Palestinian conflict.  And in the final video, they invited a sex worker to a hotel room, gave her their camera and asked her to document their meeting.

In all three, Sela and Amir are instigators on and off camera, acting as provocateurs as well as ready and willing participants. Beyond Guilt – The Trilogy is at times difficult to watch. The artists create risky scenarios by negotiating sex inpublic places and inviting strangers into their hotel room. Yet, Sela and Amir have managed to anaesthetize situations that are out of the ordinary, filled with unknowns and potential risk. They capture a banality within the sensational, neutering much of the provocation. Sela and Amir’s conflation of sex and war isn’t what one would expect – a depiction of spectacle and drama. It is of the everyday and seems to represent a possible tactic for coping with life in Tel Aviv. In a nation continually at war, surrounded by violence, this seems most viable.

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Ruti Sela & Maayan Amir - Beyond Guilt, The Trilogy


Roy Arden is well known for his austere photographs of Vancouver’s cityscape. His solo exhibition at the Contemporary Art Gallery shed light on the other aspect of his practice which is centred on found images, collage and the archive. Entitled UNDERTHESUN, the exhibition commanded all three of the Contemporary Art Gallery’s exhibition spaces, including its two galleries and the windows vitrines and a pictorial artist’s publication was produced. The exhibition included works in multiple media including; drawing, painting, collage and digital collage, video and sculpture.

Whether in his online work, artist’s blog and digital collage or his intimate handmade collages, Arden ‘s incessant digging through the image archive always seems focused on finding the root causes for our present condition. Arden’s subject as always is history and specifically, modernity. His recent adventure with multiple media seems like a search for new diagnostic tools that can offer him insights that could not be revealed through photography alone.

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Roy Arden - UNDERTHESUN


Although McIntosh is primarily known for her painting, she also works in collage. Violet’s Hair, for the first time brought together her work in these two distinct mediums. As well as exhibiting five recent paintings in the B.C. Binning Gallery, she built two large-format collages: one wrapped the exterior of the gallery, using the window vitrines, and the other filled the Alvin Balkind Gallery in a unified form. This was not the first time McIntosh worked with collage on this scale, but it was the first instance she built a structure as the ground.

Her collages and paintings carry a similar language, one of solid planes, layered forms and bold colours. They inform each other, running in tandem, offering a visible language that simultaneously exemplify the flexibility with which McIntosh handles many possible choices and the solidity of her final decisions.

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Elizabeth McIntosh - Violet's Hair


Following A Line was as “in following a line of investigation.” But here the line had no delineated starting or end point. Through lectures, films, PowerPoint presentations, archival images and signage, the works in this group exhibition in some way challenged these instructive forms and educational methods of presenting information.

The difficulty of representing knowledge, and the need to demonstrate one’s understanding was common to the work in Following A Line. Many of the artists in this exhibition worked from an archive of images and texts, which they had compiled over years of research, but it wasn’t essential to any of the artists to make this explicit or to lay out their research in an accessible form. Research can be defined as a search for knowledge or any systematic collection of information that is applied to a particular subject or a more general system of understanding. Research-based is a term that is frequently used to describe a type of art practice that focuses on the terms of research, using them as strategies for making art that both challenges the conventions of how information is gathered and presented.

 

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Following A Line


This exhibition explored the traditional genre of still life and how it is a sustained practice within contemporary visual art making. The number of artists and works was large for the exhibition spaces of the Contemporary Art Gallery, and yet it seemed small in relation to the subject. The quantity of works reflected this genre’s continued importance in current art production and discourse, and was conceptually tied to conventional formal aspects of still life, gathering together many objects for contemplation.

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Triumphant Carrot: The Persistence of Still Life


Lawrence Paul Yuxweluptun refers to his drawings as preliminary studies serving as background work and the measuring-stick for developing the forms and ideas that have come to identify his style and distinguish his pictorial inventiveness. Neo-Native Drawings and Other Works features three decades of drawings extending from 1980 to 2009. The most recent tree studies (2004 – 2009), as well as ovoid portraits (2002 – 2005), figurative works (1985 – 2009), etchings (1993 – 2009), watercolours (1980 – 1993), and a number of sketchbooks comprised the first exhibition to focus on Yuxweluptun’s works on paper.

Yuxweluptun refers to his work as a discourse. In his work, art and politics intermix with a Salish cosmology to critique and transform the conditions arising from colonial displacement, returning the notion of an empty newly discovered land to an indigenous sense of place. In this way a cultural landscape becomes known, if not fully understood, through the myriad forms that are central to Yuxweluptun’s image making. While his work often lays out the terms of a grim pedagogy addressing racism and abuse of the land, Yuxweluptun explores these ideas with a liberating and playful humour.

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Lawrence Paul Yuxweluptun - Neo-Native Drawings and Other Works


 An ideal context for an examination of the competitive nature of group exhibitions was during the 2010 Winter Olympic Games. In order to take stock of the current state of artistic interventions in the physical space or institutional workings of a gallery, guest curator Eric Fredericksen brought together an international roster of artists for An Invitation to An Infiltration

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An Invitation to An Infiltration


Elizabeth Zvonar’s work often uses iconic images from pop culture to reference art historical works, mixing images through collage or rendering popular forms in traditional materials. Through collage and sculpture Zvonar manages to connect the aesthetic, social and conceptual conventions of art history with those derived from the larger pool of popular culture.
On Time, Zvonar’s show at the CAG, carried this collision of representation into the realm of science, philosophy and religion by examining how the desire to move between realms, earthly, spiritual or dimensional, is portrayed through invention, ritual and, ultimately, image. This new work embodied Zvonar’s interested in the connections between Cubism, representations of the 4th dimension and rubber bands as metaphors for time. “I find that at the end of a journey, which of course is neverending; I have found things out.” This quote by British playwright Harold Pinter, is an apt description for On Time, which included an array of sculptures and collage that act as possible portals into implausible places. Zvonar’s reflection on Cubism and its relationship to Albert Einstein’s Theory of Relativity, as well as her consideration of counter-cultures such as the beat generation and hippy culture, focuses on a common desire to transcend the physical limits of temporal reality. Whether it is the simple gesture of the thumbs up or a picture of a popular music icon, she captures this ambition by drawing on familiar images. Through her use of scale, mix of materials and combination of imagery, Zvonar manages to render the familiar somewhat absurd. She captures a humour that taps into an optimism and innocence that seems to belong in some other realm.

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Elizabeth Zvonar - On Time


Repetition, exaggeration and processes of making were common threads that tied the works together in Face Up. The work of three artists was combined to articulate how representations of the body could be broken down into single gestures. In three works by Lee Lozano, she repeats the same gesture over and over through oil painting and pastel drawing. Bruce Nauman’s silkscreen print suite Studies For Holograms captures five different contorted facial expressions emphasized by the use of acid yellow, grey green and inky blacks. Sarah Lucas’s Cigarette Tits, from her notorious cigarette sculpture series of the early 2000’s, is an iconic female form made from the meticulous and repetitive stacking of cigarettes, capturing the full slump of a heavily bosomed female form through an economy of means. Each of the works is an exaggerated caricature of recognizable gestures, left open and ambiguous to override static meaning.

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Face up


Playing Homage was an international group exhibition in which the artist was the subject matter. Central to all of the works in the show was a focus on the figure of the artist, used by each artist as a reference point to address their own subjectivities as makers, as institutional critique, and in sincere homage to an historical cast of artists and to the cult of the artist persona.

Several of the artists in Playing Homage directly took on the specific identity of another artist, while others play a more generalized character. Some of the works were remakes or restagings of earlier works in which the artists became, quite literally, actors playing a role, while others dictated what it meant to be an artist.  The exhibition brought together new and older works, including My Late Early Styles (Part I, The Middle Period) (2007 – 09) by Rodney Graham, an image first conceived for the pages of Artforum (2007), but never previously realized as a large format photograph, and General Idea’s little known video, Press Conference, which was taped at the Western Front, Vancouver in 1977.  Also included was Mark Leckey’s Made in ‘Eaven (2004), shown as part of his winning exhibition for the 2008 Turner Prize, and Andrea Fraser’s sharp re-articulation of a Martin Kippenberger speech in Kunst Muss Hängen (2001).  Martha Wilson’s premiere video from 1972, a selection of posters by Kippenberger, and new work by Kerstin Cmelka, Christos Dikeakos, Evan Lee and Ming Wong were also included.

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Playing Homage


The Contemporary Art Gallery opened a unique group exhibition that brought together six British Colombia artists who use the journey as a way to engage with landscape traditions. In Sentimental Journey, all the artists went on expeditions, traversing the landscape to collect inspiration and gather materials to document their experiences. The works in Sentimental Journey were both real and fictive representations of often undetermined treks. Many of the works had an optimism that was tied to the landscape, the desire to be outside and the character of the artist/wanderer.

The art works in this context brought forward the tight relation between the journey and its presentation, embracing the romance of the journey while also recontextualizing and privileging the terms of storytelling in order to question sentimentality. Sentimental Journey captured sentiments of eighteenth and nineteenth century Romanticism.  Most of the artists in the exhibition kept true to this tradition, using the journey as their primary source of inspiration, translating their journeys materially to create a new experience in its own right. As many of the works in the exhibition showed us, our visual fields are saturated with representations of landscapes, but here the artist’s to reinvigorate our perception of nature through their distinctive working methods.

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Sentimental Journey


bgl is an artist collective based in Québec City. The acronym bgl is the first initial of the surnames of the three artists Jasmin Bilodeau, Sébastien Giguère and Nicholas Laverdière. They create large scale installations, public art projects that are responsive to the intended environment or surrounding culture. Combining humour and social critique, using popular consumer culture to address global and local political issues, they have worked together for over ten years, exhibiting widely. Most recently they participated in the Montréal Biennial, were nominated for the Sobey Art Award and have had a solo exhibition at Diaz Gallery in Toronto.

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Bgl - MARSHMALLOW + CAULDRON + FIRE =


Canadian artist Tim Gardner is well-known internationally for his figurative works based on personal snapshots of family events, vacations with friends and day to day activities.  Mostly realized as intimate and precise watercolor paintings and oil pastel drawings, his early work used photographs of his older brother and friends as source material, capturing the sometimes excessive leisure activities of these post adolescent men engaged in sporting activities or partying. For his solo exhibition at the Contemporary Art Gallery, his first in Canada, Gardner placed new emphasis on the landscape and watercolour. In this new work, the landscape became a place to formally engage with the properties of watercolour as a medium that offers a unique immediacy.

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Tim Gardner


“Please Do Not Touch the Artwork,” is a familiar museum rule. Danish artist Jeppe Hein rendered it glowing red neon. Placed in one of the Contemporary Art Gallery’s street front windows, it confronted the gallery visitor before they had entered the space, and set the tone for what was to come.

For Jeppe Hein’s first exhibition in Canada, he presented three works that physically addressed the viewer’s relation to the art object. Hein’s work has been situated within an extended lineage of Minimalism. It is defined by its close examination of the formal and spatial concerns of the Minimalists as a sincere attempt to develop their concerns and reinvigorate a discourse, not for its historical relevance, but as a still vital energy for contemporary sculptural thought. His two works for the gallery space challenged the convention of the sculpture as a static object. Each offered an opportunity for viewers to experience art outside of the traditional passive role of the art viewer. Both pieces sat still and silent until they were engaged by audiences who, in viewing the artwork, triggered outbursts off sound and movement.

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Jeppe Hein - Please Please Please


Shannon Oksanen works in a variety of media from video to drawing. She has a growing international reputation and has participated in group exhibitions at the CCA Wattis Institute for Contemporary Art, San Francisco (2004), VTO Gallery, London, England (2004), 303 Gallery, New York (2005) and The Charles. H. Scott Gallery, Vancouver (2006). Oksanen had participated in There are Those: Drawing by Six Artists at the CAG. For her solo exhibition, she presented a new 16mm film and a painting series. The film continues her interest in showmanship sports following in the line of works such as Break Away and Vanishing Point that focus on figure skating and surfboarding. Here waterskiing becomes the subject matter, which Oksanen sets back in time through the filter of the medium and layers of melancholy music. Her painting series continues her interest in portraiture.

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Shannon Oksanen - Summerland


Keep the IS in FEMINISM is a collection of new Feminist slogans commissioned for the Contemporary Art Gallery’s street front vitrines. For this project we invited prominent feminist artists along with emerging artists both female and male to “reinvent the ‘f’ word: feminism,” a directive taken from the renowned New York artist and activist collective Guerilla Girls.

 

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Keep the IS in FEMINISM


Clip/Stamp/Fold was the first exhibition of independent architectural magazines produced in the 1960s and 1970s. It was curated by renowned architectural theorist Beatriz Colomina and a group of PhD students at the Princeton University, School of Architecture. The exhibition was first presented in New York at the Storefront for Art and Architecture in 2006. It has since met great critical acclaim especially for remaining geographically specific to each city where it is presented. While the concept and presentation elements are portable, the archival magazines vary, being sourced from local collections. Since its debut in New York, it has traveled to the Canadian Centre for Architecture, Montreal; Documenta 12, Kassel; AA, London; and Norsk Form, Oslo with plans to go to Madrid and Barcelona.

With the help of architectural critic and curator Adele Weder, the CAG researched and assembled from local collections architectural magazines for exhibition. Clip/Stamp/Fold also included custom wallpaper featuring images of the magazines, facsimiles of historical magazines for viewers to peruse, and a historical timeline examining the social and political contexts behind many of the collected magazines.

For Clip/Stamp/Fold 6, the CAG organized a comprehensive program of talks, inviting architects, writers and publishers from the region to respond to the exhibition. Beatriz Colomina gave public a lecture on the exhibition on October 14.

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Clip/Stamp/Fold 6: THE RADICAL ARCHITECTURE OF LITTLE MAGAZINES 196X-197X


Robotic Chair is the culmination of a twenty-year exploration of kinetic sculpture. Modeled on a simple wooden school chair, the Robotic Chair has the extraordinary capability of falling apart and then putting itself back together again. In order to accomplish this amazing act the Robotic Chair is equipped with a mechanical robot embedded in the seat and a computerized vision system. Using state-of-the-art technology, the chair is a metaphor for life’s process -  falling down, and picking yourself up; falling apart, and putting yourself back together, over and over again. Max Dean realized Robotic Chair in collaboration with engineer and systems architect Raffaello D’Andrea and industrial designer Matt Donovan.

Max Dean’s works have been shown frequently both in Canada and internationally. Exhibitions include the Plateau dell’umanita, Venice Biennial, 2001; Voici, 100 years of contemporary art at Palais des Beaux-Arts (Bozar) in Brussels, 2000; and  dAPERTutto at the Venice Biennial, 1999; as well as exhibitions at the National Gallery of Canada in Ottawa, ZKM in Karlsruhe and Kiasma in Helsinki.

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Max Dean - Robotic Chair


In all of his sculptural installations, Samuel Roy-Bois sets the viewer in motion or, more accurately, makes the viewer aware of their movements. He may guide you to walk across a raised floor that in response amplifies your footsteps, or to walk in circles to look into the window of a rotating room. The artist’s simple directions ground the body of the viewer in space and in relation to material reality. For his solo exhibition at the Contemporary Art Gallery, Roy-Bois drew a map that should be followed with all the expectations of a traveler on a quest. He created a new work that took the viewer through a passageway into a dark place to find a treasure. To set the stage for this journey, the artist used the gallery’s street front windows to transform a common household building material into an overall colour-field.
Roy-Bois is originally from Quebec City and is currently living in Vancouver. His installations have been shown across Canada and internationally, most recently in Divertissements at Point ephémère in Paris, 2007; Improbable and ridiculous at Musée d’art contemporain de Montréal in 2005; and Faire l’independence at Quartier éphémère in Montréal, 2005.

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Samuel Roy-Bois - Let us, then, be up and doing, With a heart for any fate; Still achieving, still pursuing, Learn to labor and to wait


This solo exhibition presented works from 1997 to 2006 in paint, film and photography by Vancouver artist Stephen Waddell. Waddell began his career as a painter but eventually came to concentrate on photography. Studying at Simon Fraser University and the University of British Columbia, he moved to Berlin in 1998 but now maintains a studio in Vancouver and spends time living and working in both cities. Waddell’s early paintings focused on anonymous urban spaces, these were usually unpopulated, lonely scenes that seemed like memories of experiences of derealisation. He used the camera to make studies for his paintings and these snapshots and polaroids led him to take up photography full-time. Waddell also made super 8 film studies of urban pedestrians that paved the way for his tableau-scaled photos of solitary figures for which he has become known. These photos are largely unposed studies of strangers caught at work, in transit or at leisure that reinvent the Impressionist project of ‘the painting of modern life’. Like other painters turned photographer, Waddell’s indifference toward criteria established within a strictly photographic tradition permitted him to breathe new life and purpose into the medium. His works are better understood as pictures than photographs in that they draw as much from the history of painting as the history of photography.

Guest curator: Roy Arden

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Stephen Waddell


Letter to the Editor was a poster project by Allison Hrabluik that was in part an exercise in distribution. Only fifty identical posters were produced with the goal of slowly and subtly dispersing them through Vancouver in somewhat unexpected places. What started in one of the Contemporary Art Gallery’s street front windows slowly spread out over the course of two months. In this time frame, the artist personally approached selected common use businesses, asking them to hang a poster from inside their windows. The poster format was a break from Hrabluik’s animation and video work, but retained a narrative format typical to her early work. The poster was a collage of images of small animals, dolls, twigs and bugs, some of which she reproduced as watercolour paintings while others she left in photographic form. The content at first appeared sweet, but turned foreboding as one began to notice that all the animals are dead and the dolls glare unblinkingly.

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Allison Hrabluik - Letter to the Editor


For over 25 years, FASTWÜRMS, a collaborative art team formed in 1979 by Kim Kozzi and Dai Skuse, have been durable generators of DIY culture in Toronto and have been able to maintain a diverse and dedicated audience, and a distinct lineage of imitators and followers. They have built a practice that collides the rigour of conceptual art with pagan rituals and popular aesthetics, creating a fresh language of their own where they are alien witches who make films, video, installations, performances and teach at the University of Guelph, Ontario. With a sobering humor and a love of their community they have produced large public commissions and participated in the 2006 Sao Paulo Biennial. FASTWÜRMS have produced solo projects in Toronto’s many Queen Street West galleries and spaces, including Paul Petro Contemporary Art, X Space, the Gladstone Hotel, the late ZsaZsa Gallery, as well as internationally, including Southern Exposure Gallery (San Francisco), Osaka 90 (Osaka, Japan), Canadian Cultural Centre (Rome), Seoul Museum of Contemporary Art (Korea), Ideal Copy Office (Kyoto, Japan), and in La IV Bienalle de Poesia Visual (Zapata Subway Station, Mexico City).

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FASTWÜRMS - Donky@Ninja@Witch


Through large scale sculptural installations, Håkansson has built a practice that links scientific research to cultural production, reworking scientific studies within the sterile white walls of the gallery. Håkansson formally reconstructs experimental apparatuses that are originally designed to measure factors such as environmental patterns and the unique physiological movements of animals. For example, for Wind Tunnel, he rebuilt a structural device used to test bird flight patterns in the confines of the art gallery. As Vancouver is well-known for its specialized and well-funded research on environmental issues, in particular marine life, the CAG brought Håkansson to Vancouver in May 2006 to begin his research. He returned in September 2007 to begin recording Orca sounds for his upcoming exhibition.

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Henrik Håkansson - Aug.26,2003 - Aug.27,2003 (vespa vulgaris)


Vancouver based artist Elspeth Pratt produced an abstract sculpture for the gallery’s street front windows. Using common building materials, Pratt constructed a cohesive composition to create a unified design over nine windows. In general Pratt uses forms and materials that align closer with architecture than the history of visual art. At times she directly references the space she exhibits in, but more often her abstract sculptures carry direct references to other, more ubiquitous architectural spaces. World Traffic’s (2004) curving cardboard dome and grated base reflects the now pervasive shape of many new airports. Her wall piece Pendulum (2000), which uses a stick, sponge and wire to precariously balance a protruding block of wood and suspend a carved piece of pink foam, is characteristic of a cantilevered stadium balcony. For Bluff, her work for the Contemporary Art Gallery, Pratt did both. She responded directly to the space, but also made reference to more general and proverbial architectural forms.

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Elspeth Pratt - Bluff


Drawing holds a particular place in the hierarchy of art media. It is a method for sketching; a way to solve problems, a mode of research; a part of a larger practice and a place to begin. It is traditionally distinguished as being made with a pencil, pen, charcoal, marker or crayon, usually consisting of lines, patterns or shading. There are Those was an attempt to look more deeply at the process of drawing and those reasons to draw. We used this exhibition to answer questions like why are we seeing so much drawing, why are we interested in it and how are artists using it? This group exhibition was a small selection of Vancouver-based artists who use drawing as part of a larger practice, but who also use it in a particular way, as a means to slow down their thinking process. All the works in this exhibition were labored, generally overdrawn. They had a slightly obsessive character, either through exhaustive detail, repetitive gestures, or the obvious working and reworking of a motif. All the works made reference to historical material, either stylistically or thematically.

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There Are Those: Drawings by Six Artists


For Kristan Horton’s first exhibition in Vancouver, the Contemporary Art Gallery presented a selection of 38 photographs from Dr. Strangelove Dr. Strangelove. The doubling of the title of Stanley Kubrick’s 1964 film is the first key into this ambitious project in which the artist reproduces scenes from the film Dr. Strangelove as sculptures. Using various commonplace items from his studio (a glue-stick, garbage bags, cutlery, felt markers and dirt to name only a few) Horton constructed the overall composition of each scene. He then placed, side by side, a black and white photograph of his improvised constructions with a reproduction of the original film still, amalgamating them into a single printed image.

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Kristan Horton - Dr. Strangelove Dr. Strangelove


The CAG presented the first Canadian exhibition by Russian born artist Pavel Pepperstein. Pepperstein has an eccentric practice in which he mixes painting, drawing and writing to build idiosyncratic iconographies and elaborate chronologies that both reflect a hazy past and predict a fantastic future. His series of paintings and drawings, Landscapes of Future depicts an absurd timeline of a not so plausible future. Many of the pieces in this body of work link figures from Russian mythology and fairy tales with signs and symbols from critical theory, literature and current politics, creating a bizarrely abstract representation of society as we know it that hovers between optimism and anxiousness. Pepperstein aptly situates this series within the genre of landscape painting. In general, the individual works either directly incorporate the common tropes of this genre or move toward total abstraction; for example, 2388 depicts the year lakes will begin to fly and 3017 abstractly represents the fight between ‘The All’ and ‘Nothing.’

