July 11 to 20, 2017
Off-site: 524 West 26th Street Gallery, Chelsea, New York
By appointment only.
The Contemporary Art Gallery will present a private exhibition in New York by Vancouver-based artist, Andrew Dadson. Comprising a new commission supported by Vancouver contemporary menswear label wings+horns, the exhibition space will be transformed into a large-scale installation.
Dadson has consistently engaged with the notion of boundaries in relation to space and time in his work, primarily through investigations with materiality, process and abstraction. Through different mediums – painting, film, and photography – Dadson explores the possibility to cross the perceptual boundaries of space, both physical and natural, and is thus reflected in his work in an attempt to subvert our perception and usual ways of looking at things.
The installation will use plant forms and objects sprayed a single colour lit by intense daylight grow lamps. Each light is of a slightly different hue creating multiple shadows on the wall behind and introducing a further dimension to the overall composition. Combined with the large leafy plants, light, shadow and coloured forms produce a painting that evolves and shifts over time. As the organic matter is nurtured over the duration of the exhibition, the unifying painted colour begins to crack and splinter to reveal the fresh natural colours of the leaves beneath.
In partnership with wings+horns.
Since his first solo exhibition at the Helen Pitt Gallery, Vancouver, in 2003, Andrew Dadson has exhibited in solo and group exhibitions in Canada and internationally, in France, Germany, Italy, Belgium, Switzerland and the United States. Dadson was the 2011 recipient of The Brink Award held at the Henry Art Gallery, Seattle.
Dadson is represented by Galleria Franco Noero, Turin, Italy and David Kordansky Gallery, Los Angeles, USA.MORE
June 30 to September 24, 2017
Alvin Balkind Gallery and Events Room
The Contemporary Art Gallery is pleased to present an exhibition of largely unseen works on paper by one of Australia’s most visionary and critical artists, Gordon Bennett (1955–2014).
Working closely with the Estate of Gordon Bennett and IMA Brisbane the show will comprise a selection of works on paper including drawing, painting, watercolour, poetry, and essays from the early 1990s through to the early 2000s. Though rarely seen in exhibition contexts, Bennett’s drawing and script form the foundation of his practice. Paper is the site where imagery, words and ideas often found their first expression before being combined into the large-scale conceptual paintings for which Bennett is known. Despite their relatively small scale, works in Be Polite embrace rich layers of Western and Australian Indigenous art history and contemporary politics, a direction Bennett played a leading role in developing throughout the 1980s and continued to explore in his successful career. As such the shared colonial histories with Canada and in particular the plight of local First Nations are set in dialogue across continents. Issues, events and histories are given compelling voice in these provocative and often disturbing images.
Accompanying the exhibition is a publication featuring contributions by Helen Hughes, Julie Nagam and Ian McLean is published with Sternberg Press.
First presented at IMA, Brisbane and subsequently at Perth Institute of Contemporary Arts in 2016, the exhibition will evolve and be reconfigured with a new selection of works at the Contemporary Art Gallery in Vancouver. This version will then travel to McMaster Museum of Art, Hamilton in 2018.
Be Polite is supported by the Queensland Government through Arts Queensland, Australia Council for the Arts, Ministry of Communications and the Arts through Visions of Australia, The Estate of Gordon Bennett, Milani Gallery, and Sutton Gallery.
Bennett has been the subject of major solo presentations and retrospectives at Ikon Gallery, Birmingham, (touring, Europe), 1999–2000, Griffith University, Brisbane, (touring, Australia), 2004–2005, and the National Gallery of Victoria, Melbourne, (touring, Australia), 2007–2009. International recognition and attention for Bennett’s work has been growing with his inclusion in the acclaimed dOCUMENTA (13), in Kassel in 2012, and in the 8th Berlin Biennale in 2014.MORE
A Sublime Vernacular: The Landscape Paintings
June 30 to September 24, 2017
B.C. Binning Gallery
A Sublime Vernacular: The Landscape Paintings of Levine Flexhaug offers the first overview of the extraordinary career of Levine Flexhaug (1918 – 1974), born in the Treelon area near Climax, Saskatchewan. It brings together approximately 450 of the artist’s paintings as well as several of his mural-sized works. An itinerant painter, he sold thousands of variations of essentially the same landscape painting in national parks, resorts, department stores and bars across western Canada from the late 1930s through the early 1960s. Whatever its variation, a Flexhaug image represents a Western icon, a silent unspoiled Eden that encapsulates the conventions of sublime landscape painting in a kind of painter’s shorthand. For the Contemporary Art Gallery it continues a strand in our programming where we present work by artists who for a variety of reasons, operated outside of the strict mainstream of the art world.