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Pavel Pepperstein - LANDSCAPES OF FUTURE


A Shallow Flight of Stairs, Robin Peck’s solo exhibition at the Contemporary Art Gallery, consisted of a single large scale work using all eight standard size acrylic sheets. Peck worked through many different configurations to bring the separate pieces of material together in a composition that responded to the gallery as a frame and in consideration of the way a viewer moves around the work in the exhibition space. The relation that was created by assembling the similar but slightly differing material was one that was contingent on the architecture of the gallery but with the primary concern of putting the viewer in motion. The sculpture and architecture were static and activated by the viewer’s movement, which revealed subtle incremental changes in perspective caused by the differing thickness of each transparent sheet.

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Robin Peck - Shallow Flight of Stairs


Derek Brunen’s project for the gallery’s street front windows was recognition of and an invitation to the casual passersby who might not take notice of the Contemporary Art Gallery and its many activities. For Blind, Brunen tailored an array of secondhand curtains. Windows are a logical place for curtains, but they are out of place on the CAG’s uniform retail-like vitrines, under the cement tower and in the still developing neighbourhood. Curtains are an outdated mode of window dressing and not common to urban condos where blinds and shutters are more often pulled closed than drapes drawn. In Yaletown, in the densely populated downtown core of Vancouver, Brunen faced the curtains out, aesthetically arranging them into a united composition that took both texture and colour into consideration. By covering the windows he concealed what was behind them, but by creating a considered composition and directing the colour-field toward the street he asked the accidental spectator to investigate what is behind the curtain. Blind was an invitation to look.

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Derek Brunen - Blind


Euan Macdonald isolates ideas, making them manifest with simple gestures and through simplifying the visual field. For Nebula, his solo exhibition at the CAG, Macdonald presented a 16mm film loop of a nebula captured through the telescope at the Mount Wilson Observatory in Los Angeles. Unlike the human eye, which cannot translate colour at such distances, film and video cameras can read the multiple colours particular to nebulae. Yet Macdonald still chose to forget the awesome spectrum of color, portraying the cluster of stars in black and white. He removed information not just to represent how the human eye sees, but to draw attention to the means of representation in order to create a lull between spectacle and sublime understanding. As part of Nebula, the CAG co-published a limited edition artist bookwork with Verlag Fur Moderne Kunst, Nurnberg that consist of an amalgamation of stills and drawings.

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Euan Macdonald - You Are My Nebula


These emerging Vancouver-based artists have recently come together as collaborators. In combining their practices they have created a specific dialogue, one that centers on a formal exchange and a continued interest in simplifying the terms of their visual surroundings in an attempt to see what the other sees. For their exhibition at the CAG, Rhonda Weppler and Trevor Mahovsky presented a sculptural series of these formal conversations, which used base materials to geometrically represent common and household objects. They continued this dialogue in the windows in two dimensional terms, graphically rendering and extending their conversation.

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Rhonda Weppler & Trevor Mahovsky


Concrete Languagebrought together contemporary art works that explore the visual and spatial relations in language. The project was conceived to examine the visual dynamics of language, creating a contemplative moment that is outside the way we commonly use or view language. Each of the artists: Michael Baers, Fiona Banner, Filipa César, Martin Creed,  Antonia Hirsch, Denise Oleksijczuk, Ian Grais, Vibeke Tandberg, Ron Terada, Ian Wallace, Lawrence Weiner, Laurel Woodcock, Cerith Wyn Evans, YOUNG-HAE CHANG HEAVY INDUSTRIES and Elizabeth Zvonar, in this international group exhibition builds relations between text and visual material that moves beyond typical didactic or diagrammatic functions. Instead, the artists meld word and aesthetics to locate meaning at the meeting point, leveling the site of impact by creating an overt and immediate inter-dependence between what is being said and how it is visually perceived. Co-curated by Jenifer Papararo and Christina Ritchie.

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Concrete Language


Vancouver-based artist and writer Roy Arden curated an exhibition of work by internationally renowned artist Hans-Peter Feldmann. Feldmann has had profound influence on the shape of contemporary conceptual art and photography, paralleling text and image and redefining methods of exhibition and distribution. For Feldmann’s first solo exhibition in Canada, and in order to introduce local audiences to the breadth of the artist’s work, Arden selected an array of Feldmann’s signature bookworks, posters and smaller works. The exhibition also included 100 Years, an ambitious photographic series of 101 black and white portraits of people ranging in age from 8 months to 100 years old. The formal composition of the images strongly relate to work of the early 20th century photographer August Sander. In conjunction with the exhibition, the CAG published Birgit Doing Her Make Up, a bookwork comprised of 72 successive photographs.

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Hans-Peter Feldmann - 100 Years


In his budding career, Christian Kliegel has deftly managed to mesh the grand gestures of monumental sculpture with more subtle and personalized actions. Since 2003, the artist has routinely detoured from his day-to-day travels to gather the material for Production Postings, an on-going project. Kliegel compiled a vast collection of location signs used by film and television production companies to direct crew and extras to film shoots. Each production uses a cryptic code to identify itself, but the general design and style of these brightly coloured signs are formulaic and a ubiquitous part of Vancouver’s urban landscape. Kliegel filled the Contemporary Art Gallery’s twelve street level windows with over three hundred of these signs, creating a vibrant spectacle that is reminiscent of the industry’s commonplace, but excessive and showy presence in the city.

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Christian Kliegel - Production Postings


Vancouver-based artist team Hadley Howes and Maxwell Stephens (Hadley+Maxwell) examine the relation of politics to aesthetics. For their project, I Love You, they combined graphics from the Atelier Populaire, a French workshop who produced posters for the May ’68 riots, and text appropriated from Wings’ 1976 hit Silly Love Songs. The resulting works played image against word, testing the power and effect of the activist graphics against the clichéd pop lyrics. For Screen Test, their solo exhibition at the CAG, Hadley and Maxwell produced three new works that continue to build a tension between politics and aesthetics, reflecting on issues of taste and its historical construction. They have exhibited their collaborative work across Canada at the Kyber Center in Halifax, Artspeak and Western Front in Vancouver and have been included in group exhibitions at the Henry Art Gallery in Seattle and the Vancouver Art Gallery.

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Hadley+Maxwell - Deleted Scenes


In partnership with Los Angeles Contemporary Exhibitions (LACE) the CAG mounted When Hangover Becomes Form, an installation by Rachel Harrison and Scott Lyall curated by New Orleans-based art critic and historian Daniel Adler. The collaboratively conceived installation included an array of found objects, appropriated texts, photographs, drawings and handcraft sculptural elements arranged with a non-hierarchical composition. The collection of objects, images and texts contained no narrative connections that are fixed or fully revealed. With no obvious focus to the work, viewers were discouraged from using an isolated portion of the composition as an interpretive key to the work, and were encouraged to approach the installation as a speculative and intuitive encounter that revealed multiple semantic layers. Harrison and Lyall developed their practices within a parallel dialogue, but this was their first material collaboration. Harrison has exhibited at the 2003 Whitney Biennial and had major solo exhibitions at the Milwaukee Art Museum, Bergen Kunsthall in Bergen, Norway and San Francisco Museum of Modern Art. Lyall has exhibited nationally and internationally at Susan Hobbs Gallery in Toronto, Greene Naftali Gallery in New York and KunstWerke in Berlin, with his first major solo exhibition in Canada at the Art Gallery of North York, 2002.

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Rachel Harrison and Scott Lyall - When Hangover Becomes Form


Myfanwy MacLeod’s work is trademarked by her wry sense of humour, and her layered referencing of consumer and popular culture. Using the language of cartoon-style drawings and sculpture, MacLeod brings together a blend of art historical references and a humorous take on the self-absorbed and entertainment-saturated culture in which we live. For Where I Have Lived and What I Have Lived For, Macleod drew inspiration once again from the world of popular culture, this time beginning with Scottish folklore. At Glenfiddich artist residency programme in Duff Towns, Scotland (summer 2005), Myfanwy produced a series of photographs of the interiors of derelict houses in and around the Glenfiddich Distillery. These photographs, which investigate the idea of the supernatural, start the artist’s exploration of vernacular representations of the otherworldly.

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Myfanwy MacLeod - Where I Lived, and What I Lived


To Be Sorted: Blank/Circle to Square/Organizing Principle was a series of three consecutive vitrine displays with objects from the collection of Micah Lexier, with each display accompanied by one of the artist’s works. Lexier, a Canadian artist based in New York, has developed his practice out of a reconsideration of the quasi-documentary strategies of early conceptual art, retooled to accommodate his concerns with time, identity and difference. Lexier has a sustained interest in the ephemeral products of conceptually based practices and over the years has amassed an extensive collection of such materials, along with thousands of anonymous products that share similar graphic and aesthetic qualities. Three separate groupings of material from this collection were selected, each group was accompanied by one work by the artist, obliquely demonstrating their reciprocal qualities.

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Micah Lexier - To Be Sorted : Organizing Principle


Andrew Reyes is an artist who lives and works in Toronto. He was included in the show News From Nowhere, curated by Derek Sullivan at the Susan Hobbs Gallery in June 2005 and included in the inaugural show at Diaz Contemporary in September 2005, Toronto. For display in the CAG’s street front windows, Andrew Reyes produced 120 photographic posters. In general, Reyes’ photographic work plays with the aesthetics of advertising, using visual effects to enhance or clean up otherwise mundane or dreary scenes. His series Day Place/Spray Palace (2002) is composed of nondescript generic images from his work place. With a few simple gestures, the careful addition of a couple of flares and sparkles, and by saturating the image with colours, Reyes transforms his ordinary work place into an ideal setting.

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Andrew Reyes - Posters


Kamloops based artist Donald Lawrence’s ambitious process based sculptural and photographic works often combine the creation of elaborate, antiquated methods of outdoor exploration in combination with methods to document the ongoing processes the sculptures incite. He had made a canoe that doubles as a darkroom and a sled that converts into a survival tent/hut. Lawrence is fascinated with turn of the century technologies of exploration and survival, and joins his research into these often nostalgic histories with an active re-mapping of their present day potentials. For the Contemporary Art Gallery, Lawrence proposed a large scale installation based on a number of old iron clad ship’s boilers that sit on beaches on the west and east coasts of Canada. Functioning at the cusp between valuable antique and disintegrating flotsam, the boilers provided Lawrence with a trope to examine distinctions between treasure and garbage, memory and lost history.

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Donald Lawrence - Torhamvan/Ferryland


To Be Sorted: Blank/Circle to Square/Organizing Principle was a series of three consecutive vitrine displays with objects from the collection of Micah Lexier, with each display accompanied by one of the artist’s works. Lexier, a Canadian artist based in New York, has developed his practice out of a reconsideration of the quasi-documentary strategies of early conceptual art, retooled to accommodate his concerns with time, identity and difference. Lexier has a sustained interest in the ephemeral products of conceptually based practices and over the years has amassed an extensive collection of such materials, along with thousands of anonymous products that share similar graphic and aesthetic qualities. Three separate groupings of material from this collection were selected, each group was accompanied by one work by the artist, obliquely demonstrating their reciprocal qualities.

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Micah Lexier - To Be Sorted: Circle to Square


Clement Greenberg described collage as “a major turning point in the evolution of Cubism, and therefore a major turning point in the whole evolution of modernist art in this century.” Bit by Bit incorporated the work of emerging artists who continue to explore this material practice. All the artists in the exhibition apply conventional notions of collage, physically collecting, combining, cutting away, covering up and layering found images and commonplace materials – one piece at a time – to create new images and thus to construct new meanings. Whether the artists are boldly forming an aesthetic moment or overtly putting forward a political agenda, each element within the overall collage is considered a separate piece of information that combines with other pieces to generate something whole, and it is this tenuous and apparent relation between the pieces and the whole that gives this material practice its potency and continued relevance. As part of Bit by Bit, the CAG  published a special issue of I Got Killed I Got Killed I Got Killed in World War Three.

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Bit by Bit


To Be Sorted: Blank/Circle to Square/Organizing Principle was a series of three consecutive vitrine displays with objects from the collection of Micah Lexier, with each display accompanied by one of the artist’s works. Lexier, a Canadian artist based in New York, has developed his practice out of a reconsideration of the quasi-documentary strategies of early conceptual art, retooled to accommodate his concerns with time, identity and difference. Lexier has a sustained interest in the ephemeral products of conceptually based practices and over the years has amassed an extensive collection of such materials, along with thousands of anonymous products that share similar graphic and aesthetic qualities. Three separate groupings of material from this collection were selected, each group was accompanied by one work by the artist, obliquely demonstrating their reciprocal qualities.

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Micah Lexier - To Be Sorted: Blank


Ceal Floyer’s art practice has developed out of a playful approach to the tenets of minimalist sculpture. Using familiar objects and common figures of speech, she upends conventional meanings, creating works that are both elegant and absurd. Her small gestures, reductive reasoning and literalist approach to materials yield works that exploit the sometimes surprising outcomes of a perfectly logical process. This exhibition included new works created especially for the CAG.

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Ceal Floyer


Daniel Olson uses performance as a means to ignite his material production. The Montreal-based artist transforms existing objects with somewhat discrete interventions, at times enhancing or exaggerating their use value. For example, he adds a bell to a wooden walking stick, which can be rung with the simple flick of the thumb; he adheres a magnifying glass to a music box, exposing its inner workings; or melds a fan to a music-maker so both operate simultaneously. For Twenty Minutes’ Sleep the artist revisited earlier installations where he combined objects, sound, video, photographs and performance, to create an office space that sets the stage for a shifting cast of characters.

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Daniel Olson - Twenty Minutes Sleep


Vancouver-based curator Seamus Kealy organized an exhibition of Vienna-based artists through the University of British Columbia in collaboration with the CAG. This project offered an international exchange and collaboration and was aimed to involve and address younger artists. With this exhibition we aimed to create a dialogue between two seemingly disparate art communities of Vancouver and Vienna. Unterspiel brought together work that challenged prevailing limitations of contemporary art and as such, considered the function of the museum and other cultural institutions, and the ephemerality of the avant-garde and then the historicization of such activities. The exhibition considered Austria’s complex and often contradictory art traditions, many young Vienna-based artists continue to tackle notions of identity and cultural difference, and challenge institutional and social structures perpetuating class-confirming policies.  Participating artists included Patrick Baumueller, Severin Hofman, Marlene Haring, Hans Schabus, Catrin Bolt and the collective Monochrom.

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Unterspiel


As the Hammer Strikes is a groundbreaking video installation. Originally produced in 1982 in 16mm film, this complex triptych details a real time conversation between the artist and a hitchhiker he picked up in Southern Ontario. For the exhibition at the CAG, John Massey used three screens to convey the minutiae of communication, visually portraying misunderstandings and thought processes. Toronto artist John Massey has been working for over 25 years, having gained a national and international reputation in the early 1980s. Through a wide variety of media, including photography, film and sculpture, Massey’s work often plays with the ambiguity between reality and fiction. His work has been widely exhibited, with shows in Germany, the United States, the UK, France, Australia, as well as in Canada; and is held in many collections including the Art Gallery of Ontario; the Stedelijk Museum, Amsterdam; Fonds National d’Art Contemporain, Paris; and the Ydessa Hendeles Art Foundation, Toronto. John Massey received the 2001 Gershon Iskowitz Award for lifetime achievement. He currently teaches in the Visual Studies Programme at the University of Toronto.

Curator: Jenifer Papararo

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John Massey - As the Hammer Strikes


Daniel Barrow is an illustrator and storyteller. Barrow has developed a signature animation technique that applies antiquated methods using an overhead projector. Through live performances, he animates a narrative sequence of charismatic illustrations. For Don’t Let This Happen, his first solo exhibition in Vancouver, Barrow harmoniously joined a variety of media, devising a self-sufficient means of animation using an overhead projector, a fan, some water and plastic beads in combination with his illustrations and video work. As part of his exhibition at the CAG, Barrows performed Every Time I See Your Picture I Cry, a story set in Las Vegas based on the life experiences of Scott Thorson, Liberace’s young boyfriend. Daniel Barrow is a Winnipeg-based media artist working in performance, video and installation. He has exhibited widely in Canada and abroad. He creates and adopts comic book narratives into a “manual” form of animation by projecting, layering and manipulating drawings. Barrow refers to this practice as “graphic performance, live illustration, or manual animation.”

Curator: Jenifer Papararo

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Daniel Barrow - Don’t Let This Happen


Damian Moppett’s practice questions notions of mastery. For his exhibition at the CAG, Moppet brought together three distinct crafts: drawing, ceramics and music. He is interested in the idea of learning a craft, but wants to avoid the exterior and traditional criteria with which proficiency or mastery is judged. He spent six months learning how to throw clay pots working up from a simple hollow container to a more complex tea pot. His drawings reference vernacular and illustrative styles. He uses them as a form of documentation of his art practice and as a means to literally represent his cultural influences. He incorporated music into the exhibition through a series of four videos that highlighted all the technical skills needed to set up a rock band. The music becomes secondary to the material need to make music. Within each medium he presents a modest level of skill and attempts to avoid the creation of a spectacle in part by privileging the process over the finished object and by avoiding, to a certain degree, the tropes of each medium.

- Jenifer Papararo

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Damian Moppett - The Visible Work


The Spiders are comprised of Vancouver artist Damian Moppett and Toronto artist Zin Taylor. A collaborative outfit, The Spiders have adopted the sub-cultural administration of fashion in order to operate and produce work. For this exhibition, the street-front windows of the CAG contained a variety of ephemera (posters, buttons, stickers, displays, recordings) documenting The Spiders output over the last couple of years. For this special occasion, a limited edition necklace reading “The Spiders” was made from bent silver wire in a spider-like font and was available for purchase at the time of the exhibition.

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Damian Moppett & Zin Taylor - The Spiders


The Contemporary Art Gallery presented the North American debut of For Example: Dix-Huit Leçons sur la Société Industrielle, a new body of work by internationally respected Los Angeles artist Christopher Williams. Williams is strongly associated with a group of Vancouver artists known for the development of Photo Conceptualism. Like them, his approach comes out of the history of conceptual art of the 1960s and 70s, which used language and photography to address issues related to painting and sculpture.  Williams has self-consciously adopted the production values of fine art or “straight” photography into a practice that explores sculptural ideas using photography and installation.

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Christopher Williams - For Example: Dix-Huit Leçons sur la Société Industrielle


This exhibition at the Contemporary Art Gallery assembled a wide spectrum of Shearer’s recent work with the aim of profiling its many convergent strains. The centerpiece for the show was a recent sculptural installation in the form of a steel garden shed inside of which a guitar P/A system played a heavy metal guitar solo specially commissioned by Shearer. The ‘music’ was amplified and distorted by the metal of the shed, creating a keening shrine to angry, cloistered youth.

Vancouver based artist Steven Shearer  works in a broad range of disciplines including painting and collage, and continues to investigate the vernacular aesthetics of the 1970s as a site for looking at the emancipatory energies and sometimes revolutionary potential of teens and youth. He has assembled a growing archive of photographs, mostly downloaded from the web, of amateur record and tape collections, guitars and other totems of youthful rebellion and identification. He has also produced a number of works anthologizing images of ‘70s teen pop idols like Shawn Cassidy, whose androgynous sexuality and rapid climb into and then out of the heights of teen fandom is used for its autobiographical metaphors.

Exhibition text:

Steven Shearer is a collector of content, which he gathers in the form of images and lists. His accumulation and selection is derived from a researched interest in popular modes of representation that is specific to forms that have not yet established themselves or conformed to a set of established conventions. Within his collection there is often a subject matter that reflects a certain time period, and acts as social commentary, which at times Shearer defines through a personal history. But the overarching commonality running through his collection lies in formal concerns, in the manner, form or context in which a subject is represented.

Shearer has compiled an assortment of images from early teen magazines, at a time when the emerging genre was still experimenting with ways to represent its subject matter. The marketing power of a single image was not fully realized. Instead these fan magazines presented more of a scrap book approach that incorporated a large portion of non-professional and non-staged photographs. In the early days of fan magazines when their numbers were limited, they published a seemingly endless number of images, creating icons through sheer quantity with almost blatant disregard for the quality of the image or its layout on the page. Using this abundant resource of material, Shearer looks for particularities, selecting like images through similarities in poses, action or framing devices, reconfiguring them into groupings in order to find new ways of seeing and reading the imagery.

In Kaleidoscope (2001), one of Shearer’s early and now signature collage works, he compiles predominantly frontal shots of the 70s heart throb Leif Garret into a large and tight grid-like pattern without cropping or altering them; an approach he repeats in a number of works in this exhibition. Shearer reformats these images of a common subject matter into a monumental scale, a single field of hundreds of found images. Even though Shearer rarely alters the images, the overall collage creates a highly mannered effect that looks like it has a rigid structure imposed on to it: each four-sided image is framed by an almost symmetrical white border. Shearer does not want to deny the content of the individual images and tries to maintain the integrity of the original source material, while also considering the composition of the reconfiguration as a whole. It is a matter of proximity. From a distance the work appears as a color field, even the harshness of the negative spaces softens, melding the individual images instead of dividing them.

Shearer pushes this play with distances in List (2004), a large scale print of thousands of extreme underground black/death metal recordings sourced from tape trader lists. From a distance the columns of titles, band names and tape descriptions have a formal quality reminiscent of large scale abstract paintings. It is not until you stand directly in front of the work that the pattern breaks into columns, and then lines, and then words. Shearer uses a painterly approach, giving information a physical presence and even though the text is discernable at a certain vantage point the amount of information in its sheer volume is almost indigestible in anything other than its formal representation.

Part of Shearer’s collection is dedicated to images of handicrafts originally published in craft specific magazines from the late sixties and early seventies. With the craft imagery in particular, Shearer takes the most liberties, removing them from their background and adjusting their shape and size. He then reproduces them as silk-screen prints, reanimating them using a craft based technique and giving them a renewed context. Countless hours were spent making these beloved and be-laboured crafts, but when it came to their representation, like the countless images of teen idols, there was a carelessness; the work was usually self-photographed under poor conditions, and badly reproduced.

Slumber is the latest piece in Shearer’s large format collages. It breaks in content from his earlier works, moving away from youth and music cultural references to a less self referential subject matter and a direct pointing to the history of portraiture. For Slumber, he has culled images from the web, compiling photos of people sleeping. Shearer is specific about his sleepers. All of them are captured photographically sleeping, but usually not in bed or lying down. They are all caught in unlikely and often comical and mannered positions, half-sitting in chairs, slumped over tables or propped against walls with contorted bodies, twisted necks, and gaping mouths. He then combines these multiple images into a rigid structure that in a way conflicts with the subject matter, arranging them into a loose grid and finding a way to display the images in a painterly manner. For Shearer, the self-published images that he finds on the web are reminiscent of the amateurish and haphazard reproductions of early fan and craft magazines.

Sheds — the typical aluminum tool sheds found in almost every suburban back yard — are also a worthy subject matter for Shearer’s collection. Using his signature method of collage, he creates a grid of nondescript backyard sheds. Within this assembly of like images, he inserts a single image of a longhaired teenager playing a guitar. Adding this one inconsistency gives the shed new meaning. It now has the potential to become the practice ground for the guitar playing youth, a fertile ground for creativity and a place of freedom. For his exhibition at the Contemporary Art Gallery, Shearer brought this possibility into the gallery by assembling a “performance space” from prefabricated panels for such sheds. For the majority of the exhibition the shed sat closed with only slivers of light escaping from its cracks. On one occasion only, the sculpture became active via prerecorded death metal riffs specifically constructed to blare from within the closed aluminum walls causing the shed to vibrate and shudder in response to the different notes.

As much as Shearer is constantly looking for content he is also looking for innovative modes of display. He often returns to traditional forms of representation in order to recontextualize his collections. For Dirtyface (2003-4), Shearer unites seven images from his collection of teen idols in a series of seven silver point drawings. The old school technique creates a weird rift in time, converting the familiar 70s pop stars into 19th century street characters: from Adam Rich look-a-like (the youngest sibling from the television series “Eight is Enough”) to chimney sweep. In a similar manner, Longhairs, a series of crayon drawings, depicts five longhaired men, all shirtless. The medium and Shearer’s particular choice of characters transforms the contemporary low resolution jpegs to echo models of historical portraiture. He also reworks select images on canvas, moving deftly between painting, silkscreen and collage. The use of traditional mediums and the meditative focus of these hand made images contrast and compliment the glacial accumulations of printed images in Shearer’s archive.

There is something so optimistic and obsessive about all the subjects he chooses to collect, something that is reflected in his own act of collecting, and extended to the manner in which he presents his archive. How to give these things, his collection of images and text, a physical form or body? In their origin the items in his collection were neglectfully presented and reproduced, and in acquiring these images he can take the role of their caretaker, attempting to create a new context and aesthetic form in which to represent them or by using them as source material for traditional forms of image making.

- Reid Shier

 

 

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Steven Shearer


Alex Morrison’s practice spans a variety of media in work that examines the relationships between urban and domestic space, memory, and the struggle for subjective identity. His new work, Free Room, translated these themes into a three-channel DVD work based, in part, on Lindsay Anderson’s cult classic film, If, of 1968. Freely interpolating from the film’s depiction of the claustrophobic relationship between alienated youths, Free Room was set in a single room where the characters discuss, joke and plot, about sex, politics and death – the elements of a projected free life. Using images clipped from a variety of magazines, the three characters mapped out a set of identifications and the means to deflate them; they appropriated images in order to domesticate their rhetorical force. The work illustrated this transitional point of experience, a plane of action that is divorced from both the compliance of childhood and the complex morality of independent choice.

Accompanying Free Room in the exhibition at the Contemporary Art Gallery, was a selection of silkscreen posters and drawings, together called Gesucht! (Wanted!). Similar in theme to *not the actual apartment (2001), these works dealt with idealized architectural space as lifestyle.

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Alex Morrison - Free Room


Marina Roy is a Vancouver based artist and writer whose works combine interests in historical book illustration with psychoanalytic theory and word play. Past works include a series of illustrations the artist crafted on the fore-edges of books, which illustrate the books’ titles while making overt sexual puns about their subject matter.

For her exhibition at the Contemporary Art Gallery, Roy presented an ambitious series of new paintings using glass and mirrors. In these works, abstract ‘blobs’ of paint are poured onto sheet glass; Roy then created representational paintings inspired by 18th and 19th-century illustrational styles on the reverse side of the painted glass. Arranging a mirror behind the glass, the illustration can be glimpsed hovering behind the monochromatic blob. Parallels with Rorschach tests bring to mind and literalize the often sexual nature of suggestion.

Several of the images in the paintings have been used in the accompanying video animation. Using kinetic devices such as bodily emissions or expanding clouds, the relationships between background and foreground are blurred or trade places, operating in much the same way as they do in the mirror painting structures. All of the images are figurative and make reference to landscape traditions, exploiting our abiding interest in nature and human nature.

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Marina Roy


An optimistic dependency lies at the core of collaborative art production. There is value in using each other – borrowing someone else’s ideas, co-opting an aesthetic, applying an existing formula, utilizing another’s tools – that generates a confident interdependence and creates a complicit generosity that is not so much about giving over one’s ego as it is about defining it within a shared social context. Each of the projects for Social Transmission was built from an undefined assemblage of adaptations, reconstitutions, incorporations and re-enactments. The four members of Revolutions on Request presented an aesthetic ideal, a discussion and idea of art making which was represented by a diverse collection of products and mediums that, when presented together, coalesce into an overall design. In a similar manner, Massimo Guererra used and offered his material production as a language to form social interaction. His objects and installations simultaneously carried the residue of and the potential for building relations. assume vivid astro focus is a name to be used, an erratic collective, an individual, a space for exchange. It is or they are constantly incorporating the work of others and amassing a mix of references, from pop psychedelic to Aubrey Bearsdley, in the name of sharing. In all three projects, usage became a viable means to produce work, giving way to a material accumulation, an aesthetic gathering that idealistically transmits the social.

 

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Together Forever


Jerry Pethick (born London ON 1935, died Hornby Island BC, 2003) was an artist whose work probed the historical and conceptual cross-pollination of ideas about the nature of visual experience with scientific and technological inquiry into optics. He was a pioneer in the field of holography and much of his early work took the form of optical-sculptural bricolage. Since the early 1970s his work often took the form of quasi-sculptural “arrays” – compositions of serial photographs and Fresnel lenses that generated ethereal three-dimensional images. Such arrays were often accompanied by sculptural elements that served to extend the “virtual” aspect of the images into the “real” space of the viewer.

Pethick was a tireless researcher into the early history of photographic imaging technologies. (His notebooks and essays make mention of Edison, principally his efforts to claim the invention of the motion picture camera for himself, though he liberally adopted the work of many others.) On the basis of these writings, one might speculate that Pethick’s arrays were inspired by the ganged cameras developed by Auguste Le Prince, Eduard Muybridge and Jules-Etienne Maray. One of Pethick’s earliest arrays is featured in this installation.

 

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Jerry Pethick - Typology of Space


In this, her first solo exhibition in North America, Kirsten Pieroth showed a series of works dealing with various interpretations of the term “inventing.” The artist researched facts and fables on the life of American inventor Thomas Alva Edison, who still holds the record for the most patents registered. Through these works the myth of his productivity and creativity gets transferred into general questions about artistic production.

I regret that a previous engagement prevents me from accepting your kind invitation to dinner at your home, on Thursday evening, September seventeenth, is a sentence taken from a letter written by inventor Charles Edison. Pieroth’s interest in, and subsequent research into the life of Edison led to the discovery the inventor often made excuses to avoid attending social functions. Pieroth then wrote to the American Patent Office requesting a patent on behalf of Edison for the invention of the “excuse.” This and other letters to Edison scholars formed the basis of the exhibition. A number of sculptural elements derived from photographs about or of Edison extended this exhaustive body of research tangentially to question the authenticity and subjectivity of historical records.

 

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Kirsten Pieroth - I don’t know if Thomas Edison invented the excuse.


This exhibition proposed a look beyond obvious differences to examine commonalities of intention, technique, and effect in the distinct work of two artists. Vancouver artist Neil Campbell’s abstract, quasi-geometric paintings are scaled to the human body, and despite their apparent flatness, are performative in nature. They exact a calculated effect on viewer’s bodies and senses. Far from ‘abstract’, the experience is both physical and spiritual.

Beau Dick is a Kwakwaka’wakw chief, one of the most accomplished and talented traditional carvers and artists on the West Coast. Actively engaged in all aspects of Kwakwaka’wakw culture, he is highly regarded as a teacher and mentor. Dick has concentrated on studying and revivifying the traditions of carving, dance and storytelling, and this exhibition presented several of Dick’s masks in the admittedly compromised and alienated context of the Contemporary Art Gallery, far from their purpose integrated into rituals of dance and Potlatches. Dick mitigated these circumstances by preparing a dance for the exhibition opening.

The work of both Campbell and Dick share a basis in bold graphic design and theatrical effect. Supernatural shed light on these parallels while questioning the aesthetic apartheid which separates the conditions under which similar artworks have been (and continue to be) displayed, with the aim of producing a serious dialogue on the relationship between artistic cultures and traditions.

 

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Neil Campbell & Beau Dick - Supernatural


Nestor Kruger’s meticulously rendered monochromatic wall paintings have, over the past three years, explored the nature of optics and the specifics of place. Kruger is interested in overlapping architectural contexts, and in one project painted a progressively generating series of interiors of a gallery in Montreal onto the walls of a gallery in Halifax, and then in relay, a further series of paintings of the Halifax gallery in the gallery in Montreal. This ‘dialogue’ continued back and forth, twinning and altering perceptions of both sites. Kruger’s work at the Contemporary Art Gallery continued in this vein, and elaborated the gallery’s architectural surround as a template and support for an ambitious series of reflexive paintings.

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Nestor Kruger - Untitled (Room)


Luanne Martineau joins interests in early twentieth century social realism with midcentury modernism to produce works that speak to ongoing biases and entrenched exclusions. She uses turn of the century comic books for their racist depictions of a North American immigrant polyglot as sources for elaborate drawings. Martineau copies select bits from these comic books on tracing paper, building up large palimpsests of marks whose aggregate quality is abstract, but which on close inspection reveals traces of illustrative realism, exaggerated stereotypes and received prejudices. In her exhibition at the Contemporary Art Gallery, Martineau planned a suite of drawings accompanied by a large sculptural installation. Working with outdated manufacturing technologies for fabricating textiles – such as flocking and felting, and employing an antiquated knitting machine, Martineau has recently been crafting a series of large, soft sculptures that play base, comic referents off of high modernist ideals.

 

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Luanne Martineau - Bed Sitter


In Catalogue, Terada occupies and exaggerates the means by which an institution such as the Contemporary Art Gallery exists by making private patronage the content of an artwork. In the artist’s words: “Public institutions devoted to contemporary visual art maintain themselves through public and private philanthropy—granting organizations, members of the gallery, volunteers, and other donors being but a few—which necessitate relationships that are in need of renewal and upkeep. With the support of a number of contributors, I wish to expose and alter the mandate of such an institution—and the mechanisms by which it realizes this mandate—within the context of an exhibition.” To realize this goal, Terada sought the participation of patrons to support and facilitate the cost of producing an artist’s catalogue.

The exhibition had two distinct public components, the first mounted within the Contemporary Art Gallery’s Alvin Balkind Gallery and its street front window vitrines. Here, vinyl signage acknowledges the support of those who contributed to the project. The names and company logos, as a result, comprise the visual component, the “art” as it were, of the gallery’s display.

The second component is the accompanying exhibition publication, which was  for sale at the gallery’s reception desk. Rather than assume a supplementary, explanatory or documentary role to work displayed in the gallery, the production of this catalogue is an artwork. The catalogue looks and functions like any other publication would within the typical frame of an exhibition, but by highlighting patronage of the exhibition it hopes to expose and exploit the conventions such promotional and explanatory vehicles rely upon in their efforts to contextualize and legitimize artist’s work. Despite appearances to the contrary, then, Terada intends to cast suspicion on the catalogue (and with it himself and the gallery), and in doing so raise questions about the objectivity and truth value such publications engender and maintain.

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Ron Terada - Catalogue


Pascal Grandmaison is a Montréal artist whose video projections and photographs combine interests in conceptualism with commercial trends in rock video and advertising. The video Solo (2003) features slow panning, tight close-ups on musicians playing instruments. The fluid pace is at odds with the frenetic and hyperkinetic tradition built by promotional mediums like MTV and allows for a stripped down, anti-heroic view. Manner (2003) is a suite of large scale photographs depicting drum skins, their beaten surfaces showing evidence of the violence of their use. A selection of these photographs was featured alongside Running (2003), a DVD video projection showing a person’s leg and foot upside down. The running shoe on the foot moves to a slow, rhythmic beat, jumping imperceptibly from the pressure of the blood pumping through the leg. With these two works, Grandmaison’s articulation of physical activity takes the form of nuanced documents of its effects and aftermath.

Pascal Grandmaison combines interests in conceptualism with commercial trends in rock video and advertising. His recent works use large scale photography and video installation as mediums and often feature series of related images. A sense of process and the suggestion of a slow elapse of time runs through the artist’s works, and their meticulous attention to detail supports a strong, contemplative mood.

Running (2003) and Manner (2003), the works that were on display at the Contemporary Art Gallery, transcribe the effects of durational activity. In Manner, drum skins exhibit the abuse of hours of service, while the video Running shows a foot, its rhythmic motion imperceptibly hinting at past activity. Here, Grandmaison’s articulation of physical activity takes the form of nuanced documents of its aftermath. The artist often employs a dialogue with cinematic production. The extreme size of his photographs monumentalizes everyday subjects, while his videos utilize close-up framing and languid pacing to cut against the hyper-kinetic traditions employed by contemporary media.

Was the person whose foot we see in Running just ‘running,’ so that the blood pumping through their leg, and making the trainer beat, a sign of it? While an answer to this question might be possible, it may be more accurate to approach the video, and Grandmaison’s other works, as documents of the time and space often edited out of much contemporary representation.

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Pascal Grandmaison


Dan Graham is one of the most important contemporary visual artists practicing today. His work over the past four decades is widely recognized for its lead in the advent of conceptualism as an art movement. His work was also instrumental in the development of Vancouver based photo-conceptualism, and his long involvement and friendship with a number of locally based artists has been of enormous influence.

While his work is featured in collections around the city, Graham has, surprisingly, never been afforded a solo show in Vancouver. This was the first opportunity to assemble a group of the artist’s works here, and featured an important early film work, Body Press (1970-72). Body Press shows two naked performers—one male, one female—each holding a 16 mm film camera and standing inside a mirrored cylindrical room. The performers rotate the cameras around their own bodies in a spiral motion, all the while pressing the cameras against their own flesh. The two films are shown projected on opposite walls of the gallery, and impart a hallucinatory transcription of a ‘dance’ between actor, camera, mirror and viewer. Other works in the exhibition were drawn from collections here in the city and featured an early artist proof of Homes for America, Graham’s powerful invocation of parallels between suburban tract housing estates and serialized, modernist design first published in Arts Magazine in 1966.

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Dan Graham


In celebration of its 30th Anniversary, the Contemporary Art Gallery presented an exhibition and project honoring its early years. On February 23, 1973, the Artists’ Gallery opened its doors at 555 Hamilton Street. Later to be renamed the Contemporary Art Gallery, the Artists’ Gallery was initiated by an arts advisory committee under the umbrella of the City of Vancouver. Central to its early mandate and philosophy was the promotion and creation of local visual arts.

During this time the City of Vancouver began a program, with assistance from the Federal Local Initiatives Program (LIP) to purchase works by local artists. In support of this ambitious project, the Artists’ Gallery was conceived as both a depository and exhibition space. The Contemporary Art Gallery continues to act as custodian for over 3000 collected works, many dating from the early to mid 1970s when the bulk of the collection was assembled.

The history of this important collection of art, of the Artists’ Gallery, and of the early years of the community that shaped what would become the Contemporary Art Gallery will be showcased this summer in an exhibition featuring works from the collection.

Project Organizers: Reid Shier and Shawn Preuss

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L.I.P. Service, CAG 30th Aniversary: The Collection 1973-1983


Scott McFarland is a photographer whose images are highlighted by meticulous staging and high-production values. McFarland documents a discrete range of subjects in ongoing suites, and his close attention to the minutia of his subjects allows for an empathetic yet critical viewpoint. The exhibition at the Contemporary Art Gallery concentrated on one of these projects: a large body of photographs documenting a rural cabin on the Sunshine Coast of BC. The series combines portraits of individuals with close familial ties to the cabin, an exterior shot of the cabin at night and a number of interior details, including rich and uncanny depictions of the cabin’s accretion of furnishings.

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Scott McFarland - Coastal Cabin


The work of Jemima Stehli explores issues relating to the performative self and identity in photography. Using the studio as the site of production and part of the central image, Stehli positions her own nude body as the subject and object simultaneously. The creative process the artist privately undertakes in her studio is revealed and suggests the intricate systems at play in making herself over into the object. She employs a complex strategy that introduces ambiguity in an attempt to affirm her own identity as a female artist and as a subject in the contemporary context. The exhibition at the Contemporary Art Gallery presented new work by Jemima Stehli that continue her use of the performative process of image making to investigate notions of female subjectivity. At once highly constructed and random, Stehli makes use of various stagings to offer important questions about the degree of control she has over her own image. Stehli’s images are somewhere between performance and object, still-life and action painting.

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Jemima Stehli - mm/Studio


Toronto artist James Carl likes to mix things up – to confound references and test limits and then step back and watch things get funny. He combines a precise examination of the lexicon of sculpture with an abiding interest in the artifacts of public social life, filtered through the ubiquitous technologies and materials of contemporary industrialism. Plot, the installation that he prepared for the Contemporary Art Gallery, could be a story, a secret conspiracy, or a piece of real estate. Or perhaps the title refers to the activity of plotting the coordinates of the digital renderings that adorn various surfaces of artworks as well as the gallery and its exterior. Combining sculpture with graphic work, Plot demonstrates Carl’s contrary approach to traditional artistic methods and materials, and the ways these things are both conditioned and altered by expectation and use.

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James Carl - PLOT


Lucy Pullen’s work is marked by its conceptual curiosity and disparate, wide-ranging form. Her work has developed from an interest in performative and collaborative practices, and often takes the form of documents or remnants of staged actions. A video produced in collaboration with Sandy Plotnikoff, for example, documents a 1997 sculptural performance in which the two overturned pails full of rubber balls onto a street in Halifax from the roof of a two story car park. Pullen’s meticulous double-line drawings which were showcased I this exhibition, are composed on metallic paper. From a distance, the intricate patterns of the drawings appear computer or machine-made, but on close inspection are seen to be laboriously rendered in free hand.

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Lucy Pullen - A Thousand Miles of Dust and Ashes


In Our Love is Like the Earth, the Sun, the Trees and the Birth Martin Boyce created an environment that formed a quiet, poetic sensibility. The title is taken from a verse of a song by the seminal 1980’s Manchester band New Order. Sculptures reminiscent of a modernist day bed are used in both exhibitions, as is a series of fluorescent light sculptures that evoke young tree-like saplings. Ventilation Grills for an Apartment Building (2002) is interspersed along the gallery walls, etched with words from a poem by John Donne. The stanza reads: “License my roving hands, and let them go, Before, behind, between, above, below”. The three suspended objects in In Dreams (2002), an Alexander Calder-like mobile, are from a cut up and reworked leg splint designed by Charles and Ray Eames for the US Navy in 1942.

 

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Martin Boyce - Our Love is Like the Earth, the Sun, the Trees and the Birth


Isabelle Pauwels is a Vancouver artist with an abiding concern about the effect of architecture on social relation. In collaboration with Vancouver’s Trapp Editions, the Contemporary Art Gallery published an artist’s bookwork by Pauwels. Unfinished Apartment for Rent details, in seven screenplays, the interaction between a series of fictitious apartment dwellers. Forced through financial constraints to assemble furniture from the walls of their individual accommodations, these renters sacrifice more and more privacy as they cannibalize their dwellings for creature comforts. Pauwel’s bookwork was displayed in an installation designed by the artist.

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Isabelle Pauwels - Unfurnished Apartment for Rent


Ian Skedd is an artist interested in the dynamics of light as they intersect with architectural space. For the Contemporary Art Gallery’s window vitrines, Skedd built large wooden enclosures, with lateral incisions at intervals that mimic window slats. The light from the gallery’s fluorescent fixtures illuminated and animated these structures. Skedd’s work explored distinctions between its appearance during evening hours, when light spilled from within the enclosures through the slats, and the more imposing structural qualities evident during the day; when it may appear as a hoarding around a building under construction.

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Ian Skedd - Wood Slat Screen


Satan, oscillate my metallic sonatas brought together a variety of works by artists whose creative methods “showed” violence, implicated danger or threatened retribution. Michelle Normoyle’s provocative and ongoing series of photographs documented the chaos of her child’s room after play. Peter Lojewski’s occupation as a licensed practical nurse provided subjects for a series of roughly drawn but eloquent paintings depicting hospital wards, others that invoked revenge fantasies against disparate cultural and historic figures. By expanding on these themes, the exhibition located aestheticizing depictions in acts of control, catharsis and elegy. As the palindrome title suggests, the exhibition drew parallels between depictions and suggestions of violence, and the impulses of mastery and aesthetic delight with which they often co-exist.

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Satan, oscillate my metallic sonatas


Hammertown was a touring exhibition that highlighted a young generation of Canadian artists, with a focus on West Coast practice, and on artists who had recently come to prominence. The artists all shared an interest in widely available commodities, cultural products and popular media, and often re-inscribed these materials with personal, politicized meanings. The exhibition‘s engagement with landscape was a touchstone for works that propose a dialogue with social histories and ideas of place.

Location: Fruitmarket Gallery, Edinburgh, Scotland; Bluecoat Gallery, Liverpool, England (April/May, 2003)

October 5 – November 14, 2002

Catalogue with text by participating artists; co-published with The Fruitmarket Gallery, UK

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Hammertown


The Contemporary Art Gallery was pleased to announce the Canadian premiere of Vancouver based artist Stan Douglas’ film work Journey into Fear (2001). Douglas is one Canada’s most internationally acclaimed artists, and this marked his first exhibition in his home town since 1998.

Journey into Fear takes its name from two movies. The 1940 original features Orson Welles’ Mercury Players. A 1975 remake was one of the first motion pictures ever shot in Vancouver by a local crew. It starred Sam Waterston and Vincent Price in a shipbound suspense thriller. Douglas’ work is a DVD video installation that stages an antagonistic exchange between a woman and man in a cyclical, ever mutating loop, a formal device characteristic of Douglas’ recent practice. Set on a container ship en route to Vancouver, the work examines the 1970s as an historical moment of flux between internationalism and globalism, to which the ship acts as stage and metaphor. The DVD was accompanied by a suite of photographs of Vancouver set locations, including Douglas’ 16 foot long depiction of the south side of the 100 Block of West Hastings Street.

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Stan Douglas - Journey into Fear


Geoffrey Farmer’s installation The Blacking Factory was comprised of three interrelated works: a prop newspaper box, a sculptural installation in the form of a large truck trailer and a film work depicting a window of the Contemporary Art Gallery shattering from an explosive concussion. With these works Farmer utilized the technological expertise of the film industry to create analogies between increasingly sophisticated mechanics of display and the artifice behind the social production of meaning and value. The truck trailer was fabricated in mimicry of those used by movie production companies—an increasingly common sight on the streets of Vancouver—and alluded to the transportation of such necessities as props, lighting systems and costumes necessary to the creation of illusions. The film work rehearsed a set piece found in a wide spectrum of Hollywood films—from action-adventure to thriller—and utilized the unexpectedness of this violent genre staple within and about the gallery to prompt reflection about the context of our perception.