Long valued by a core of contemporary artists and collectors, Flexhaug turned formula painting into a source of wonder, not only because he churned out paintings so quickly using an assembly line method but because these works are so aesthetically compelling. Indeed, the lushness, variety, intensity, luminosity, touch and authentic feeling of his paintings are arguably non pareil in this genre. Interestingly, he hit upon the exact image that a poll taken by the Russian artists Komar and Melamid in the 1990s, determined is what Canadians most want to see in art.
As engaging as they are aesthetically, Flexhaug’s paintings also offer a point of entry for consideration of significant critical questions ranging from issues of taste, originality versus repetition in art, the appeal of landscape and its iconography – particularly in the Canadian context – to whether art can have integrity as art even if it is unapologetically commercial. Another issue raised by an examination of Flexhaug’s oeuvre is desire. Collecting is by its nature an activity with obsessive tendencies, but the numbers accumulated by those who collect Flexhaugs provide a particular opportunity to analyse aspects of the powerful emotional bonds that exist for many people with art and aesthetic objects. In the case of Flexhaug, more is always more.
Painting for Flexhaug was a way to make a living without having a regular job and he took great satisfaction in both supporting his family and satisfying his customers. Tracing his life from his early years in southern Saskatchewan through the byways of his peripatetic career following the Depression also provides a unique perspective from which to consider early modern Western Canadian social history, from aspects of identity to particular forms of consumption and leisure and recreation.
Alongside the exhibition, in our reading room we also present Flexie! All the Same and All Different, a feature-length documentary made in association with A Sublime Vernacular: The Landscape Paintings of Levine Flexhaug by Calgary filmmakers Gary Burns and Donna Brunsdale. The film not only tells the story of a little known artist but in its investigation of how people respond to the paintings and what they mean to them, is also a fascinating reflection on both the nature of art and the meaning of place.
The exhibition is curated by Nancy Tousley and Peter White. A publication examining Flexhaug’s art and career, the critical issues they raise and the larger social and cultural history they represent accompanies the exhibition.
In collaboration with MacKenzie Art Gallery, Regina; Illingworth Kerr Gallery, Calgary; Art Gallery of Grande Prairie, Alberta; and Rodman Hall Art Centre, St. Catherines.
Exhibition is organized and circulated by the Art Gallery of Grande Prairie with support from the Museums Assistance Program of the Department of Canadian Heritage.MORE
Montreal-based, Kanien’keha:ka artist Skawennati joins us for the first phase of her Field House Residency.
In collaboration with the Museum of Anthropology, Emily Carr University of Art + Design and the Initiative for Indigenous Futures (IIF), a branch of Aboriginal Territories in Cyberspace (AbTeC), she will be leading an intensive workshop called Skins participating in MOA’s Native Youth Program.
Skins will involve six Indigenous youth currently participating in the Native Youth Program, part of an ongoing relationship between CAG and MOA. Hosted at ECUAD, the workshop will begin with an exploration of storytelling as oral tradition folding into how stories can be told in new ways through ‘machinima’ (a portmanteau of “machine” and “cinema”). Using Second Life, an online virtual environment, participants will learn script development and storyboarding, avatar/character creation, virtual set design, filming and editing in a virtual world. Skins aims to expand Indigenous presence online, provide new design skills and impart understanding of narrative structures while also questioning notions of identity and stereotype. The Skins workshop aims to empower Indigenous youth to use new technologies to tell their stories.
She will also begin work toward a new commission to be realized in 2017.