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Geoffrey Farmer - The Blacking Factory


Judy Radul’s performance works engage and investigate the nuances of public life, in particular the broad etiquette of social interaction. Radul installed a series of costumes based on her observation of Vancouver street fashions in the windows of the Contemporary Art Gallery. The project stemmed from Radul’s extensive research into the methods actors use to ‘get into character’ while preparing for a particular performance. Vancouver Costume synthesized the idea of the ‘theatrical rehearsal’ with the artist’s development of characters drawn from local observation. Accompanying the clothing arrayed in the gallery’s street front display was a video drawn from Radul’s voyeuristic public interrogation.

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Judy Radul - Vancouver Costume


Pae White made particular reference to the space-defining mobiles of Alexander Calder, and to the Vera designs for Marrimekko fabrics from the 1960’s, in order to exploit the history of biomorphic abstraction and its role in the transformation of “high art” concepts into “disposable” stylistic trends. Her colour and light-infused sculptures are often disposable, constructed of paper and string, while at other times her work might be realized in ephemeral forms, as magazine advertisements or shopping bags. This was the first exhibition of her work in Vancouver.

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Pae White - a grotto, some nightfish and a second city


Dream Home consisted of a suite of small paintings and a pair of constructed architectural models based on images and plans taken from Vancouver real estate advertisements. The models depict the interiors of two residences, one the largest, the other the smallest, which were on the market on a given day last year. Van Halm’s gouache paintings illustrated the exteriors of a number of other houses for recent sale.

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Renée Van Halm - Dream Home


Secular Practice was part of a multi-disciplinary; multiple venue project entitled Moving Ideas – Hoopoe Curatorial Presents an India-Canada Dialogue. Versions of this project have been presented in Toronto and Montréal. Participating organizations in Vancouver included Charles H. Scott Gallery, Western Front, Presentation House Gallery, Vancouver Art Gallery, The Roundhouse and others. The visual art component of the project focused on issue-based work that has emerged in India in recent years.

 

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Secular Practice: Recent Art from India


One of Canada’s most respected photo-based artists, Grauerholz’ recent series of Giclée prints were digitally output images of books damaged in a fire in the home of the artist several years ago. Reproduced in a large scale, the images had an eerie sculptural depth and vivid colour, which monumentalized and memorialized the destruction of a lifetime’s collection.

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Angela Grauerholz - Privation


Monumental in scale and civic ambition at its inception, the architectural installation of Le Corbusier’s at Firminy, an old French mining town, was never finished due to local industrial decline. In recent years it has suffered from political manipulation and physical neglect. The juxtaposition of historical importance against an aura of failed modernist utopianism was documented in this large-scale photographic series.

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Arni Haraldsson - Firminy


In both over-sized wall-drawings and miniature sculptures, Scottish-born, New York-based artist Jill Henderson’s funky bog creatures ooze through the seams of ordinary architectural space. Her installation in the gallery’s street level windows, Highwideshallow, both described the physical dimensions of the windows and repopulated the neighborhood with her colorful homunculi.

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Jill Henderson - Highwideshallow


The eight artists who participated in Promises all made work that seemed to be somewhere in between one thing and another, presenting a potential of continually becoming something else. Chris Hanson and Hendrika Sonnenberg’s Fruit Bowls resided somewhere between sculpture and photography, while Joe Scanlan’s work, Coffer, was both a practical, functional object and the realization of more formally motivated ideas. Daniel Olson’s short performances collected in Philosophical Moments punctured the film noir ambience of the video with a kind of quizzical prankishness that underscored the provisional nature of expectations, and experience. The promise of these works was in their potential for just such unexpected outcomes.

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Promises


Brian Jungen transforms everyday commodities into convincing sculptural objects, often with references to First Nations art and culture. At the CAG, Jungen created two new works: One recast the lowly and ubiquitous shipping palette in precious and symbol-rich polished red cedar. Jungen also erected a construction hoarding outside the gallery, with cut-outs looking out to the city skyline and toward the city’s rapid re-development.

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Brian Jungen


In collaboration with the Charles H. Scott Gallery, CAG presented an exhibition of Cai Guo-Qiang, one of China’s most internationally recognized artists. His works insert traditional Chinese ideas and materials into contemporary Western idioms, contrasting the values of these disparate cultural systems. His work for the CAG began with a four-day performance in Vancouver’s Dr. Sun Yat-Sen Garden, an authentic full-scale classical Chinese garden. Fog machines were installed in this garden, creating a misty landscape that was painted on site by four traditional ink-brush painters. The paintings were displayed subsequently in the Binning Gallery, alongside an additional work created collaboratively by all five artists.

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Cai Guo Qiang - Performing Chinese Ink Painting


The work of Germaine Koh marries conceptual strategies with mundane everyday motifs and actions. For her first solo exhibition in Vancouver she produced two works. Prayers [2000], translated keyboard strokes from the CAG’s office computers into smoke signals outside the gallery. … [2000] rained thousands of ball bearings onto the floor of the Balkind Gallery from tracks slung across its ceiling.

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Germaine Koh


This was one of the exhibitions featured at the opening of the CAG in its new facility at 555 Nelson Street. Vancouver artist Ken Lum is internationally recognized for his photo/text reworking of contemporary advertising and signage. His new work for the CAG simulated outdoor signs for ‘Mom & Pop’ businesses such as restaurants and muffler shops, combining stereotypical advertising language with personal, political and socially charged declarations.

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Ken Lum


Ed Pien has gained recognition for his large-scale works that extend traditional notions about drawing. He achieves this by developing gallery installations that retain the intimacy of the drawing process. For Beyond Here, Pien presented a large installation approximately seventy-five feet in length and consisted of ink on layers of Chinese paper and Japanese silk tissue. The translucent quality of the paper allows the drawings that lie beneath the surface to read as shadows, which intermingle with the more legible images on the surface. The contrast in scale between the expanse of paper, the large drawings, the small drawings, and the vibrantly coloured tunnels creates a dynamic relationship between the viewer and the work. One can perceive the piece as one entity or as a series of individual drawings.

In his work, Pien explores the concepts of fear and vulnerability through referencing both historical and contemporary events as well as combining Eastern and Western mythologies. In Beyond Here his drawings depict strange, hydridized creatures that are engaged in an imaginary journey that reads from left to right across the gallery walls. While not a formal narrative, the figures suggest a dream-like transformation from a state of conflict to one of liberation and self-empowerment. Pien’s work is both seductive and unsettling. While the paper offers an impression of softness and warmth, it is extremely fragile. The figures project sensuality in the way they are rendered, but are ambiguous in their interpretation.

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Ed Pien - Beyond Here


Visual Stimulants presented three artists whose work had an intense visual impact and was seemingly abstract in appearance. Angela Leach, Ken Singer and Jeremy Stanbridge were part of a young generation of artists whose artwork directly or indirectly alluded to historical forms of abstraction – in this case modernist painting from the 1960s. Although the art from that period stressed the formal properties of colour and support, and avoided references to narrative or representation, the artists in Visual Stimulants in large part questioned the autonomy of abstract painting and return it to the realm of the everyday. Visual Stimulants presented the work of three artists: Angela Leach from Toronto, and Ken Singer and Jeremy Stanbridge from Vancouver and was curated by Keith Wallace.

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Visual Stimulants


The work in Pathology was concerned with domestic technologies as well as urban planning, and how the two relate to a desire for health, pleasure and the prolongation of life. The exhibition consisted of various works that were connected by their minimal aesthetic, architectural references, and everyday use-value. The centrepiece consisted of a cluster of more than sixty clean-mist humidifiers and negative-air ionizers. Theoretically, these machines created a “charged” atmosphere that improved the way we feel. Their clean, almost abstract, design was suggestively architectural, and Liu’s arrangement of these machines mimicked an architecture model of urban design. Humidifiers and ionizers are promoted as preventing everything from parched sinuses to furniture damage, and as most users lack an understanding of the technological principles, these “machines for improved living” have a psychological function as much as they have a physical one. Also in the exhibition were loosely-hung samples of wallpaper which Liu had imprinted with Rorschach-like patterns derived from an overhead view of Levittown, an early post-war example of ideal suburban planning. Pathology was An Te Liu’s first solo exhibition.

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An-Te Liu - Pathology


Documents and Lies was an exhibition organized and circulated by Optica in Montréal. The exhibition presented the work of artists living in the UK. Although not photographic, the works pointed towards a number of photographic notions about truth and reality. Their particular use of traces – reproduced, modified or simply invented – allowed for the transition from a universal history to another, more personal one. By generating doubt, these projects produced a displacement of what is commonly understood by “document.” The exhibition included drawing, painting, sculpture and an installation. Curated by artist André Martin, this exhibition provided an artist’s perspective.

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Documents & Lies


In this exhibition by Kelly Mark the fascination with the mundane was coupled with a desire to document and bring a sense of order to things. The work Broken Meter, for example, consisted of a grid of photographs documenting ideosyncratic notes left at broken parking meters. Placed presented photographs of objects, ranging from styrofoam cups to pieces of crumpled paper, that had been specifically “placed” or tucked into spots rather than simply being tossed away. Sniff was a video loop of the artist’s cat sniffing an array of objects placed in front of him. Origami Transfer was comprised of dozens of bus transfers that had been obsessively folded and shaped into miniature sculptures.

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Kelly Mark


Liz Magor is a Canadian artist who lives in Vancouver. She began exhibiting her work in 1973 and has been included in numerous prestigious international exhibitions such as the Venice Biennial, Sydney Biennial, Documenta VIII in Kassel, and inSITE in San Diego/Tijuana. While she is widely known across Canada and beyond, this was Magor’s first solo exhibition in a public gallery in Vancouver in a decade.

Magor is primarily recognized for her sculptural work – although she has developed significant projects in other mediums such as photography – which is expressed in various forms ranging from full-scale installations to individual pieces. Stores presented her most recent sculptural work and incorporated non-traditional materials such as silicone rubber and pigmented plaster and resin. With these materials, she made casts of objects with startlingly realistic results. However, while the large pile of rocks placed on the floor is convincingly real, the discovery of actual junk food stashed within its hollow cavity renders the mantle of reality questionable, bringing forward a focus on the work’s materiality.

Magor’s sculptures at first resemble literal, easily accessible representations, but the play between what is real and what is an illusion, and the curious combination of food with other unrelated objects, complicate their apparent simplicity. The minimal yet evocative presentation suggests narratives and the activity of unknown personae obsessed with squirreling things away as insurance  against anticipated disasters or shortages.  It also implies larger social/psychological issues about the relationship between the desire for security in the face of unidentifiable fears, and the fundamental question of what people store away and why.

 

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Liz Magor - Stores


Eleanor Bond is recognized internationally for her large-scale oil paintings of urban landscapes in which a labyrinth of forms include both the actual and the imaginary. Although Bond’s paintings do not represent a specific built environment, their starting point is a specific urban place, space and landscape. This exhibition presented 2 works produced from research undertaken in Vancouver during February of 1999. Bond spent ten days walking and driving throughout Vancouver and its environs making photographic and video documentation which influenced the painting of Glass City and Tent City. - Curator, Petra Watson.

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Eleanor Bond - Quick aging pivoting city


Come by for free exhibition tours and free drop-in art making events for kids, families, friends… all are welcome and all ages are welcome!

Last Saturday of every month: Saturday, July 25, 12-3pm and Saturday August 29, 12-3pm. In partnership with ArtStarts on Saturdays.

‘TIME Collage’ 
Saturday, July 25, 12–3pm 

Responding to Thomson’s ‘Time’ participants create their own iconic Time magazine covers using a variety of watercolours and collage materials.

‘Animal Symphony’
Saturday, August 29, 12–3pm

Responding to Thomson’s ‘Crickets’ participants will collaborate to make their own animal sound symphonies.

On the last Saturday of every month, the CAG invites all ages to drop-in for short exhibition tours and free art making activities that respond to our current exhibitions. This new initiative is presented in collaboration with ArtStarts on Saturdays. For more information visit: http://artstarts.com/weekend

 

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Free Family Day - 'TIME Collage' art activity!


CAG Learning Assistant Shalon Webber-Heffernan leads a tour of the current exhibitions.

 

 

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Guided Visit | Shalon Webber-Heffernan


A guided visit of the exhibitions on display in French led by Mike Bourscheid

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Guided Visit in French | Mike Bourscheid


Jocelyn Statia

Saturday, August 22, 3pm

Visitor Coordinator leads a tour of current exhibitions.

 

 

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Guided Visit | Jocelyn Statia


CAG Programs Assistant, Jas Lally leads a tour of current exhibitions.

 

 

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Guided Visit | Jas Lally


CAG Marketing and Communications, Jill Henderson leads a tour of current exhibitions.

 

 

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Guided Visit | Jill Henderson


Mungo Thomson – Cricket Solos for Clarinet, Piccolo, Percussion, and Violin
Presented in partnership with Vancouver New Music
Friday, July 10, 2015; from 8:30PM
Live performance

Emery Barnes Park (Richards and Davie Street)
Free

To create ‘Crickets’, Mungo Thomson collaborated with composer Michael Webster to transcribe field recordings of crickets from around the world (France, Cameroon, Senegal, Martinique, Borneo, Thailand and Venezuela) into a musical score. The initial result was a dynamic composition for a 17-person classical ensemble, the score containing 25 chapters, or ‘movements,’ such as “12. Reunion Island, the Cirque de Cilaos at 1300 m. altitude, February 1998, nightfall in a banana plantation.” Thomson and Webster have subsequently developed Cricketsfor solo performers—individual musicians scattered around a park, each simulating the sound of a single cricket with a different instrument.

In partnership with Vancouver New Music, the Contemporary Art Gallery presents a new performance comprising these solo performances with Mark McGregor (Piccolo), Françoise Houle (Clarinet), Llowyn Ball (Violin) and Martin Fisk (Percussion).

Join us for this evening performance, which is concurrent with the opening of the exhibition: Mungo Thomson, Time, People, Money, Crickets at the Contemporary Art Gallery, Friday July 10, 7-10PM. The exhibition continues until August 30.

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Mungo Thomson – Cricket Solos for Clarinet, Piccolo, Percussion, and Violin


Join us to celebrate the opening the exhibition:

Mungo Thomson
Time, People, Money, Crickets
July 10 to August 30, 2015
Opening: Friday, July 10, 7-10pm

All welcome!

Join us for an evening live performance in partnership with Vancouver New Music concurrent with the opening of the exhibition.

Mungo Thomson
Crickets (2012-13)
Friday, July 10, from 8.30pm
Emery Barnes Park, Richards and Davie Street
Free

To create Crickets, Thomson collaborated with composer Michael Webster to transcribe field recordings of crickets from around the world (France, Cameroon, Senegal, Martinique, Borneo, Thailand and Venezuela) into a musical score. The initial result was a dynamic composition for a 17-person classical ensemble, the score containing 25 chapters, or ‘movements,’ such as “12. Reunion Island, the Cirque de Cilaos at 1300 m. altitude, February 1998, nightfall in a banana plantation.” Thomson and Webster have subsequently developed Crickets for solo performers—individual musicians scattered around a park, each simulating the sound of a single cricket with a different instrument.

In partnership with Vancouver New Music, the Contemporary Art Gallery presents a new performance comprising these solo performances with Mark McGregor (Piccolo), Françoise Houle (Clarinet), Llowyn Ball (Violin) and Martin Fisk (Percussion).

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Opening | Mungo Thomson: Time, People, Money, Crickets


CAG Director, Nigel Prince will lead a tour of current exhibitions on display.

 

 

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Guided Visit | Nigel Prince


CAG Curator, Shaun Dacey will lead a tour of current exhibitions on display.

 

 

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Free Guided Visit | Shaun Dacey


Feedback Series Events: Tad Hozumi
Saturday, June 6, 13 and 27, 4pm

Hozumi is a Vancouver-based artist and hip hop therapist, involved in local street dance culture and currently working on a body of photo, installation, social intervention and performance work that explores the history of struggle coded in to the subversive vocabulary of street style dances. Responding to the pop culture references of Julia Dault’s paintings he will curate a collection of records, on June 6 and 13 he will conduct a series of participatory movement workshops building on his selections. On June 27 Hozumi will give a talk on the practice of crate digging AKA record collecting and play a live set.

Tad Hosumi: vinyl + music blog “Back Ground Music” http://bgmdiscotheque.tumblr.com

Tad Hozumi’s feedback events reflect his experiences as an artist, deejay and movement based therapist he will respond to Julia Dault’s paintings in her exhibition ‘Blame It On the Rain’ by playfully referencing elements found in her work.

Hozumi has resourced his record collection in search for albums such as ‘Sweet Hone’ in the Rock’s Self-Titled; Brian Auger’s ‘Oblivion Express Live Oblivion’; Donny Hathaway’s ‘Extensions of a Man’ and Gino Soccio ‘Outline’. For Hozumi these records resonate with Dault’s work and inform the two movement based participatory events. The first class will be led by disco dancer and yoga teacher, Gary Quon. The second movement class will be based on expressive movements led by Hozumi. He will also host an artist talk and deejay an event to cap off the feedback series.

Yoga Boogie
Saturday, June 6th, 4pm
Yoga Boogie, a unique hybrid practice developed by Quon combines his passion for dance and yoga. Using songs curated from Hozumi’s collection, Quon will lead a dynamic session that will begin on the mat and get you up and grooving! Be prepared to BOOGIE! Gary Quon is a yoga practitioner who specializes in Kundalini style and a well-recognized disco dancer (waacking). Quon’s practice often incorporates elements of rhythm and dance along with the kriyas resulting in an uplifting and energetic practice.

*This session will be available for the first 15 people – Please register to save your spot at learning@contemporaryartgallery.ca
*Please bring your own yoga mat.

Body Jazz
Sat, June 13th, 4pm
This movement-based session is about becoming mindful of how music and visual stimuli resonate within our bodies, by letting impulses that we discover from the music and Dault’s artworks move us around the gallery space.
*This session will be available for the first 15 people

Artist Talk and DJ Session
June 27th,  4pm
Music Back Ground (talk) and Back Ground Music (party). Hozumi will speak about fan videos of Mariah Carey, deejaying indie dance parties in the 2000s, making video game music, finding himself in hip hop and (re)discovering crate-digging. After the talk he will play a deejayed set of some unique records from his collection of jazz, soft pop/rock, disco, funk and more, weaving around the albums that were selected for the feedback series.

Feedback Talks:
This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices, and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.

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Feedback Series Events: Tad Hozumi


Julia Dault in conversation with Michelle Jacques, chief curator at the Art Gallery of Greater Victoria

Saturday, May 2, 1pm

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Julia Dault in conversation with Michelle Jacques


Jeremy Shaw in conversation with Caitlin Jones
Emily Carr University of Art + Design
Room 301, 1399 Johnston Street, Vancouver
Monday, March 2, 6pm

Jeremy Shaw
Medium-Based Time
February 27 to April 19, 2015
B. C. Binning, Alvin Balkind Galleries and window spaces

This exhibition forms part of the Capture Photography Festival, running from April 2 to 29

The Contemporary Art Gallery presents Medium-Based Time by Berlin-based Canadian artist Jeremy Shaw, featuring a black and white 16mm film of transgender voguer Leiomy Maldonado, an HD video installation that reworks archival ethnographic film into a dystopian science fiction narrative, and a new series of light-activated UV prints in the windows of our street façade.

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Jeremy Shaw in conversation with Caitlin Jones


Downtown Gallery Tours

Saturday, January 31, 1–3pm

Join us for an afternoon of guided tours at Audain Gallery, SFU; Satellite Gallery and Contemporary Art Gallery. Meet us at Audain Gallery at 1 pm for a tour of Geometry of Knowing Part 2 led by curator Amy Kazymerchyk; 2 pm at Satellite Gallery for a tour of Mainstreeters: Taking Advantage, 1972–1982 led by curators Allison Collins and Michael Turner, and 3pm at Contemporary Art Gallery for a tour of exhibitions by Grace Schwindt and Krista Belle Stewart led by CAG Director, Nigel Prince and CAG Curator, Learning and Public Programs, Shaun Dacey.

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Downtown Gallery Tours


SFU Philosophers Café: Art Salons

In the spirit of social gatherings that provide forums for discussion, SFU Philosophers’ Café will run two art salons in collaboration with the Contemporary Art Gallery. Each café will start with a guided tour of current exhibitions with Director Nigel Prince, followed by a discussion with Shaun Dacey, Curator, Learning and Public Programs and special guests.

Salon on the exhibition Blame It On the Rain by Julia Dault
free, all welcome

 

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SFU Philosophers Café: Art Salons - on Julia Dault


SFU Philosophers Café: Art Salons

In the spirit of social gatherings that provide forums for discussion, SFU Philosophers’ Café will run two art salons in collaboration with the Contemporary Art Gallery. Each café will start with a guided tour of current exhibitions with Director Nigel Prince, followed by a discussion with Shaun Dacey, Curator, Learning and Public Programs and special guests.

Salon on the exhibition by Grace Schwindt
free

 

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SFU Philosophers Café: Art Salons - on Grace Schwindt


Field Guides (a guide to Field House Residencies) – Exhibition
Roundhouse Community Arts & Recreation Centre
Opening reception: Thursday, September 18, 5pm

The CAG is participating in an exhibition of the Vancouver Parks
Board Field House residents. Documentation of projects from
our artists-in-residence Raymond Boisjoly, Broken City Lab,
Marie Lorenz and Brendan Fernandes will be on display.

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Field Guides (a guide to Field House Residencies) - Exhibition Opening


Vancouver Electronic Ensemble
Alternative Energies
Monday, October 6, 7pm
In response to the exhibition by Jürgen Partenheimer, VEE
will create a special improvised performance as part of the
Vancouver New Music Festival. Players will be scattered across
the gallery rooms, as sound, light and colour flow throughout the
building creating an abstract sonic environment. Places are free
but space is limited. Please contact the gallery for further details.

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Vancouver Electronic Ensemble - Alternative Energies


Broken City Lab
Flagged For Review
Burrard Marina Field House Studio
1655 Whyte Avenue
Every Tuesday evening:

March 18 to April 29, 7- 8.30pm

NEXT: Tuesday, April 8, 7-8.30pm

The Trouble is…

Bring your questions, suspicions, and inspirations for art in public spaces to an open conversation on art as troublemaking and troublemaking as art.

Broken City Lab (BCL) are currently artists-in-residence at the Burrard Marina Field House. Their four month project, Flagged for Review examines the surrounding site and its relation to current perceptions of the city through a series of initiated conversations. Every Tuesday until the end of April, the collective will host public games, temporary installations and conversations concerning social and political issues present in Vancouver. These will culminate in the production of a series of flags to be installed at the Field House and throughout the city during the last two months of their residency.

The Field House Studio Residency Program is generously supported by the Vancouver Park Board and the City of Vancouver.

For this residency we gratefully acknowledge the financial support of the Province of British Columbia through the BC Creative Communities Award.

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Broken City Lab - Flagged For Review


Krista Belle Stewart in Conversation with Dory Nason
Western Front, 303 East 8th Avenue, Vancouver
Thursday, January 29, 7pm

Vancouver-based artist Krista Belle Stewart presents a screening of new video works created during her recent production residencies at the Western Front and the Contemporary Art Gallery, in partnership with the Nisga’a Museum. Her new works investigate the storytelling practices of First Nations women in Douglas Lake and Nisga’a Lisims. Dory Nason, UBC First Nations Assistant Professor will respond to Stewart’s new works. Nason’s areas of research include contemporary Indigenous Feminisms and related Native women’s intellectual history and literature. She is currently at work on her book manuscript, Red Feminist Voices: Native Women’s Activist Literature. She was also a featured contributor to the groundbreaking anthology, The Winter We Danced: Voices from the Past, the Future, and the Idle No More Movement (ARP Books), which was released to great acclaim in March 2014.

BIO
Krista Belle Stewart is a member of the Upper Nicola Band of the Okanagan Nation, living and working in Vancouver and Brooklyn. Group exhibitions include Fiction/Non-fiction at The Esker Foundation, Calgary (2013) and Music from the New Wilderness, Western Front, Vancouver (2014). At Western Front, Stewart produced a collaborative multimedia performance working with, circa 1918, wax-cylinder recordings by anthropologist James Alexander Teit of her great-grandmother, Terese Kaimetko. A string quartet responded live to Stewart’s loops of these traditional Okanagan songs presented alongside visual projections. Most recently, Stewart was commissioned by the City of Vancouver as part of the “Year of Reconciliation,” Public Art Project at the entrance to the Canada Line City Centre Station at Granville and Georgia where Stewart’s Her Story (2014), a public photo mural and video installation, utilized footage of a 1967 CBC documentary entitled Seraphine: Her Own Story, a scripted interpretation of her mother’s journey from residential school to becoming BC’s first Aboriginal public health nurse. This work was also exhibited in Where Does it Hurt? at Artspeak (2014). Stewart juxtaposes the 1967 film, in which her mother plays herself, alongside a video of her mother’s 2013 Truth and Reconciliation Commission interview, generating a conversation between depiction and lived experience.

This project is made possible with the generous support of the Western Front Media Arts Residency, the First Peoples’ Cultural Council, British Columbia Arts Council, and the Nisga’a Nation through the Nisga’a Lisims Government.

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Krista Belle Stewart in Conversation with Dory Nason


Jürgen Partenheimer
Saturday, September 13, 4pm
Join the artist on a walk through tour of his exhibition.

Jürgen Partenheimer
The Archive – The Raven Diaries
September 12 to November 9, 2014

The Contemporary Art Gallery presents the first solo exhibition in Canada of work by acclaimed German artist Jürgen Partenheimer. Reflecting the diversity of the artist’s practice, the exhibition comprises works on paper, text, printmaking, ceramics and sculpture, much of it produced in Vancouver in spring 2014 during his recent residency as the Audain Distinguished Artist-in-Residence, hosted by Emily Carr University of Art + Design.

Partenheimer’s work is essentially abstract; his drawings and paintings, caught seemingly on the verge of dissolution, are remarkable for their fragile beauty, whilst sculpture and ceramic work, suggesting some usefulness, remain elusive with respect to any specific function. His artistic proposition is philosophical, encouraging us to challenge the distinction normally made between reality and imagination. Drawing is used as a means to suggest new pictorial space, linking our experience of place through mapping and gesture, through mark-making. His visual language, the particular form of poetic abstraction, creates a system of open, meditative boundaries. As such this conceptual approach, his life-long interest in notions of representation and his thoughtful, meticulous consideration of locality, space and place, suggest a key resonance with artistic practice in the city, asserting continuity between these forms and an experience of daily life.

- See more at: http://www.contemporaryartgallery.ca/exhibitions/jurgen-partenheimer-the-archive-the-raven-diaries/#sthash.q3xbRuZC.dpuf

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Jürgen Partenheimer - Artist talk and walk through


Grace Schwindt
Emily Carr University of Art + Design
Room 301, 1399 Johnston St, Vancouver
Monday, January 19, 7pm

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Artist talk - Grace Schwindt


Brendan Fernandes
Tuesday, June 10, 7pm
Please join us for a talk introducing Fernandes’ residency, he will discuss his recent projects.

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Artist Talk - Brendan Fernandes


Screenings and reception at Western Front, 303 E 8th Avenue, Vancouver

Reception: Thursday, June 26, 7-9pm.
Screenings: Friday, June 27 – Sunday, June 29, 12 -5pm.

The Contemporary Art Gallery (CAG), Western Front and Dim Cinema present a weekend-long screening in the Grand Luxe Hall of 2014 Turner Prize nominee, Duncan Campbell’s film Bernadette, as part of the CAG exhibition The Act of Seeing with One’s Own Eyes. Bernadette presents an open and indirect account of Irish dissident and political activist Bernadette Devlin, constructed out of archival footage from the 1960s and early 1970s. Campbell approaches documentary as form of fiction, revealing the complex relationship between author, subject and audience.

Duncan Campbell, born 1972 in Dublin, lives and works in Glasgow. His solo exhibitions include: Duncan Campbell, Carnegie Museum of Art, Pittsburgh (2012);  Arbeit, Hotel, London (2011); Duncan Campbell, Belfast Exposed, Belfast (2011); Make It New John, Artist Space, New York and Tramway, Glasgow (2010); Duncan Campbell, Kunstverein Munich, Munich (2009); Bernadette, Scottish National Gallery of Modern Art, Edinburgh (2009); Bernadette and Sigmar, MUMOK, Vienna (2009); Art Now Lightbox: Duncan Campbell, Tate Britain, London (2009); 0-60, ICA, London (2008); Art Statements, Art Basel 38, Basel (2008); The Unnameable, Lux at Lounge, London (2006); Something in Nothing, TART Contemporary, San Francisco (2005); Falls Burns Malone Fiddles, Luis Campaña, Cologne (2004). His group exhibitions include: The Big Society, Galerie Vallois, Paris (2011); British Art Show 7,  Nottingham and Hayward Gallery, London  (2010); Critical Fetishes, Centro de Arte Dos de Mayo, Madrid (2010); Asking Not Telling, Institute of Contemporary Art, Philadelphia (2009);  Fight the Power, Museo Nacional Centro de Arte Reina Sofia, Madrid (2009); After October, Elizabeth Dee Gallery, New York (2008); Art Now, Tate Britain, London (2006); The Need to Document, Halle für Kunst, Lueneburg (2005); Manifesta 5, European Biennial of Contemporary Art, San Sebastian (2004); Advertence, festival of documentary film , Belfast and Dublin (2003); Fresh and Upcoming, Frankfurter Kunstverein, Frankfurt (2003); Shadazz, Royal College of Art, London (2002). He had been nominated for the 2014 Turner Prize.

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Bernadette - Duncan Campbell


Feedback talk – Alec Bălășescu

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Feedback Talk | Alec Balasescu


Shama Khanna
Tuesday, April 8, 7pm

London-based curator Shama Khanna’s current research project Flatness engages screen based images and immaterial culture in relation to the internet. Launched at the Oberhausen Short Film Festival Flatness currently operates across multiple platforms including www.flatness.eu featuring contributions by artists, writers and technologists who engage with the web as a creative site and a space for viewing. Khanna is undertaking a residency at Western Front (March 17 – April 14, 2014) and will respond to the work of Kevin Schmidt.

This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices, and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.

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Feedback Talk | Shama Khanna


Michael Turner
Tuesday, May 6, 7pm

Michael Turner is a Vancouver-based writer of fiction, criticism and song. His published multi-genre literary titles include Hard Core Logo, The Pornographer’s Poem and 8 × 10. He has also
written essays on the work of artists Julia Feyrer, Brian Jungen, Ken Lum, Christina Mackie and Michael Morris, whose 2012 exhibition Letters: Michael Morris and Concrete Poetry was co-curated by Turner and Scott Watson at the Morris and Helen Belkin Gallery, UBC. A frequent collaborator, he has written scripts with Stan Douglas, poems with Geoffrey Farmer and songs with Andrea Young. His writing can be found online at Canadian Art and on his blog at www.mtwebsit.blogspot.ca. Turner will respond to Kevin Schmidt’s exhibition.

This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices, and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.

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Feedback Talk | Michael Turner


Margaret Dragu
Tuesday, March 11, 7pm

Margaret Dragu is a key figure in Vancouver’s art community, with a practice encompassing video, installation, web-based projects, publications and performance. Dragu is integral to the development of performance art in Canada and was the first subject of FADO’s Performance Art Legends series in 2000. In 2012 she was awarded the Governor General award for Visual Art & Media. Her performances are relational, durational, interventionist and community-based often enacting various personae to explore history, memory and performance in the everyday. Most recently Richmond Art Gallery presented Dragu’s first Gallery-based solo exhibition, VERB WOMAN: the wall is in my head/a dance of forgetting. Dragu will respond to the performance work of Tim Etchells.

This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices, and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.

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Feedback Talk | Margaret Dragu


Marie-Hélène Tessier
Tuesday, March 4, 7pm

This feedback talk will be presented in French.

Marie-Hélène Tessier is a visual artist and writer based in Vancouver. Her work is site-specific and migrates freely between fiction, philosophy, fashion and art. Preoccupied with the infinite slicing of reality and the construction of meaning, her research seeks to collapse hierarchies of knowing. She has a degree in French Literature from University of Montreal, a visual arts diploma from Emerson College, a philosophy diploma from Sunbridge College, Columbia University and she graduated in visual arts from Emily Carr University of Art + Design in 2001. Tessier will respond to Aurélien Froment’s exhibition.

This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices, and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.

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Feedback Talk | Marie-Hélène Tessier- Froment Fromented


Adele Diamond
Tuesday, February 18, 7pm

Adele Diamond, Ph.D., is the Canada Research Chair Professor of Developmental Cognitive Neuroscience in the Department of Psychiatry at the University of British Columbia. Her work integrates developmental, cognitive, neuroscience and molecular genetic approaches to examine fundamental questions about the development of the cognitive control abilities that rely on a region of the brain known as ‘prefrontal cortex’. Her recent work, including a paper in the journal Science is affecting early education practices around the world. Diamond will respond to Aurélien Froment’s exhibition.

This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices, and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.

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Feedback Talk | Adele Diamond


Florence Derieux
Thursday, March 13, 7pm
Emily Carr University of Art + Design
Room 301, 1399 Johnston Street, Granville Island

Director of Frac Champagne-Ardenne, Florence Derieux will discuss her recent projects.

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Curator Talk - Florence Derieux


Jürgen Partenheimer
Thursday, May 8, 6pm
Emily Carr University of Art + Design
Room 301, 1399 Johnston Street, Granville Island

In partnership with ECUAD and in conjunction with his residency, Partenheimer will discuss recent projects as part of his forthcoming solo exhibition at the CAG in September 2014.

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Artist Talk | Renga: Dimensions of Abstraction - Jürgen Partenheimer


Please join us to celebrate the launch of our new book shop at the CAG with a special talk and book signing with Jürgen Partenheimer

Saturday April 5, 1.30–2.30pm.

Audain Distinguished Artist-in-Residence
Emily Carr University of Art + Design
February to May, 2014

In partnership with ECUAD, German artist Jürgen Partenheimer will be living and working in Vancouver for three months, work produced during this residency forming part of his forthcoming solo exhibition at the CAG in September 2014. There will be a series of associated events as part of the residency. Please visit our website for further details.

An accompanying book DAS ARCHIV/THE ARCHIVE published by Distanz Verlag, Germany in partnership with CAG, Pinakothek der Moderne, Munich; Gemeente Museum Den Haag and Deichtorhellen Hamburg Sammlung Falckenberg is available from the CAG Bookshop and online at the special price $50.

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Publication launch and signing - Jürgen Partenhiemer


Tim Etchells
Sight Is The Sense That Dying People Tend To Lose First
Monday, January 20  , 7 pm, by donation
The Fox Cabaret,  ‚2321  Main Street

Sight Is The Sense That Dying People Tend To Lose First, written and directed by Tim Etchells, is a long free-associating
monologue that tumbles from topic to topic to create a vast, failing iteration and explanation of the world. Comical in its apparent naivety and preposterously encyclopedic in scope, the piece explores the absurdity and horror of consciousness as it tries and fails to seize and define everything that it encounters. Performed by Jim Fletcher, legendary New York actor, best known for his work with Richard Maxwell’s New York City Players and Elevator Repair Service’s Gatz, the monumental, word-for- word, eight hour staging of Fitzgerald’s prose masterwork. Join us post-performance for a drink and a conversation with Jim Fletcher and Tim Etchells, hosted by Norman Armour, Artistic and Executive Director of PuSh, in the newly renovated Fox Cabaret.

Presented with PuSh International Performing Arts Festival.

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Sight Is The Sense That Dying People Tend To Lose First - Tim Etchells


Ant Hampton and Tim Etchells
The Quiet Volume
January 17–19,  24­–26€, 31‚, February 1– 2
12–ƒ5 pm (€…60 minutes, no intermission)
Performances every 20 minutes, last performance 4­:…ƒ05pm
Vancouver Public Library, Central Branch
3‚rd Floor, ‚ƒ… 350 West Georgia Street

In The Quiet Volume — set at the library, designed for two at a time — recorded instructions and a stack of carefully selected books direct you through this contemplative, self-generated performance. The Quiet Volume takes what is considered a deeply personal and internal process and pushes it out into the surrounding environment so that one reader’s sphere collides with another’s. It exposes the particular tension common to libraries worldwide: a combination of silence and concentration within which different peoples’ experiences of reading unfold. In this performance, you and your co-reader/fellow audience member study printed words, conjure mental images, examine the act of reading in a new light in this surprising piece of ‘autoteatro.’ For the bibliophile and reluctant reader alike, The Quiet Volume exposes the strange magic at the heart of the reading experience.

Presented with PuSh International Performing Arts Festival and supported by Vancouver Public Library.

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The Quiet Volume - Ant Hampton & Tim Etchells


Tim Etchells
Tuesday, January 21, 4 .30 ‚…pm
Djavad Mowafaghian Cinema
SFU’s Goldcorp Centre for the Arts
149 West Hastings Street

In conjunction with the exhibition Who Knows, we join forces with PuSh to host Tim Etchells as a PuSh Festival   artist-in-residence and embrace the full scope of his practice. Whether, on stage or off, Etchells is concerned with liveness and presence and with the unfolding of events in time and place. At the centre of many of his projects, produced solely or with Forced Entertainment, there is a fascination with rules and systems in language, and in culture, and the way these systems are both productive and constraining. This artist talk forms a keynote
address as part of PuSh Assembly. Presented with PuSh International Performing Festival.

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Tim Etchells - Keynote Speech


Interludes: Aurélien Froment
Monday, January 20 , 7.30 pm
Tickets $9 – $11– (plus $3 Cinematheque membership)
The Cinematheque, 1131 Howe Street

DIM Cinema, an ongoing series at The Cinematheque, presents videos by the French artist Aurélien Froment, to complement his first Canadian solo exhibition, at the Contemporary Art Gallery.

Often using the format of instructional videos, Froment examines the semantic power of images and their elusive relationship to words. Viewers will emerge from the screening having learned more about the production of paper, the life cycle of the medusa, the ergonomics of sitting, the invention of kindergarten, the tying of knots and the palace of memory, than they ever thought possible in the space of 90 minutes. Each one of these analytical, self-reflexive studies works in its own way as a witty or poetic reminder that interpretation is subjective, meaning is never fixed and what one sees is not what others see.

Presented in association with The Cinematheque and PuSh International Performing Arts Festival.

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Screening - Interludes: Aurélien Froment


Join us for an afternoon of unconventional drawing at the Contemporary Art Gallery as part of the city-wide initiative DRAW DOWN.
Responding to the current CAG exhibitions by Erin Shirreff and Nancy Holt, visitors will develop their own drawn-on-film animations and flipbooks.
The CAG has invited Cineworksto present collaborative drawing-on-film and flipbook drop-in workshops for all ages. Working with filmmakers Zoe and Ariel Kirk-Gushowaty, participants will create their own simple animations on film, projected live in the gallery.Zoe Kirk-Gushowaty is a Vancouver based interdisciplinary artist working with photography, experimental filmmaking, video and sound. She received her BFA in 2008 from Concordia University in Montreal and currently manages the Cineworks analog darkroom and experimental lab with her sister Ariel by offering open darkroom nights, hands on workshops and performance/screening events. Zoe’s work has been shown in Canada, U.S. and Japan, her solo recording project Night Sides was released in April 2013 by Fixture Records.

Ariel Kirk-Gushowaty is a photo-based artist and film-maker living in Vancouver. Along with her sister Zoe, she manages the Cineworks Analogue darkroom and experimental lab space, and was a co-organizer of the Vancouver Darkroom Co-op from 2009-2011. Ariel has a BA in Philosophy and Cinema Studies from the University of Toronto, and a Photography Certificate from Langara College. She has worked with many types of alternative process photography and filmmaking, and also teaches digital storytelling. Ariel is currently completing a short film shot on 16mm film, and producing an event at the Cineworks Annex in collaboration with Art Waste. Her work has been shown in Canada and internationally.

Cineworks Independent Filmmakers Society is an artist-run production and exhibition centre that supports independent filmmakers and media artists. Through initiatives that foster dialogue and experimentation with cinematic practices.

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Drawing Experiments on film | Draw Down 2013


Join us at the CAG and the False Creek Community Centre for free hands-on drawing activities with CAG artist-in-residence Raymond Boisjoly as part of the city wide event DRAW DOWN. Join artist Raymond Boisjoly to invent new tools for drawing and create new, experimental drawings.

WHERE:
False Creek Community Centre
Granville Island, 1318 Cartwright Street

WHEN:
Saturday June 15, 1 – 4 pm, free

Raymond Boisjoly is the Contemporary Art Gallery Artist in Residence at Burrard Marina Fieldhouse beneath the Burrard Bridge. A Vancouver based aboriginal artist of Haida and Quebecois descent Raymond combines contemporary craft, pop culture and street art with traditional Northwest Coast imagery in his work.

Draw Down 2013: On Saturday June 15, 2013, twenty-three different arts and cultural organizations across Vancouver will host a wide array of diverse, hands-on drawing workshops in community centres, museums, art galleries and on the street!

http://www.vancouverdrawdown.com/

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Re-inventing Drawing | Draw Down 2013


As part of our contribution to Capture, Vancouver’s first annual city-wide photography festival, we presented a new installation by American artist Mungo Thomson. Central to Thomson’s artistic proposition is that of context – be it institutional, cultural or that of everyday life – and it is through the breadth of his individual works that we are prompted to grasp the many challenges to our perception in the things we encounter daily. Thomson is interested in the space between things, the subtext or background that consistently draws our attention. He has made works which record notional ‘silence’ – the sound of a room when no one is in it, the applause between songs on every live recording by Bob Dylan – produced works in a range of media based on TIME magazine, and made interventions into spaces which causing us to re-evaluate our expectations, such as Coat Check Chimes, his contribution to the 2008 Whitney Biennial Exhibition, where Thomson  replaced the 1,200 coat hangers in the Whitney Museum’s coat check with custom-made, musically tuned coat hangers that were modeled on orchestral triangles.

When we look at the stars we are actually bathed in the light of the past, and for Thomson this is another way to think about the history while simultaneously considering the ‘contemporary’ – that which constitutes our present is a set of signals between which there are gaps. Negative Space is an ongoing series of photographic murals of inverted astronomical imagery sourced from the Hubble Space Telescope. Thomson works with the Hubble archive in an ongoing way, generating a negative image every time the Hubble generates a positive one. Through a simple command in Photoshop, blacks become whites, whites become blacks, and all other colors are transformed into their complement. These images are then made into site-specific photographic murals for empty walls and installed like wallpaper, indoors and out, temporary and permanent. The project also includes an artist book, an original font, and a screensaver.

The project at Yaletown-Roundhouse Station, Canada Line was presented in partnership with Capture and the Canada Line Public Art Program – IntransitBC.

This project heralds a more comprehensive exhibition of Thomson’s work to be presented at the Contemporary Art Gallery in July-August 2015 produced in collaboration with SITE Santa Fe and accompanied by the first monograph to examine Thomson’s practice.

- See more at: http://www.contemporaryartgallery.ca/exhibitions/mungo-thomson-negative-space/#sthash.wL3QUNlj.dpuf

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Mungo Thomson - Negative Space at Yaletown-Roundhouse Station (2013-14)


Please join us for a special one night film screening of four film works by Nancy Holt and Robert Smithson. Nancy Holt is one of the leading artists of her generation and a pioneer in conceptual, site-specific art and film and video work. She is one of a group of important international artists who initiated the Land art movement in the late 1960s. The Contemporary Art Gallery brings together a selection of photographs from 1967 onwards, many seen for the first time in public, alongside pivotal text and film works.

Nancy Holt
The Cinematheque
June 10, 2013, 7pm
Duration: approximately 83 minutes

Mono Lake (1968–2004)
Nancy Holt and Robert Smithson
19:54 minutes, color, sound 16 mm film transferred to video

Swamp (1971)
Nancy Holt and Robert Smithson
6:00 minutes, colour, sound 16 mm film transferred to video

Pine Barrens (1975)
30:24 minutes, colour, sound 16 mm film transferred to video

Sun Tunnels (1978)
26:31 minutes, colour, sound 16 mm film transferred to video

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Film Screening | Nancy Holt


In-conversation: James Welling and Dominic McIver Lopes
Wednesday, November 13, 7pm
Emily Carr University of Art + Design
Room 301, 1399 Johnston Street, Granville Island

Dominic McIver Lopes, Professor in the Department of Philosophy at UBC, and President of the American Society for Aesthetics, joins artist James Welling for a public conversation considering Welling’s practice.

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In-conversation: James Welling and Dominic McIver Lopes


William Wood is an art historian and critic concentrating on the history of conceptual art and contemporary Canadian and international work in photography, moving pictures and installation. Starting as a critic and editor with C Magazine, Vanguard, Parachute and Public, Wood went on to a doctorate at the University of Sussex and has taught at universities in the United Kingdom, Alberta, British Columbia and Ontario. Recent publications include essays for Ian Wallace: At the Intersection of Painting and Photography and Traffic: Conceptual Art in Canada 1965–1980. Forthcoming are writings on The Piano, an exhibition held at the Art Gallery of Alberta this past summer, and Michael Morris: Letters for the Helen and Morris Belkin Art Gallery. For his Feedback talk Wood will address his remarks to the theme of the para-photographic as it relates to the James Welling exhibition and other artists working with photography.

This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices, and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.