Skawennati is known for her pioneering new media projects that address history, the future and change. They include the on-line gallery/chat-space and mixed-reality event CyberPowWow (1997–2004); a paper doll/ time-travel journal Imagining Indians in the 25th Century (2001); and TimeTraveller™ (2008–2013), a multi-platform project featuring nine machinima episodes. Born in Kahnawake Mohawk Territory, Skawennati is Co-Director with Jason E. Lewis of Aboriginal Territories in Cyberspace (AbTeC), a research network of artists, academics and technologists investigating, creating and critiquing indigenous virtual environments. This year, AbTeC launched IIF, the Initiative for Indigenous Futures.
This project was made possible through the support of the BC Arts Council’s Youth Engagement grant.
The Field House Studio Residency Program is generously supported by Vancouver Park Board and the City of Vancouver, along with many private and individual donors. For 2016–2019 we acknowledge the generous support for the Field House Studio Residency Program by the Vancouver Foundation.
For further details about the program, all forthcoming residencies and associated events visit our website at www.contemporaryartgallery.ca and follow the blog at www.burrardmarinafieldhouse.wordpress.comMORE
May 6 to July 17, 2016
The Contemporary Art Gallery presents the first major museum exhibition in Canada devoted to the celebrated German photographer Jochen Lempert. Trained as a biologist, Lempert photographs plants, animals and other natural phenomena with both scientific acumen and a poetic appreciation of natural beauty. His approach is scientific as well as humorous. Always working in black and white, his work engages with a diverse range of subjects and genres, ranging from everyday views to abstracted details. Photographic series alternate with single pictures, highly contrasted images with almost blank papers, through which multiple links and subtle associations are woven.
Ranging from medium-sized to small and tiny prints, the exhibition comprises Lempert’s now classic repertoire of flora and fauna, and focuses on a range of work produced over the last five years that examines the indexical nature of photography itself, notions of time and connections to the history of image making, mutability, classification and materiality. The subject of interest of Lempert’s work—animal life—is complemented by his exploration of the properties and materiality of the photographic image, as revealed in its developing and printing processes. While seemingly serendipitous, Lempert nevertheless pursues a very clear goal and aesthetic. His is a very careful, subtle world.
In Vancouver the exhibition is generously supported by the Institut für Auslandsbeziehungen e.V. Organized by the Contemporary Art Gallery Vancouver in collaboration with the Cincinnati Art Museum.
Jochen Lempert lives and works in Hamburg, Germany. Selected solo exhibitions include Cincinnati Art Museum (2015); ProjecteSD, Barcelona, Spain; Overbeck-Gesellschaft Verein von Kunstfreunden e.V., Lübeck, Germany; Städtische Galerie Nordhorn, Germany (2014); Hamburger Kunsthalle, Hamburg, Germany; Lulu, Mexico City, Mexico; Norma Mangione gallery, Torino, Italy (2013); Midway Contemporary Art, Minneapolis; Rochester Art Center, Rochester (2012); Museum Ludwig, Cologne, Germany; Front Room. Contemporary Art Museum St. Louis, Saint Louis (2010); Domaine de Kerguéhennec Centre d’Art Contemporain, Bignan, France; Culturgest, Lisbon, Portugal (2009). His work has recently been included in group exhibitions at Fotomuseum Antwerp, Belgium; Fotomuseum Winterthur, Switzerland; Museum für Gegenwartskunst Siegen, Germany; Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria; Fondation D’Enterprise Ricard, Paris; The Photographers’ Gallery, London; Marian Goodman, Paris; Biennial for Contemporary Art; FRAC Bretagne, Rennes, France; Heidelberger Kunstverein, Germany; Sprengel Museum, Hannover, Germany; and the Paris Triennial, amongst many others. His work is held in many public collections including: Fundació „La Caixa“, Barcelona, Spain; Colección Banco de España, Madrid, Spain; CNAP, Centre National des Arts Plastiques, Paris, France; FRAC Bretagne, Rennes, France; Kadist Art Foundation, Paris; Fondation Norac, Rennes, France; Les Abbatoirs–Musée d’art modern et contemporain and Frac Midi-Pyrénées, Toulouse, France; Museum Ludwig Köln; Museum Folkwang Essen; and Kunstmuseum Bonn, amongst many others. In 2005 Lempert was the winner of the Edwin-Scharff Preis, Hamburg and was shortlisted for the Deutsche Börse Photography Prize 2014. He is represented by ProjecteSD, Barcelona.MORE
The Contemporary Art Gallery is delighted to host this year’s RBC Canadian Painting Competition which since , with the support of the Canadian Art Foundation, has been a unique initiative, helping bridge the gap from emerging to established artists.