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Feedback Talk | William Wood


Kathy Slade works with embroidery, sound, sculpture, books, film and video. Recent exhibitions include: It was a strange apartment full of books …, Galerie Au rue 8 saint bon, Paris; IS EVERYTHING GOING TO BE ALRIGHT?, Audain Gallery, Vancouver; Cue: Artists’ Video, Vancouver Art Gallery; and Die Perfekte Ausstellung, Heidelberger Kunstverein. Additionally Slade collaborates with Brady Cranfield on two ongoing projects The Music Appreciation Society, and a music group that has produced two concept albums 12 Sun Songs (2009, Or Gallery and Christoph Keller Editions, Zürich) and 10 Riot Songs (2011, Presentation House Gallery, North Vancouver). She will be responding to the work of Kay Rosen.

This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices, and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.

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Feedback Talk | Kathy Slade


Jem Noble’s practice encompasses digital image-making, sound, sculpture, performance and text and is concerned with questions of framing, indeterminacy and co-production. Among recent projects he has given a performance-lecture for the European Arts Research Network at dOCUMENTA (13); created image, text and audio work in conjunction with Bruce Nauman’s Days at the ICA, London; made structural edits of 1988 feature films Ghosts of the Civil Dead and They Live, screened at Arnolfini, Bristol, UK and The Engine Room, Wellington, New Zealand; and painstakingly recorded music from the internet in real-time over three months to DJ at Manifesta 7 in Trentino in collaboration with Swedish anti-copyright activists Piratbyrån. He has also undertaken several commissioned collaborations with Turner Prize 2012 winner, Elizabeth Price, producing sound and music for her large-scale video installations. Noble is founding member of the Blackout Arts expanded-cinema collective (2002–2010) and was co-director of Venn Festival of new and exploratory music and sound between 2004 and 2008.

This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices, and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.

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Feedback Talk | Jem Noble


Krisztina Laszlo holds a cross-appointment at the University of British Columbia as the archivist for the Morris and Helen Belkin Art Gallery and the Museum of Anthropology. Her research interests include artist’s archives, curatorial and artistic interpretations of the archive, cultural property and preservation of media art. She received a Master of Archival Studies from the University of British Columbia and also holds a Certificate in Public History and a Bachelor of General Studies from Simon Fraser University. Laszlo will discuss a series of slides produced by archeologist and anthropologist Wilson Duff now held in the MOA collection referenced by Mike Nelson in his new commission Eighty Circles through Canada (The Last Possessions of an Orcadian Mountain Man), 2013. Commissioned in partnership with Walter Phillips Gallery, Banff Centre.

This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices, and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.

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Feedback Talk | Krisztina Laszlo


This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices, and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.

In response to the exhibition Itee Pootoogook, Buildings and Land, Crosby will discuss some aspects of her PhD research, which focuses on the formation of Aboriginal cultural production in urban spaces in Vancouver, B.C., for Native and non-Native publics; these include diverse forms of performativity, the display and sale of Aboriginally produced objects, and urban community supports by well-known First Nations artists through their association with new Aboriginal social organizations.

Marcia Crosby is currently completing her PhD in the Department of Art History and Visual Culture, UBC, and also works as an independent scholar. Crosby has a BFA in Fine Arts and English Literature, and an MA in Art History, UBC (1993), her MA thesis focused on the tension between representations of Aboriginal cultures and peoples in the public sphere, the work of Indigenous art and artists, and representations of Aboriginal title in B.C.

In addition to teaching literature and Native Studies at Vancouver Island University for 16 years, she has worked as a researcher, reviewing Aboriginal programs in public institutions. Her current work as a PhD candidate at UBC, builds on the curatorial work completed for the exhibition and accompanying publication, Nations in Urban Landscapes (Contemporary Art Gallery in 1994 and which toured to Oboro, Montréal, 1996), and the more recent exhibition: Aboriginal art in the city: Fine and Popular (2008), which is one of several web projects produced through the Morris and Helen Belkin Art Gallery, as part of Ruins in Progress: Vancouver Art in the Sixties. More recently in 2012, she co-curated with Karen Duffek, The Paintings of Henry Speck: Udz’stalis at the Belkin Satellite Gallery, Vancouver.

Next in the Feedback series:

Kathy Slade
Tuesday, July 23, 7pm

Karol Sienkiewicz
Tuesday, August 20, 7pm

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Feedback Talk | Marcia Crosby


Sosnowska discusses her practice drawing on a range of key recent projects.The Contemporary Art Gallery presents the first exhibition of work by Polish artist Monika Sosnowska in Canada. Best known for her ambitious architectural and sculptural installations which simultaneously embrace and resist the spaces they occupy, Sosnowska’s exhibition will obliquely reference her hometown of Warsaw and the economic shift that has occurred since the collapse of communism in 1989 to the present day.The Monika Sosnowska exhibition opens on Thursday June 27 and continues until August 25.
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Artist talk | Monika Sosnowska


Join us over the summer at the Field House Studio for free drop-in art activities for all ages responding to the work of Raymond Boisjoly and our current CAG exhibitions: Monika Sosnowska, Itee Pootoogook and Kay Rosen.

Saturday, July 27, 1–4pm
Saturday, August 24, 1–4pm

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Field House Studio | Saturday Family Days


The Field House Studio is an off-site artist residency space and community hub organized by the Contemporary Art Gallery. This initiative seeks to support and nurture artists whose practice moves beyond conventional exhibition making, echoing the founding origins of the gallery where artists were offered support toward the production of new work. Our goal in presenting art outside of the boundaries of our exhibition spaces is to reach out to communities, offering new ways for individuals to encounter and connect with art and artists, expanding audiences as well as strengthening our commitment to nurturing artists through example, context and commissioning. Running parallel to the residency program are an ongoing series of public events for all ages.

Speaker Series: Artists in Public
This summer the CAG launches a new series inviting creative and cultural producers to share their theories, thoughts, and experiences of developing projects in the public realm.

Zoe Kreye and Catherine Grau
Saturday, June 22, 4pm
Field House Studio at Burrard Marina
The first talk presents collaborators Zoe Kreye and Catherine Grau who are currently working on a public project throughout Vancouver entitled Unlearning Weekender, (A project by Goethe Satellite @ Vancouver, in cooperation with Dance Troupe Practice, Windsor House School, Public Dreams and Revised Projects). They will discuss this series of workshops which invite the public to create rituals as a means of challenging invisible social structures aiming to strengthen community bonds.

Justin A. Langlois
Saturday, August 17, 4pm
Field House Studio at Burrard Marina
Langlois will discuss his work as co-founder and research director of Broken City Lab, an artist-led interdisciplinary creative research collective and non-profit organization working to explore locality, infrastructures and creative practice leading towards civic change. He is currently an Assistant Professor in the Faculty of Arts and Social Sciences at the University of Windsor. In the fall of 2013, he will join the Faculty of Culture + Community at Emily Carr University of Art & Design.

Family Days at the Field House Studio

Join us on the Field House Studio balcony for free drop-in art activities for all ages responding to the work of Raymond Boisjoly and our current CAG exhibitions.

Saturday, June 29, 1–4pm
Saturday, July 27, 1–4pm
Saturday, August 24, 1–4pm

The Field House Studio Residency Program is generously supported by the Vancouver Park Board and the City of Vancouver. The inaugural residency with Raymond Boisjoly is supported by the Province of British Columbia through the Ministry of Advanced Education, Innovation and Technology.

Raymond Boisjoly, As It Comes continues until June 16 and is located in the window spaces at the CAG and off-site at Yaletown-Roundhouse Station, Canada Line and The Burrard Marina Field House Studio Residency Program.

As It Comes at Yaletown-Roundhouse Station, Canada Line is presented in partnership with the Canada Line Public Art Program — IntransitBC.

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Field House Studio - Summer Programs


Join us to celebrate the launch CAPTURE a new photography festival for Vancouver, including projects and exhibitions by Mungo Thomson and James Welling at the Contemporary Art Gallery during October and November.

For more information on CAPTURE Photo Festival go here: http://capturephotofest.com/

The opening  launch event will be held at The Museum of Vancouver, 1100 Chestnut Street, Vancouver, BC V6J 3J9, Canada.

on: Tuesday October 1, 7-10pm

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Opening | Capture launch - Mungo Thomson & James Welling


Downtown Gallery Tours
Saturday, November 22, 1 pm

Join us for an afternoon of guided tours at Audain Gallery, SFU; Satellite Gallery and Contemporary Art Gallery. Meet us at Audain Gallery at 1 pm for a tour of Ricardo Basbaum’s The Production of the Artist as a Collective Conversation led by curator Amy Kazymerchyk and SCA Assistant Professor Sabine Bitter; 2 pm at Satellite Gallery for a tour of The Port, led by curator Cate Rimmer, and 3pm at Contemporary Art Gallery for a tour of exhibitions by Shimabuku and Gunilla Klingberg led by CAG Curator, Learning and Public Programs Shaun Dacey.

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Downtown Gallery Tours: Audain Gallery, Satellite Gallery & Contemporary Art Gallery


Avelina Crespo
Saturday, January 10, 3pm
A tour of current exhibitions on display in Spanish led by artist Avelina Crespo.

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Guided Visit in Spanish | Avelina Crespo


A CAG video featuring Keg de Souza, Burrard Marina Field House artist-in-residence, she discusses her projects made during her residency earlier this year. Watch out for Keg’s return for a follow up project in July.

Keg de Souza
July 20 to August 3, 2015
Australian artist de Souza continues work towards a series of public events in 2016 exploring food culture as a metaphor for urban displacement. In April, de Souza’s handmade inflatable dome became a temporary space at the Burrard Marina Field House for a public picnic engaging Canadian colonial narratives via a consideration of national food traditions. Meeting with local chefs, food activists and residents de Souza prepared a truly Canadian feast as a source for an afternoon of unfolding dialogue that the artist mapped directly onto the inflatable’s flooring. A starting point for the discussion was the ephemerality of the event itself — the only remnant left behind an intertwining of disconnected dialogues, mapped together with dirty dishes, crumbs and more questions posed. After the meal was eaten the structure deflated, the temporary community dispersed. De Souza will be hosting a second event in July, continuing to use food as an avenue to discuss local spatial politics.

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Video | Keg de Souza


Artist Shannon Bool discusses her work and the process of making the sculpture ‘Michelangelo’s Place’ installed at the entrance to the CAG from May 1 to June 28, 2015. Film by Brian Lye.

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Video | Shannon Bool


Jürgen Partenheimer
Thursday, May 8, 6pm
Emily Carr University of Art + Design
Room 301, 1399 Johnston Street, Granville Island

This special event involves multiple voices approaching notions of abstraction from a variety of poetic, philosophical and theoretical standpoints by Audain Distinguished Artist-in-Residence Jürgen Partenheimer. Born in Munich in 1947, Partenheimer studied the theory and practice of art in Germany, the USA, Mexico and France. As a representative of a subjective abstraction, he is considered one of the most important contemporary artists of Germany. With theory, poetry and prose as his referential grammar for artistic expression, Partenheimer’s work encompasses painting, drawing, sculpture and text. Marked by a post-minimalist background and a poetic intensity, his art has been referred to as metaphysical realism. He became internationally renowned following his participation in the Paris, Venice and São Paulo Biennials, and in 2000 became the first contemporary German artist to have a retrospective in China at the National Museum of Art in Beijing. His work has been part of major exhibitions including The Museum of Modern Art in New York and San Francisco, the Miró Foundation in Barcelona and the Museum Ludwig in Cologne.

Featuring guest appearances by Nigel Prince, Nicholas Lea, Mayko Nguyen and Aoife MacNamara.

Partenheimer’s work has received many national and international prizes and awards, among others the Art Critics’ Prize of Madrid, Spain; the NEA Grant, National Endowment of the Arts, New York; Canada Council Grant, Montréal and the Federal Cross of Merit of Germany for outstanding international achievement. Partenheimer has taught as Professor, Distinguished Visiting Professor and Visiting artist among others at San Francisco Art Institute; Academy of Fine Arts, Düsseldorf, University of California at Davis; Rijks Academy in Amsterdam; Royal College of Art, Edinburgh; Rhode Island School of Design and WITS School of Arts in Johannesburg.

Partenheimer’s residency at Emily Carr takes place from February – May, 2014 in preparation for an exhibition at the Contemporary Art Gallery in the fall of 2014. The exhibition in Vancouver forms part of an open cooperation with the Pinakothek der Moderne München (The Museum of Modern and Contemporary Art, Munich); Falckenberg Collection, Deichtorhallen, Hamburg and the Gemeentemuseum The Hague, exploring site and space-related installation concepts. Parallel to the different exhibitions, all of which will be held in 2014, the participating institutions closely worked on a publication with the artist that aims at commenting on and integrating the various aspects of his work as an additional ‘fifth room’. International authors from a variety of different disciplines, including Anne Carson, Lebogang Mashile, Carla Schulz-Hoffmann, Antje v. Graevenitz, John Burnside, Oswald Egger and Rudi Fuchs, have taken up the invitation to write contributions and become involved in this project. Published by Distanz Publishers, Berlin, 2014.

Established in 2012, the Audain Distinguished Artist in Residence Program has a mandate to bring nationally and internationally renowned contemporary artists to Vancouver, create curriculum specific to each individual visiting artist, and support the creation of new works. Adopting a flexible model that encourages experimentation, collaboration, dialogue and engagement, the program will benefit artists, the academic community, the Vancouver art community at large, and will greatly contribute to Vancouver’s stature within the international art world. The Program, housed within the Audain School of Visual Arts encompassing the Faculty of Visual Arts + Material Practice, provides support for two artists per year to live and work in Vancouver for a one to three month period, and includes living and travel expenses, support for production costs, exhibitions and honoraria.

Please note that Aoife MacNamara’s reading has been removed due to technical difficulties. We sincerely apologize for the inconvenient.

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Video | Jürgen Partenheimer - Renga: Dimensions of Abstraction


CJSF interns Ana Costa + Anh Dang interview New York visual and video artist Maryam Jafri about her work AVALON (2011), which is Contemporary Art Gallery’s June 2014 exhibition The Act Of Seeing With One’s Own Eyes.

Jafri weaves themes of production, representation and role playing throughout her work.

Aired originally on CJSF’s Spoken Word Surprise July 1st (Tuesday 4pm)

Includes notes from CAG curator and excerpts from the June 26th artist talk.

www.maryamjafri.net/

Talk info + audio: www.contemporaryartgallery.ca/learning/a…yam-jafri/

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CJSF Radio interview with Maryam Jafri


Maryam Jafri
Thursday, June 26, 7pm

Please join us for a talk by artist Maryam Jafri. Her video work Avalon (2011) is included in The Act of Seeing with One’s Own Eyes.

In her moving image works, Jafri blurs the distinction between scripted films and unscripted documentaries. In Avalon (2011), Jafri seamlessly weaves together stories from real life workers in an unnamed leather company in an unspecified Asian country, with a script that she wrote herself. The workers in this factory are not told that they are making fetish products to be sold to the masses in the United States, and this selective disclosure can be seen in the disconnect between the production process and the final product itself. Parallels can be made between the secretive nature within the leather factory, the viewer’s unsurety of who is an actor and who is not, as well as to the overall editing process which yields a carefully restrained video work about the complex topics of overseas factories and the world of fetish paraphernalia.

Jafri’s solo exhibitions include: Mouthfeel, Gasworks, London (2014); Backdrop, Bielefelder kustverein, Bielefeld, Germany (2013); Stages, WYSPA Institute of Art, Gdansk (2012); Geographies, Museum of Contemporary Art, Roskilde (2012); Headlines and Small Print (with Anderas Fogarasi), Galerie Nova/WHW Zagreb (2012); Global Slum, Beirut, Cairo (2012) and Shanghai Biennial and Taipei Biennial (2012). She has also exhibited in group exhibitions including: Fassbinder Jetzt – Fassbinder and Contemporary Art, Deutsches Filmmuseum, Frankfurt (2013); Past is Present (Murals), Museum of Contemporary Art, Detroit (2013); Ten Thousand Wiles, Hundred Thousand Tricks, MuKHA, Antwerp (2013); When Attitudes Became Forms Become Attitudes, Museum of Contemporary Art, Detroit (2013); Manifesta 9, Genk (2012). Maryam Jafri lives and works in New York and Copenhagen. She holds a BA in Literature from Brown University, an MA from NYU/Tisch School of The Arts and is a graduate of the Whitney Museum Independent Study Program.

www.maryamjafri.net/avalon.htm

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Artist Talk | Maryam Jafri


Y-CAG

New Y-CAG starts in November – still time to sign up!

Program Runs – Two Wednesdays each month from November, 2013 – May, 2014
Cost – $350

Y-CAG 2013/2014 Information Sheet

Y-CAG 2013/2014 Application Form

Y-CAG offers youth interested in contemporary art, visual culture and exhibition-making the opportunity to work closely with leading artists, curators, gallery staff and educators. Co-hosted by the Contemporary Art Gallery and Emily Carr University of Art + Design, Y-CAG will offer a behind-the-scenes look into both institutions, through gallery and facility visits.

Students will engage in discussions focusing on contemporary cultural issues; participate in the production of publications, events and presentations; and gain experience producing, installing and documenting artwork. Work produced in the program will culminate in a student-initiated ‘exhibition in print’.

  • Meet bi-weekly and build relationships with other creative teens, Contemporary Art Gallery and Emily Carr University of Art + Design staff, and visiting museum professionals and artists;
  • Identify interests and questions and use these to explore art through a variety of means, from looking, researching, and discussing to art making;
  • Place contemporary art within the context of what is going on in the larger world; and
  • Work with a variety of people and teen peers to create a public art exhibition or event.

Cost

The cost of the program is $350 for the entire six months and includes refreshments at each session.

Schedule

Teens will meet twice a month from 4:00 – 7:00 PM two Wednesdays of every month for afterschool meetings facilitated by educators and art professionals. Meetings will alternate between the CAG and Emily Carr.

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Y-CAG Program with ECUAD


Emerging Dance Summer Intensive:

Call for participants ages 17 to 25yrs old

July 3 – September 4, 2014

(Every Tuesday and Thursday for three hour sessions)

Free

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Deadline June 25 | Emerging Dance Summer Intensive: Call for participants aged 17 to 25yrs old


Erin Shirreff on Art 21, New York.

 

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Video | Erin Shirreff


Nancy Holt and Ben Tufnell discuss Holt’s major exhibition ‘Photoworks’ at Haunch of Venison London.

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Video | Nancy Holt


Artist Josephine Meckseper discusses her work and her exhbition American Leg at the Contemporary Art Gallery, Vancouver, May 2012.

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Video | Josephine Meckseper


Endless Endless:
Robert Orchardson and Corin Sworn in-conversation with Richard Henriquez and Leslie Van Duzer

An in-conversation event between artists Orchardson and Sworn with architect Richard Henriquez and Leslie Van Duzer, Director and Professor, School of Architecture and Landscape
Architecture, UBC. Discussion will centre on topics of redundancy, memory and shifts in value and meaning over time.

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Endless Endless: Robert Orchardson and Corin Sworn in-conversation with Richard Henriquez and Leslie Van Duzer


American artist Sharon Hayes discusses her exhibition In The Near Future at the CAG, April 8 – June 5, 2011.

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Video | Sharon Hayes


Federico Herrero discusses his CAG exhibition “Vibrantes”, September 9, 2011 to January 15, 2012.
Video production by Adrian Buitenhuis.

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Video | Federico Herrero


Roy Arden discusses his exhibition UNDERTHESUN at the Contemporary Art Gallery, Vancouver Canada.

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Video | Roy Arden


This video, Roy Arden: UNDERTHESUN was made to coincide with the exhibtion of the same name at the Contemporary Art Gallery from January 28 to March 27, 2011.

Video by Adrian Buitenhuis

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Video | Roy Arden - UNDERTHESUN


Eli Bornowsky Interviews Elizabeth McIntosh (Part 1 of 2)

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Video | Eli Bornowsky & Elizabeth McIntosh (Part 1)


Eli Bornowsky interviews Elizabeth McIntosh on the occasion of the exhibition – Eli Bornowsky: Walking, Square, Cylinder, Plane - November 26 – January 22, 2011
© Contemporary Art Gallery, The Western Front and The Artists, 2011.

 

 

 

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Video | Elizabeth McIntosh & Eli Bornowsky (Part 2)


Artist Alex Morrison discusses his work and the group exhibition Following A Line at the Contemporary Art Gallery, Vancouver, September 2010.

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Video | Alex Morrison


Artist Brad Phillips discusses his work in the exhibition Triumphant Carrot: The Persistence of Still Life, June 2010.

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Video | Brad Phillips


Artist collective bgl discuss their work and their exhibition Marshmallow + Cauldron + Fire = at the Contemporary Art Gallery, Vancouver, April 2009.

Congratulations to bgl who will represent Canada at the 2015 Venice Biennale.

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Video | bgl - To represent Canada in the 2015 Venice Biennale


Dexter Sinister discuss the exhibition An Invitation to An Infiltration, 2010. An ideal context for an examination of the competitive nature of group exhibitions was during the 2010 Winter Olympic Games. Organized by guest curator Eric Fredericksen, An Invitation to An Infiltration was a group exhibition of local and international artists ranging from emerging to established.

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Video | Dexter Sinister


Holly Ward discusses her work in the group exhibition An Invitation to An Infiltration, 2010. An ideal context for an examination of the competitive nature of group exhibitions was during the 2010 Winter Olympic Games. Organized by guest curator Eric Fredericksen, An Invitation to An Infiltration was a group exhibition of local and international artists ranging from emerging to established.

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Video | Holly Ward


Urtzi Grau talks about the touring exhibition ‘Clip/Stamp/Fold’ and the exhibition ‘Clip/Stamp/Fold 6′ at the Contemporary Art Gallery, Vancouver.

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Video | Clip/Stamp/Fold 6 - Urtzi Grau


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

 

 

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Behind the Scenes on Time, People, Money, Crickets


On Saturday, June 6th the CAG hosted Tad Hozumi and Gary Quon for the first of three Feedback events in response to Julia Dault’s exhibition, Blame It On The Rain. The Feedback Series is designed to work with cultural and critical producers to explore thoughts and ideas rooted in their own practices, inviting audiences to engage in conversations, and probe curiosities relevant to contemporary issues, theories, ideas, and culture.

Hozumi is a Vancouver-based artist and hip hop therapist who is involved in local street dance culture and is currently working on a body of photographic, installation, social intervention and performance works examining subversive vocabularies of street style dances. Hozumi responded to some of the pop culture references in Dault’s paintings by playing personally selected records. Gary Quon, a yoga practitioner who specializes in Kundalini practices with elements of rhythm and dance, led a participatory and energetic movement workshop called Yoga Boogie choreographed to select music.

While participating in the 1.5 hour long workshop with Tad and Gary I thought a lot about what it meant to be moving and dancing with friends and strangers alongside Dault’s paintings, inside a gallery setting. Not only were our movements often informed and inspired by the paintings and environment, it felt like a reciprocal relationship was occurring—the paintings also seemed to be in dialogue with the space and the people within it.