The jury panel consists of: Hugues Charbonneau — Director, Galerie Hugues Charbonneau, Montreal; Melanie Colosimo — Director, Anna Leonowens Gallery, NSCAD University, Halifax; John Zeppetelli — Director and Chief Curator, Musée d’art contemporain de Montréal, Montréal; Iga Janik — Curator, Cambridge Galleries, Cambridge; Georgiana Uhlyarik — Associate Curator, Canadian Art, Art Gallery of Ontario, Toronto; Jinny Yu — artist and Associate Professor, Department of Visual Arts, University of Ottawa, Ottawa; Eli Bornowsky — artist, RBC Canadian Painting Competition Finalist Alumni (2007, 2008, 2010), Vancouver; Garry Neil Kennedy — Senior Artist, Vancouver; and Lisa Kehler — Director, Lisa Kehler Art + Projects, Winnipeg.
The exhibition will be closed on November 16, 17, 18 and 19. The winners will be announced at the
CAG on November 18.
For more information, visit www.rbc.com/paintingcompetitionMORE
Keg de Souza
Appetite for Construction
September 10 to November 4, 2016
Off-site: 544 Main Street, Vancouver
Drop in hours: 1-5pm
Last weekend – Saturday, October 29 and Sunday, October 30
Closing reception: Friday, November 4, 6-9pm.
We welcome back to Vancouver Australian artist Keg de Souza, on her final visit to the city, de Souza presents a public project exploring food culture as a metaphor for urban displacement. Throughout October, de Souza will operate from a temporary space in the former Park Lock Dim Sum/Seafood Restaurant on the second floor of 544 Main Street in Chinatown. From this location she will initiate a food mapping installation developed via a series of public events, workshops and discussions centered on this disused space, the last original building standing on the corner of Main and Keefer.
Participants are invited to contribute items that represent the changing urban fabric of the Chinatown/DTES area through its food culture. Each participant’s items will be vacuum bagged and used to create a tile in the construction of a temporary structure within the Chinatown space. The numerous vacuum bags will create a patchwork surface that represents various community members, and their insights into local food culture and gentrification. Items could range from: menus from new upmarket establishments; packaging from iconic restaurants of the area, soup kitchen fliers, info on urban farming or even something grown from an urban farm. In Vancouver, De Souza is developing a series of community based workshops throughout 2015-16 engaging participants in a critical dialogue regarding local food production. De Souza is working closely with various local urban farmers, food security activists and community members to explore the food politics within the city as both evidence of and a metaphor for urban displacement through gentrification.
Over the past eighteen months de Souza has been conducting research in Vancouver hosting a series of events experimenting with tactics of public engagement. In 2015, her 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 floor of the dome. A starting point for the discussion was the ephemerality of the event itself. De Souza hosted a second event, an urban foraging expedition culminating in jam making, experimental mapping and a discussion exploring local foods, cultural preservation and the continuing effects of colonization in contemporary Vancouver. The event featured two local guest collaborators, Lori Snyder, an Indigenous Herbalist specializing in urban foraging for wild, edible and medicinal plants; and Lori’s partner, Steve Snyder, a master jam maker for the last 15 years. This two-day event began with a foraging tour led by Lori Snyder focusing on the native blackberry, the introduced blackberry and other native plants. Participants foraged on the banks surrounding the Field House which are covered with wild Himalayan Blackberries — an invasive, ‘colonizing,’ non-native species in Vancouver. On the second day, Steve Synder led a jam making session with the foraged berries. While communally making jam, de Souza led a discussion focused on the act of preserving these locally dominant berries, questioning whose culture is in fact preserved and how this can be linked to colonial narratives. This discussion culminated in an experimental mapping of the dialogue.