On my first encounter with Julia Dault’s work, I was initially struck by what I sensed as a vulnerability in the paintings and sculpture – a certain humanness, an embodied quality—a visceral and gestural component to the paintings revealed through the materiality and everydayness of the work. The use of found fabric, unconventional tools (squeegees, rubber combs and sea sponges) allow Dault to play with the tensions between expressive abstraction and a cool and industrial characteristic which is most tangible upon first impression.

It is undeniable that the gallery space is enlivened by moving bodies dancing, laughing, sweating, clapping and singing—doing all the things that would normally make people squirm with discomfort or even embarrassment, especially within a space that is typically reserved for particular “etiquette”. The space was transformed, and for me being literally “embodied”, I was able to access a new depth in Dault’s work and see deeper levels and the existing knowledge inherent in the paintings.

It is interesting also to note the formalism and usual expectations of gallery etiquette that are transgressed by introducing contrary behaviors into the space – - there is certainly, at first, a self-consciousness or shyness that accompanies, say, doing yoga and chanting kundalini mantras in a space that is typically governed by a particular “way” of inhabiting the gallery space but after that fades the relationship between the bodies in space and the art seems to evolve.

The next feedback series event, Body Jazz, is taking place on Saturday, June 13th at 4pm and will again be hosted by Tad Hozumi. Hope to see you there!

- Shalon

 

 

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Dancing with Julia Dault


Located near to the gallery entrance, Michelangelo’s Place is the final version in a series of marble benches Bool has recently produced. The sculpture references the benches found circling the elevated Piazzale Michelangelo in Florence, Italy built in 1869 to showcase copies of Michelangelo’s most famous works and to provide a stunning panoramic view of the city. Working in Vancouver for three weeks prior to the opening, Bool reproduced the exact graffiti that covers some of the benches.

Read on for a behind-the-scenes report by CAG Program Assistant, Jas Lally on the delicate installation of the new sculptural commission Michelangelo’s Place by Berlin-based, Comox, BC born artist Shannon Bool:

 

On the day of the installation of Michelangelo’s Place, Shannon and I had many phone calls back and forth with each other trying to come up with a Plan B, because it had been raining ALL DAY! We were lucky that a few hours before the install the sun came out and we were able to prep the dry ground – who knew Bianca Carrara marble was such a finicky material.

When the pieces arrived, the bench looked much bigger than I thought it was going to be. The four legs were easy to carry and place in front of the CAG, but when it came to the bench top things got a little more tricky. The top had to be balanced on a dolly that looked like a unicycle! I could see Shannon and assistant Teal holding onto the sides of the bench top for dear life as it was steered down the sidewalk with passerby’s giving us very curious looks.With the bench legs positioned in the perfect spot the top was affixed, then with the right amount of glue the job was done. I was surprised how easily and quickly all the pieces came together.

The bench has been installed for a week now and visitors have been engaging with the bench by taking a moment to sit on it and read some of the one hundred year old Italian graffiti. Even all the little furry friends in the neighbourhood have been giving the bench curious sniffs!If you haven’t already, stop by and take a moment to sit on the bench and visit also Julia Dault’s exhibition Blame It On the Rain!

- Jas Lally

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Behind the Scenes with Shannon Bool


This is the third and final installment of a series of interview questions between UBC Intern Patrick O’Neill and Jeremy Shaw, around Jeremy Shaw’s 2015 exhibition here at CAG, Medium-based Time (February 26-April 19).
Patrick O’Neill: In an interview with 032c Magazine you said that you had a “[...] real fondness for the manipulative possibility of the cinematic experience.” If we look at how Variation FQ relates to Quickeners, this idea about the manipulative possibility of the cinematic experience is especially present in both works. Various cinematic elements are utilized in each film and in the way each room is crafted as an immersive installation. Is the idea of cinema as manipulative experience something you wish the viewer to pick up on?

Jeremy Shaw: I think the way that I am amplifying these manipulative possibilities is quite pronounced in the work – my use of devices and clichés is very apparent.  This isn’t to say that that makes them obvious to the viewer, as they’re proven manipulative by design, so may be working in a way that people don’t recognize immediately.   If I was truly creating work that’s in keeping with this potential, they may never be picked up on, but I don’t mind either way. I have always loved walking away from an art work or film with the feeling that I’ve been had a little bit – like I’ve been tricked or lead some way or other unknowingly and possibly even against my own usual judgement.

In what way do you think this understanding, or awareness, might affect the reading of the themes within each film?

This use of techniques are an amplification of the things I love about cinema, music video, documentary, etc – so I see them as a way to push the themes even harder, but to do it in a way that’s moving, alluring, entertaining, repelling, whatever – it’s amplified.  I tend to celebrate things in my works – even things I may not fully agree with, but that I find a beauty in the core of.  I often ride a line between this celebration and critique via this use cinematic device, but essentially, I leave things nebulous.  I don’t attempt to force a certain reading – only possibilities.

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UBC Intern Patrick O’Neill in conversation with Jeremy Shaw | Part 3 of 3


This is the second installment in a series of three parts of a Q&A that Patrick O’Neill conducted with Jeremy Shaw. Part 1 can be found here.

Patrick O’Neill: The soundtrack seems to occupy a pivotal role in both films in this exhibition. To what extent has your artistic practice been informed by your experiences with Circlesquare and vice versa?

Jeremy Shaw: As far as my skill sets go, [sound design] has been a massive influence.  I spent countless hours/days/months working on Circlesquare music – experimenting with production, writing and recording, learning programs, samplers, instruments, etc.  All of this is all very useful in technical ways with how I am working now.  I used to really try and keep these two practices separate, but since disbanding Circlesquare I’ve felt a real freedom to use music in a much more present way in my art works. I brainstorm in both a visual and musical way – rarely do I think of one without the other.

PO: You seem to be quite conscious of the power of technology to inscribe or convey belief structures to the viewers or users of those technologies. Is this idea simply of personal interest, or is it something you try to explicitly acknowledge in your works?

JS: It’s a device I use as a way to lure a viewer into something via an assumed awareness.  Their personal understanding of/relationship to the technology puts them somewhat at my disposal to subvert that familiarity; to propose something new via this comfort.  It is definitely acknowledged in the works – for example, in Variation FQ, the first 3 minutes are mono sound and the antiquated 16mm image authentically mimics a 1960’s aesthetic.  If one was not to know of contemporary voguing, they could believe this was an archival work.  But at 3 minutes in when Leiomy takes her hair out, the audio switches dramatically to surround sound and an MP3 quality digital sound is introduced while she shakes her head in a way that would be difficult to believe was shot anytime before the late 1980’s.  So here the projector and media and music all come into question as no longer endorsing the initial set-up.  I like the idea of collapsing time this way.

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UBC Intern Patrick O’Neill in conversation with Jeremy Shaw | Part 2 of 3


Patrick O’Neill is a UBC Art History student who has come on board as an intern at CAG to assist with the research connected to our Reading Room. While Jeremy Shaw was in town, they took some time to discuss the three works that are currently on display. This post focuses on the work Quickeners (2014).

Patrick O’Neill: What inspired you to create Degenerative Imaging (In the Dark) (2015) as a glow-in-the-dark, light-sensitive piece?

Jeremy Shaw: Degenerative Imaging is continuation of work I’ve done in the past (Representative Measurements) where I reformatted fMRI brain scans of subjects after cumulative use of MDMA as black light silkscreen posters.  This time I’ve used SPECT scans of the cumulative effects of various mind altering drugs on blood flow in the brain and transferred them to the same material that is used to make glow-in-the-dark constellation stickers that adorn bedroom ceilings.   It is a bringing together of these two very disparate drug experiences – one which is attempting to map and explain, the other attempting to enhance or further the experience itself.  This pushes the 80’s “this is your brain on drugs” propaganda with the idea of looking at a scientific representation of what something has done/could do to your brain via the experience you are currently having.  The representation is aiding in positively enhancing yet presumably seen as a negative when considered in its cumulative context.

PO: What inspired you to start working within a more explicitly narrative structure for Quickeners (2014) and what did this juxtaposition allow for in your exploration of themes which are familiar in your practice?

JS: The decision to work with a narrative was due to my desire to be able to talk about all these seemingly disparate interests in a more cohesive or straightforward way. It is the first time I was explicitly able to address a lot of these things – ideas around scientific rationalization of transcendental experience, parallel realities, belief systems of many degrees, etc.  The creation of a narrative in which a new, entirely rational species was experiencing a degenerative syndrome that incited reversionary, irrational behaviour allowed me to create characters in varying states of decline from which I could address many different perspectives on said topics.  Here I was able to explicitly vocalize via these characters speech/subtitles rather than submerging the ideas into a nonlinear or abstract piece.   I had the footage for Quickeners for years and knew that I wanted to work with it, but hadn’t quite figured out how. It ended up being a logical progression in my practice – specifically after Introduction to The Memory Personality – where I felt the desire to push further with linear structure.  I still did end up with an immersive, experiential section within this that reads like previous works – but it is submerged within the narrative form.  I liked the idea of almost pushing the viewer into submission or a kind of exhaustion before introducing this cathartic release in the narrative aspect of the work and for the audience as well.

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UBC Intern Patrick O’Neill interviews Jeremy Shaw | Part 1 of 3


Hello! My name is Nicola Krohman and over the last few months I’ve had the opportunity to work with Shaun Dacey, Curator of Learning and Public Programs, and Jill Henderson, Communications Coordinator, as a volunteer and now in my new role as Communications Intern. I first met Jill four years ago when I started as a volunteer in the CAG’s Abraham Rogatnick Library, where I was introduced to many CAG publications in addition to the various other resources the library holds. Since then I moved to London to complete my MA in Fine and Decorative Art. My dissertation examined the evolution of, architect and designer, Eileen Gray’s furniture designs, considered through her innovative use of materials. This experience led me to New York, where I worked for a furniture dealer and restorer, and continued to explore my interests in art and design. Last fall when I decided to spend the year back home in Vancouver, I wanted to return to the CAG to learn from and participate in the workings of such an exciting Canadian art institution. It’s been nice to see familiar faces again and to meet many new ones, as well as, interesting to see how the CAG has continued to grow and evolve. During the next few months I hope to share with you through the blog some of the CAG’s upcoming exhibitions and events.

I also wanted to mention that Berlin-based Canadian artist Jeremy Shaw’s exhibition Medium-Based Time opened at the CAG last week. We are very happy to see that the exhibition was included in both The Vancouver Sun and The Georgia Straight’s art features (see here and here), as well as, with a great review of the exhibition by Marsha Lederman in The Globe and Mail.

Come by the gallery to see Jeremy Shaw – Medium-Based Time, which runs through to April 19th!

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Hello from Nicola!


As part of my internship at the CAG, I was able to assist with the installation of Grace Schwindt’s exhibition.  The fun part of this installation was being able to assist with the colour coordination of the 9 jewel toned and naturally dyed ribbons. There was no formula or method to the colour selection, just what looked well together. Grace liked the arrangement so much that she is repeating the colour sequence at Zeno X Gallery in Antwerp where the show is traveling to. In Canada, you can catch the film next at Contemporary Calgary!

- Jas Lally

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Behind the Ribbons


What brought you to volunteer at the CAG?

I’ve always had an interest working in an art gallery, and I discovered the CAG last summer while exploring. I began chatting with Jocelyn at the front desk, picking her brain regarding her journey on how she got to work there, and she recommended I submit my resume to volunteer. I believe that volunteering at a place you are passionate about alters the perspective you have on yourself as well as how you are spending your time. It is not only a great experience, but you single-handedly place yourself in a position where opportunities that pertain to your interests or career path are presented to you. I wanted to work and learn from curators, artists and other fellow volunteers, as this was my first time working in a gallery. Now, being at the CAG since May, I’ve made new friends and have learned a great deal about the art world and all its facets!

What is your favorite thing about your volunteer position at the CAG?

Currently I help at the front desk, and being able to answer any questions that visitors may have I find really rewarding, as it aids in their exploration of artwork that the CAG exhibits. Opening nights are always great as well, since I get to check out the new exhibitions the day of, and mingle with like-minded individuals as well as the artist(s).

What and where was the first Contemporary Art work that you experienced?

Some of the first Contemporary artworks I experienced were probably back when I was living in Amsterdam as a teen.

What other creative activities do you do?

I have been sketching since childhood, and have just begun teaching myself how to paint this year! I’m very much enjoying the process. I have also been drumming since I was a teen, and I also edit films on the side, as it is part of my job in the film/TV industry.

Check out Michelle on Instagram, her painting here and a sample of video editing here.

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Volunteer Profiles: Michelle Doherty


Hello all! My name is Jas Lally and for the next 10 months I will be working as the Programs Assistant. I am excited to work with Shaun Dacey, Curator of Learning and Public Programs, the staff and volunteers at the CAG. I have been working and volunteering in the arts for the past few years and some of you may have seen me at the Vancouver Art Gallery and Access. I worked a the Vancouver Art Gallery for 5 years in Visitor Services and Administration where  I was able to meet local and international artists. At Access, where I first met  and worked  with Shaun, I was able to work  one-on-one with the Director/Curator and artists. I really enjoyed this more intimate level of work.

My experiences at both galleries solidified my choice in pursing my Masters in the History of Art which I recently completed  at the University of Birmingham, UK. I studied at the Barber Institute of Fine Art  where I co-curated an exhibition on portraiture with the Barber and the National Portrait Gallery. I also completed my dissertation on exhibition practices where I examined why textiles change meaning when exhibited. I was able to use  Lady Barber’s lace collection as my case study. My time at the Barber gave me perspective  and hands on experiences into the multidisciplinary world of curatorial.

My first introduction to the CAG came only three days after starting when I helped set up and greet guests at the CAG’s annual Art Auction. The auction went really well and it was such an exciting way to start a new job! My new role will allow me to help coordinate some interesting learning programs. For example, we recently launched the Telus Garden project, The City in Motion, where 11 young emerging artists are creating an original film to be permanently installed at the new Telus building. Look out for my blog on this project where you can follow along on the progress. I have also started to work with the artist in residence at the Burrard Marina Field House. The CAG recently hosted Fluid Frames: Filmmakers Series with Ben Russell. We hosted a film social at the Field House.

Look back to the CAG’s Blog for exciting updates about what I’m getting up to!

PS: if you haven’t already seen When Sky was Sea by Shimabuku drop by and say hello and sign up to attend one of the talks on the exhibition!

PSS: Did you  hear about our exciting new project in partnership with Ballet BC? and in association with the Art|Basel Crowdfunding Initiative and commissioning artists John Wood and Paul Harrison? to find out more click here: http://bit.ly/cagXbbc

See you at the CAG soon! – Jas Lally

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Hello from Jas Lally – New Programs Assistant at the CAG


Hello!

My name is Sally, I’m a temporary addition here, volunteering at the CAG, and with my time here hurrying by I wanted to fill you in on how I got here and all the cool stuff I’ve been doing at the CAG.

I’m from the UK and have come to Vancouver for six weeks as part of a four month adventure that has been the most memorable of my life.

My time here is part of a plan that involved leaving all the sensible things in my life, like a job and a flat so that I could stretch my legs over to the West Coast …or I should say, the ‘Best Coast.’

Things took shape after I sent some emails, one to Anchorage Museum in Alaska and the other to the CAG. I have been involved in arts and museum education since University, volunteering or working for different organizations and so I thought it would be brilliant to gain some experience overseas. The reply emails were nerve racking to open but I received, to my delight, welcoming replies. So it was decided and before I knew it I was Alaska bound, looking at the glaciers below wondering what the next four months would bring.

I spent seven weeks in Anchorage, with six of those as a volunteer at the museum getting to develop informal learning activities and facilitate family events. The photo below was taken on my phone in Sitka, onboard a little boat as I looked out for and encountered humpback whales. For me it captures how I feel about my time in Alaska.

After Anchorage I spent a couple of weeks exploring South East Alaska, Seattle and San Francisco before arriving here! My time in Vancouver keeps getting better. At the CAG I have been helping Shaun Dacey and Jas Lally with exciting projects that are teaching me loads. I have been developing learning resources for teachers to accompany the current exhibition, Shimabuku, When Sky Was Sea, helping with the CAGs first Teachers Social as well as the monthly Free Family Day   (I am now an Octopus expert… ask me anything!). I have also had the opportunity to get to know the talented team selected for The City in Motion – CAG/TELUS Garden Public Art project, I’ll have to come back to see the final installation!

I have been supported and welcomed by the CAG team, they have made sure that I eat at yummy places, find the best coffee and of course see loads of exciting art. And so I can’t say thank you enough, I’m sure my last week here will be a brilliant conclusion.

- Sally Page

P.S. Whatever you do! don’t miss the CAG and Ballet BC new partnership, a new dance+art commission with amazing UK artists John Wood and Paul Harrison. To read more click here: http://bit.ly/cagXbbc

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Hello from Sally! – From Anchorage to the Salish Coast


We are so happy to be teamed up with Satellite Gallery and Audain Gallery for the Downtown Gallery Tour series.

Every few months, members from the public are invited to spend a Saturday afternoon on three respective tours of the current exhibitions at Audain Gallery (1pm), Satellite Gallery (2pm) and the Contemporary Art Gallery (3pm).

The most recent incarnation of this series took place on Saturday, November 22nd and the next one will likely be in early 2015. Keep your eyes peeled!

Ellie from Satellite Gallery hosted a mail art workshop with a committed group of local art admirers and artists after the final tour. As a result, this morning we received a whole pile of postcards relating to Shimabuku’s exhibition! Everyone at the CAG greatly enjoyed reading and receiving the cards, as it’s always so rewarding to see what people take away from the exhibitions.

Thank you so much to everyone who came out and to those who created and sent the cards!

This could indeed be the beginning of a beautiful friendship…

- Jaclyn Bruneau

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‘This could be the beginning of a beautiful friendship’…mysterious mail art arrives at the CAG!


On Thursday, October 10th a Brand New View (Vancouver) is coming to Vancouver courtesy of the Swedish artist Gunilla Klingberg.

Klingberg uses familiar corporate logos to create quasi-oriental installations that take the cold and corporate and transforms it into warm and inviting art.

A former graphic designer, her work considers how these public icons come into our “private spheres.” She calls her art “craft work” that creates a feeling similar to embroidery.

Klingberg’s exhibition will consist of two murals – one at the Yaletown-Roundhouse Station, Canada Line and one on the façade of the Gallery at Nelson and Richards.

It’s the first exhibit of her work in Canada and I’m particularly happy it will be shown outside for people to enjoy as the soggy winter season settles in. Check out this short video to learn more about Klingberg’s work and what motivates her.

- Don Millar, CAG Board of Directors

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A ‘Brand New View (Vancouver)’ arrives…by Don Millar


As well as the opening of the CAG’s new exhibition: Jürgen Partenheimer, The Archive – The Raven Diaries comes a new voice for the gallery’s blog!

Hello there I’m Chloe and though I’m new to you, I am not new to the gallery. In fact I’ve been here since 2012, when I first nervously stumbled through the Gallery doors in hopes of becoming a volunteer. Now almost 3 years later I’ve served not only as a volunteer, but as the gallery’s publicity intern and presently as communications intern where they’ve bestowed upon me enough trust to let me talk to you (via the blog of course). If you’re still a little apprehensive about the change, I’ll appease you by also letting you know that I’m studying in the arts field as a Critical and Cultural Practices major at Emily Carr University of Art + Design and that I’m about to graduate, which means I must be doing something right!

I’m very excited for you and I to start this journey together! Over the next few months we’ll be delving into the works of German artist Jürgen Partenheimer and Swedish artist Gunilla Klingberg. We’ll also be going back into the CAG’s archives to take a look back on past exhibitions and how they play out in contemporary art today.

Let’s begin!

As it goes for most exhibition openings, you can feel the buzz of energy as you make your way into the gallery and through the crowds,walking past half empty catering trays and groups of art enthusiasts eagerly chatting away about what they’ve come to see. Partenheimer’s work presents itself ideal to this environment as, with the exception of a small sculptural piece and a plinth or two, his work takes the form of coffee book sized pieces of paper pinned to the wall.

Though the pieces are made out of a common material, it is what Partenheimer has added to the pages which draws you in. The works are full of abstract forms which, on their own seem to have very little context, yet once placed together within the same gallery space seem to play off one and other in a way that just makes sense. The artist has also been able to take his two dimensional paper canvases and bring them into the third dimension through his use of colour. The dark blacks pull the viewer into the piece, just as the neon oranges they are paired with pop right back out.

Along the wall, accompanying the pieces composed of abstracted painted lines, notes, from what seems to be a journal, are hung. What is interesting in their proximity is that, for viewers who are less familiar with the artists native language of German, these notes quickly begin to meld themselves to the pieces made up of abstract lines, becoming a sort of abstract composition themselves.

Partenheimer’s show is a great introduction to abstract art for those who are newer to the art scene, whilst also being of great interest for the veterans of the art world. A show which presents pleasantly curated pieces of which one can chose to enjoy for what they are as objects or get carried away into the role the play within contemporary art today.

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Hello from Chloe: New Blogger, New Exhibition Opens!


All good things must come to an end- and this marks the end of my summer position as Learning and Public Programmes Assistant. I’m honoured and so grateful to have spent the past four months at the Contemporary Art Gallery learning from, and working with, a multitude of talented artists, curators and programmers!

I loved working with Brendan Fernandes this summer, and watching him create his solo performance piece. I learned a lot from his approach to movement, stillness and embodiment and was very happy to participate in the dramaturgical and creation processes. Attending Lee Plested’s seminars, the artist talks and the studio visits affiliated with the CAG’s Night School Program reminded me to think critically about art, what is being presented or discussed, and to consider why the particular artistic choices were made.

Shaun Dacey, the Learning and Public Programs Curator, is such a genuinely interested and forward-looking artist and programmer, that he welcomed any, and all, of my suggestions to be heard and considered over the summer. We were so happy to have been able to participate in Dylan Robinson and Candice Hopkins’ Indigenous Acts Gathering, as we learned and shared with all those involved.

It was a  great summer and I’m sad to see it come to an end! However, I will be back Sunday, September 28th at 3 pm to lead a Guided Visit of Jurgen Partenheimer’s upcoming exhibition at the Contemporary Art Gallery.  Alors, venir par la galerie le 20 septembre si vous voulez participer à la visite!

Merci Bien, et à bientôt!

Lindsay Lachance

 

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Lindsay Lachance Signing Off!


Words and phrases in the English language can function in many different ways. Certain words have multiple meanings depending on their context, while the context of a certain phrase can completely change how we understand it. Many contemporary artists have turned to the use of language and text in their practice for this reason; they allow the evocation of multivalent messages.

Currently, Stefan Brüggemann’s Headlines and Last Lines in the Movies covers the façade of the CAG. This piece, which has become a popular conversation topic around the city, takes found phrases and places them in a very different context than their origins. Looking at these Hollywood movie quotes and recent news headlines next to each other causes one to think about them in a completely new way. Their large size and bold colours impose them onto the viewer and into the built environment of the city, rather than their traditional positions as mere utterances or words on paper.

A short look back through the CAG archives brought me to another fascinating textual installation. There have been many over the years, including those by Meriç Algün Ringborg, Tim Etchells and Raymond Boisjoly among others. A particular piece by Nathan Coley, however, struck me.

As part of his wide-ranging practice, the Glasgow artist takes found phrases, enlarges, illuminates and erects them on scaffolding in specific locations. When I encountered his piece There Will Be No Miracles Here (2006) earlier this year in Edinburgh, Scotland, I was taken aback. Placed outside the Scottish National Gallery of Modern Art, which holds many things that I personally consider “miraculous,” I was both offended and intrigued by this statement. At the time I was not familiar with his work, as I assume is the case with many people who stumble upon his pieces that are placed in public space.

Part of his CAG exhibition in 2012, Coley’s installation in the Downtown East Side of Vancouver featured the phrase We Must Cultivate Our Garden (2006), perched atop the roof of the Pennsylvania Hotel. This line, taken from Voltaire’s Candide, took on a new role in this context. The built environment used by Coley was altered by the introduction of this sculpture into the architecture of the neighbourhood. Similarly, the meaning of the phrase itself changed; many are aware of the ongoing and various issues in the Downtown East Side community, and this sculpture addressed the need to fix these in an almost forceful manner.

Nathan Coley’s outstanding monograph spanning the last 10 years, A Place Beyond Belief, can be purchased in the CAG book shop. Make sure you visit Bruggemann’s installation before it comes down on September 7th, and check out his publication in our book shop as well. Our summer book sale is happening now in the CAG book shop and online; use the coupon code CAGSUMMER on check out for a special discount of 40%!

- Kelli Sturkenboom

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From the Archives | Text in Context


Kicking off our new series of blog posts featuring CAG staff, board members, interns and volunteers writing book recommendations selecting from the CAG’s thirty year history of publishing, Jaclyn Bruneau, CAG Visitor Assistant,  picks one of her favourite CAG publications from back in the late 1990′s: French Kiss.

 

French Kiss
Ghada Amer, Jean-Sylvain Bieth, Bernard Lallemand, Dany Leriche & Patrick Reynaud
Exhibition: December 13, 1997 – January 31, 1998
$12

This exhibition presented works by five French artists around nuanced notions of sex and sexuality. Far from the tedium of ready-made erotica, these works extend into realms of psychological complexity, esotericism and France’s rich philosophical history of desire. French Kiss is soft to the touch, the colours saturated, and the images immense.

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French Kiss can be purchased in the CAG book shop or online, with the special Summer discount of 40%, use the coupon code CAGSUMMER on check out. Purchase here.

 

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Jaclyn Bruneau recommends…French Kiss


Continuing our new series of blog posts featuring CAG staff, board members, interns and volunteers writing book recommendations selecting from the CAG’s thirty year history of publishing, Kelli Sturkenboom, CAG Communications intern, picks her two most favourite CAG publications:

Summerland
Shannon Oksanen
Exhibition: Nov 21, 2008 to Jan 18, 2009
$25, sale price $15 + tax

This compact CAG publication gives a look into Shannon Oksanen’s work. CAG Curator, Jenifer Papararo writes a charming and engaging essay for Summerland. Although part of the exhibition was a film installation, the way this book is laid out gives the reader a very clear idea of how the exhibition looked, and would have been experienced. The overall theme of nostalgia coupled with the colour palette of Oksanen’s paintings and video work makes this a joy to flip through.

An Invitation to An Infiltration
Contemporary Art Gallery
Exhibition dates: January 21 – February 28, 2010
$30, sale price $18 + tax

This publication is an interesting, behind-the-scenes look at the issues and controversies underlying the exhibition process by including content like e-mails between curators, artists, and donors. The exhibition was part of the Cultural Olympiad Vancouver 2010 and co-presented by VANOC, which had huge implications for its meaning and makes this book a must-read to find out more. I also love how the cover and half-title pages were cut from the wallpaper and posters that were actually displayed in the exhibition; purchasing the publication is like purchasing a piece from the show.

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Both titles can be purchased in the CAG book shop or online, with the special summer discount of 40%, use the coupon code CAGSUMMER on check out. Summerland: Purchase here. An Invitation to An Infiltration: Purchase here.

 

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Kelli Sturkenboom recommends…top two CAG books!


CAG Curator Jenifer Papararo joins our series of CAG book recommendations with a short review of the popular 2004 publication SUPERNATURAL.

SUPERNATURAL: Neil Campbell & Beau Dick
Curated by Roy Arden
Exhibition: March 12 to April 25, 2004

When I began working at the CAG in late 2004 this exhibition catalogue was well under production, in its final stages of proofing and colour correction. Unfortunately, I missed the exhibition SUPERNATURAL curated by Roy Arden, but feel the catalogue captures the radical and reflective drive behind pairing the wall and collage work of abstract painter Neil Campbell next to the masks of master carver Beau Dick.

The slim hardcover book which respectively features an image of each artist’s work on the front and back covers, immediately sets a formal opposition between the two artists practices: Campbell’s as a cool white and Dick’s bathed in dramatic black. The numerous installation shots throughout the publication establishes this divide, showing Campbell’s work presented in the typical starkness of a white cube while Dick’s work is suspended in darkness.

The aligning of these two artists is mysterious, but also seems to make perfect sense. Arden states, “Supernatural aims … to entertain the similarities of intention, means, and effect in their work without losing sight of their significant differences.”

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SUPERNATURAL can be purchased, with a special discount of 40% during August, either online (click on the titles above – on check out use the coupon code CAGSUMMER) or in person at the CAG bookshop.

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Jenifer Papararo recommends…SUPERNATURAL


This past Saturday, the CAG held its monthly Family Day. Participants crafted landscape collages in response to Kelly Richardson’s Legion. A few of the volunteers and I decided to have a little fun and create our own! From the beginning of my piece’s construction, I had a vague idea of what I wanted my collage to look like. Halfway through, however, I realized it had completely changed as I sorted through the materials we had and gained new inspiration.

Experiencing this process myself got me thinking about the art-making process in general. Artists may start with a certain idea about how they want a piece to look, but the finished product is often very different from the initial plan.

On looking through the CAG exhibition archives, an exhibition in 2010 by artist Elizabeth McIntosh, Violet’s Hair, explicitly seems to address the artistic process. Vancouver based, McIntosh is known for her abstract paintings. When one looks closely at many of her canvasses, faint clues to how the paintings have evolved can be seen. As well as a selection of paintings McIntosh also transformed a gallery room into a collage itself. Colours From a Story (2010) overlaid large, colourful pieces of paper in various sizes creating a sculptural representation of her art-making process. This piece addressed how McIntosh approaches painting; various colours overlapping creating new shapes and the painting itself revealing process and change.

This idea can also be applied to how we view art ourselves. Approaching art that we have never before seen, we often do so with uncertainty. One can never know how the experience will be until we are in front of it and letting our imagination run wild. Sometimes it is useful to wait to read about an exhibition until after you go through it for the first time, allowing yourself to creatively contemplate what it means to you at first glance.

We hope that you will visit us at the CAG for the next family day on Saturday, August, 30 (12-3pm) to enjoy the making and the experience of art.

- Kelli Sturkenboom, Communications intern

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From the Archives | Art-Making & Artistic Process


Looking back on past CAG exhibitions, a particular performative piece caught my eye; one that seemed to involve a simple, wooden chair. Max Dean’s 2008 exhibition Robotic Chair took a familiar household object and transformed it into a shocking and thought-provoking piece. With the help of robotic technology, the chair would move, fall apart—and then pull itself back together.

It is exciting how technological developments have allowed artists to create pieces that express ideas in completely new ways. The great thing about this exhibition, for me, was the fact that the meaning behind this piece was left for the spectator to contemplate. A common theme drawn from it was the idea of hope and picking oneself up after a tragedy. However, as the curator suggested, it also pointed to our human attraction to failure.

I couldn’t help but draw a similarity between this exhibition and Kelly Richardson’s current exhibition at the CAG, Legion.  Through the use of technology, Richardson is able to create extraordinary moving images that transform real, photographed landscapes into completely different worlds; Orion Tide (2013) and Leviathan (2011). These images are presented in a way that invites visitors to sit down and become immersed in the landscapes, drawing their own meaning from their personal experience with them.

I have led several friends through this exhibition and all have had completely different responses; some seeing the projections as beautiful and enchanting, and others experiencing an uncomfortable and suspenseful sensation.

Stop by the CAG to encounter Kelly Richardson’s Legion for yourself, and tweet us @CAGVancouver with your thoughts! Also—snag a copy of her publication The Last Frontier, for sale in our bookshop for a special exhibition price of $40.

- Kelly Sturkenboom, Communications intern

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From the Archives | Technology & Landscape


Burrard Marina Field House Artist in Residence, Brendan Fernandes and Vancouver-based choreographer Justine Chambers led a workshop for the Summer intensive program this week that explored collaboration, conceptualization and authorship. Brendan and Justine are very generous instructors and really encouraged the participants to express themselves through an embodied practice and collaboration.

Justine and Brendan led exercises that brought the participants and their interests together through embodied practice. The participants were asked to write a performance choreography score in five minutes that would have a five minute performance time. After writing their pieces, they put them in the middle and everyone chose someone else’s choreography to perform. We saw people working with their bodies, with the spectators bodies, with the room, with chairs, with shoes… with whatever was in sight! Through this work the participants learned how to conceptualize, create and rehearse a full piece. The group will create their own performance at the end of this program so this work was a great start in helping them learn to share, create and perform ideas.

- Lindsay Lachance

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Conceptualizing and Authorship with Brendan Fernandes and Justine Chambers


A few months ago, the Governor General’s Awards in Visual and Media Arts were announced, and several of the eight winners had previously exhibited at the CAG. Jayce Salloum, one of the recipients, is a successful Canadian-born media artist who has lived and worked in a variety of locations in Canada, the US, and elsewhere. Continuing to move around and experience new spaces and environments, his “nomadic practice” significantly informs his work, which raises questions of identity and historical, social, and cultural contexts of place.

I came across untitled in our library archives. This book was co-published by the CAG and the Agnes Etherington Art Centre on the occasion of the exhibitions NEUTRAL/BRAKE/STEERING at the latter institution from November 12 to December 24, 1998 and 22 OZ. THUNDERBOLT which was presented here from March 27 to May 8, 1999. These photo-installations by Salloum consisted of an archive of street photography featuring images of storefront displays in what the curators called the “overlooked corners” of the urban environment. The installations drew their names from phrases on various items and signs in these displays.

Salloum’s photographs took otherwise banal scenes and transformed them into an intriguing subjective record of his travels; augmenting their meaning by arranging them in certain ways. He challenged the conventional ordering of photographs in a documentary format; presenting an appropriation of these images which forces the viewer to create their own narrative. Looking through some of his images as they were arranged in the book, I was left wondering whether they were taken in the same locale, whether these stores were even open for business, and if there was any human activity occurring around these scenes.

This idea of ordering and configuring is important in contemporary art; the way in which an artist organizes components or pieces in an installation has implications for how the audience derives meaning from and experiences them. Our current façade installation by Stefan Brüggemann, Headlines and Last Lines in the Movies, exemplifies this as well. The phrases painted here can be interpreted in very distinct ways when contemplated next to each other rather than alone, or next to a different phrase. For me, it is essential to think about the way exhibitions and installations are presented by their artists and curators when we encounter them.

Jayce Salloum was also part of a group exhibition at the CAG in 2010, The Triumphant Carrot: The Persistence of Still Life, which explored the practice of the traditional still life genre in the context of contemporary art. More of his work can be found here.

Check out untitled in the CAG Bookshop to find out more, and keep these ideas in mind when you come to see the current shows at the CAG and elsewhere! Tweet us @CAGVancouver with your thoughts on the exhibitions to join the conversation.

- Kelli Sturkenboom

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From the Archives | Jayce Salloum, untitled


As you may have noticed, the CAG is currently closed in preparation for Kelly Richardson’sLegion, exciting new installations which open next Thursday. I have really been looking forward to this one! Flipping through Richardson’s recent publication The Last Frontier, I’ve begun to get an idea of what this exhibition has in store. For her projection and photographic works, Richardson digitally alters her own photographs and video to create environments which raise questions about our relationship with the natural world. As an art history student, I have definitely studied my fair share of landscape-themed pieces, mainly traditional oil paintings from earlier centuries. Looking through past exhibitions and CAG publications, I have found it interesting how this theme of “landscape” has been tackled in other exhibitions here at the CAG in very unique and innovative ways.

In 2000, the CAG published Quick aging pivoting city to accompany artist Eleanor Bond’s exhibition. Bond’s paintings approached a different type of environment; the urban landscape. These large-scale paintings were not meant to represent existing and specific places, rather, they incorporated both actual and imaginary forms. Exploring Vancouver for ten days, the artist took photographs and made videos, and used these as the source to create her own constructed environments on canvas. For me, the knowledge of this process creates uncertainty when looking at these pieces about what is “actual” and what is not.

Cai Guo Qiang’s Performing Chinese Ink Painting was a performance made at the CAG in 2001 involving three different artists, each rendering their own versions of the same site in the same medium. Not only did this bring together the Eastern tradition of ink drawing with the more recent rise of Western performance art, it also posed questions about the “reality” of landscape painting. Although the artists were using the same specific landscape as inspiration, they each constructed their own distinct interpretations. Like Richardson’s installations which feature modified landscapes, the artists used this single landscape as a starting point to create works with augmented and altered meaning.

Sentimental Journey at the CAG in 2009 invited a group of artists from British Columbia to engage with ideas of the personal journey based on eighteenth and nineteenth century Romanticism. In this exhibition, it was not necessarily “landscapes” that were put on view. Instead, the artists went on their own expeditions, gathering information from the spaces they experienced to create their own individual pieces. The resulting works did not necessarily picture the landscapes themselves. While much of the work produced would be seen by many as completely different to the traditional idea of landscape in art history, when you think about it, both these and more conventional styles of landscape painting are based on an artist’s own experience looking at, or journeying through, a specific space.

The CAG’s LANDSCAPE publication examines even more of this subject and is available in our bookshop. Come check out Kelly Richardson’s Legion next week to experience for yourself her awesome and immersive pieces—the opening is on Thursday July 10 from 7-10pm and the exhibition is on until August 31!

- Kelli Sturkenboom

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From the Archives | Exploring the Landscapes of the CAG


This post written by Kelli Sturkenboom is the first in a series titled ‘From the Archives’ which will highlight and explore moments in CAG history related to current programming and events. Look for new posts every Thursday.

I was looking through publications from past CAG exhibitions and stumbled upon a catalogue for Tendencies: New Art From Mexico City, an exhibition displayed here in 1996. Guest curated by Rubén Gallo and Terence Gower, this exhibition featured eight artists from Mexico and touched on notions of the difficulty of explicitly defining “Mexican culture” and “Mexican identity.” The artists were; Rodrigo Aldana, Marco Arce, Aurora Boreal, Eduardo Cervantes, Silvia Gruner, Yishai Jusidman, Daniela Rossell and Saúl Villa. Gallo discussed how, rather than being an exhibition of “Mexican art,” this collection challenges us to think about the limitations of categorizing these works as such.

Currently, the CAG is presenting an installation by Mexican artist Stefan Brüggemann; Headlines and Last Lines in the Movies and the CAG Shop has copies of his limited edition bookwork of the same name.  Although Brüggemann’s first language is Spanish, the installation features a collection of news story headlines and quotes from movies spray-painted in English on the gallery’s boarded-up façade. The headlines are collected from both local and global sources; some even referencing Vancouver.

What I like most about this work is the fact that it creates conversation. I’ve seen many people posting on social media questioning whether it is “for real” or vandalism, identifying their favourite phrases, and guessing what sources some of the lines come from. Like Tendencies, it also addresses the idea of the artist’s identity and whether Headlines and Last Lines in the Movies, with references to Canadian news stories and Hollywood films, can be described as “Mexican art.”

Join the conversation–come visit us at 555 Nelson Street before September 7 to see Brüggemann’s installation and check out Tendencies: New Art From Mexico City and Headlines and Last Lines in the Movies in the CAG bookshop!

Visit the CAG then tweet or post your pics of the mural to @CAGVancouver  #headlinesandlastlines

- Kelli Sturkenboom

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From the Archives | Tendencies: New Art From Mexico City


My name is Kelli Sturkenboom and this summer I will be working as the Communications Intern at the Contemporary Art Gallery. I have just completed my third year of study towards a B.A.Hons. in Art History with a minor in Management at McGill University in Montreal. For the past nine months I have been on exchange at the University of Edinburgh in Scotland, and having returned only two weeks ago, I’m still adjusting to this completely different pace of life (and time zone).

I am really looking forward to gaining hands-on experience at the gallery this summer. I have always been interested in working in a space like this, but until now I have only been given the opportunity to experience similar institutions as a visitor. I am excited to be involved in the production of the gallery’s functions for its enthusiastic guests, as well as contribute to spreading information and creating buzz about the awesome exhibitions, programs and events that the Contemporary Art Gallery puts on for those who may be unfamiliar with it. So far, I have been working on research related to social and online media and how use of certain platforms can benefit the gallery.

Stay tuned to the CAG Blog for updates about my projects throughout the summer.

PS: I can’t wait for the upcoming exhibition at the CAG; Legion by Kelly Richardson which opens on Thursday July 10, 7-10pm. Join me for the opening!

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Hello from Kelli!


A Vancouver Draw Down report…

On Saturday June 14 I spent the afternoon at the Yaletown-Roundhouse Station with CAG Development Assistant, Olivia and CAG volunteer, Alex as a part of Vancouver Draw Down: the annual city-wide event that invites Vancouverites of all ages to take part in various drawing activities.

The CAG’s contribution to the day-long event was Boulevard Station a drawing workshop that saw participants trace over the top of Marian Penner Bancroft’s installation Boulevard  at the Canada Line’s Yaletown-Roundhouse Station.

Boulevard, a work of mirrored and kaleidoscoped Golden Elms and Sequoias trees, was a perfect venue for our tracing activity. All afternoon we traced different areas of Bancroft’s mural with charcoal, conte, pencils, markers or whatever else people wanted to work with! We got some amazing, creative and beautiful images! Even if the same spot was retraced, they still turned out looking unique and captivating. After each trace was finished we added them to a piece of plywood and created our own hybrid kaleidoscope community tree. It was amazing to see all the different styles, colours and lines that make up one abstract tree, see above for pics from the day and of the drawings made.

We had a great time and I can’t wait to be a part of more public program events at the CAG!

 

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Rounding up Yaletown at the Yaletown-Roundhouse Station for Draw Down


We are very pleased to welcome Sofia and Eva as Curatorial Interns at the gallery, please read on as they introduce themselves:

Hi, my name is Eva Tweedie, the UBC CCST Curatorial Intern. I am halfway through my first year in the Curatorial and Critical Studies (CCST) program at the University of British Columbia and am looking forward to getting some hands-on gallery experience this summer. So far during my time at the CAG I have been working with artists in our upcoming summer exhibition The Act of Seeing with One’s Own Eyes to prepare for the installation of their works. I have also been doing research on other artists who will be exhibiting here at the CAG later this year, and in 2015.

My name is Sofia Stalner and I am a Curatorial Intern and recent graduate from the Critical and Curatorial Studies Program at the University of British Columbia. I have been working on the collection which helped establish the CAG and is owned by the City of Vancouver, updating the database and registry, as well as receiving artworks from the collection that have been displayed throughout Vancouver, primarily on office walls. I am currently compiling information as research toward a hopeful and necessary move of the collection to a larger storage facility.  Here is a little bit of a background on the unique collection we have:

Established in 1971 as the Greater Vancouver Artist’s Gallery, through federal employment programs for artists, the Contemporary Art Gallery (CAG) was incorporated as a non-profit charitable society in 1976. From 1971 to 1978, artists were hired for six month periods to produce art for exhibition which was then accessioned into the City of Vancouver Art Collection. The City of Vancouver Art Collection of 3,000 works of art which are circulated in public spaces throughout City buildings and loaned for exhibition to museums and galleries.

- Stay tuned to the CAG blog for updates from Eva and Sofia on their projects and upcoming exhibitions.

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A big hello from Sofia and Eva – CAG Curatorial Interns


You are invited to visit the brand new CAG Bookshop!

The CAG Book Shop is launching this Saturday (1.30pm-2.30pm) with the first book launch and signing in the newly renovated space:
DAS ARCHIVE / THE ARCHIVE by Jürgen Partenheimer

The transformation is complete, with a new look, new shelving and increased space for many many more titles. Visitors can now browse and purchase publications from over 80 titles from our 30 year publishing history.

The bookshop features the CAG’s exhibition catalogues and artist’s book works from as far back as 1986, the shop is a great resource for anyone wanting to get a better idea of the CAG’s exhibition history including notable and pivotial publications by Stan Douglas, Christopher Williams, Damian Moppett, Hans-Peter Feldman and Frances Stark.

We are also proud to present new CAG publications on Erin Shirreff, Mungo Thomson, Nathan Coley and Jürgen Partenheimer, all available for sale in the shop.

We also carry additional publications on artists exhibited at the gallery with select books on Nancy Holt, James Welling, Mike Nelson, and Kay Rosen to name a few.

In addition to buying books and catalogues, visitors can also find information on upcoming talks and events and use the space to sit down and leaf through information binders on our exhibitions and projects, currently Kevin Schmidt, Marian Penner Bancroft, Tim Etchells and Broken City Lab.

Please visit the shop section of our website for detailed information on all our publications. Click here for the CAG online SHOP.

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New CAG Book Shop: Come see the new look!


 

 

It is with deep sadness we at the Contemporary Art Gallery learn of the death of Itee Pootoogook. His exhibition here last year proved a highlight of our program, it success seen in the positive reception from critics and visitors alike. We remember him fondly through his work which lives on.

The CAG exhibited Itee Pootoogook in 2013 with the solo exhibition Buildings and Land and an off-site commission Sky At Night  at the Yaletown-Roundhouse Station, Canada Line. A selection of images from the exhibitions are seen above.
“His drawings of vernacular architecture in the North are daring in their simplicity, and his portraits of everyday activities, such as watching TV and fixing skidoos, are similarly unsettling in their apparent modesty and their claims about the sources and nature of Inuit art.”

- Lisa Gregoire, Nunatsiaq online

http://www.nunatsiaqonline.ca/stories/article/65674canada_loses_a_nunavut_master_of_contemporary_inuit_art/

http://blogs.vancouversun.com/2014/03/20/itee-pootoogook-innovative-nunavut-artist-dead-at-63/

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Remembering Itee Pootoogook