Australian artist de Souza investigates the politics of space informed through a formal training in architecture combined with her experiences such as squatting in Redfern, Sydney. De Souza’s work emphasises participation and reciprocity, and often involves the process of learning new skills and fostering relationships to create site and situation-specific projects. For over ten years she has self-published her hand-bound books and ‘zines under the name All Thumbs Press.
Recent exhibitions include; Redfern School of Displacement for the 20th Biennale of Sydney; Abundance: Fruit of the Sea, Bounty of the Mountains for the 2016 Setouchi Triennale (2016). Temporary Spaces, Edible Places: Vancouver and Preservation, Contemporary Art Gallery; Temporary Spaces, Edible Places: New York, AC Institute, New York (2015). Temporarily in Architecture, Food and Communities, Delfina Foundation, London; Temporary Spaces, Edible Places, Atlas Arts, Isle of Skye, Scotland; If There’s Something Strange In Your Neighbourhood … Ratmakan Kampung, Yogyakarta, Indonesia (2014). The 5th Auckland Triennial, 15th Jakarta Biennale and Vertical Villages at 4A Centre for Contemporary Asian Art, Sydney (2013).
This project is assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. With special thanks to Left of Main.
The Field House Studio is an off-site artist residency space and community hub organized by the Contemporary Art Gallery. This program moves beyond conventional exhibition making, echoing the founding origins of the gallery where artists were offered support toward the production of new work, while reaching out to communities and offering new ways for individuals to encounter and connect with art and artists. Running parallel to the residency program were an ongoing series of public events for all ages. The Field House Studio Residency Program is generously supported by Vancouver Park Board and the City of Vancouver, along with many private and individual donors. For 2016–2019 we acknowledge the generous support for the Field House Studio Residency Program by the Vancouver Foundation.
Follow the Field House blog at www.burrardmarinafieldhouse.wordpress.comMORE
Curator’s Talk: Sally Tallant
Wednesday, April 12, 5:30pm
The Contemporary Art Gallery is pleased to partner with the Vancouver Art Gallery to present a talk by Sally Tallant, Director of Liverpool Biennial, UK, as she visits Vancouver on the occasion of the exhibition Vancouver Special: Ambivalent Pleasures (December 3, 2016 to April 17, 2017). Please join us at CAG for Tallant’s presentation on her current work, followed by questions and a small reception.
Sally Tallant is the Director of Liverpool Biennial, UK. Developing an interdisciplinary approach, Tallant has delivered large-scale exhibitions and commissioned ambitious music and performance programmes, including a new work by Michael Nyman in 2014.
Previously Tallant was Head of Programmes at the Serpentine Gallery, London where she was responsible for the development and delivery of an integrated programme of Exhibitions, Architecture, Education and Public Programmes. She has curated exhibitions in a wide range of contexts including the Hayward Gallery, Serpentine Gallery, Hospitals, Schools as well as public commissions. Additionally, her curated performances, sound events, film programmes and conferences include initiating the Park Nights series in the Serpentine Gallery Pavilions and co-curating the Serpentine Gallery Marathon series with Hans Ulrich Obrist.
Liverpool Biennial is the UK biennial of contemporary art. It takes place across the city of Liverpool in public places, unused buildings and galleries. The Biennial is underpinned by a programme of research, education, residencies and commissions. Founded in 1998, Liverpool Biennial has commissioned 305 new artworks and presented work by over 450 artists from around the world.
We gratefully acknowledge the financial support of the Province of British ColumbiaMORE
Join us for an exclusive evening with artist Vikky Alexander. Alexander is one of Vancouver’s most acclaimed artists, often considered in association with the “Pictures Generation” and photo-conceptualism, she is best known for her large-scale photo mural installations and multimedia works that combine photography with sculptural objects.
Alexander will discuss Model Suite (Sliding Door) 2005/2017, a large-scale mural at CAG’s off-site Yaletown-Roundhouse Station site as part of the exhibition Song of the Open Road in partnership with Capture Photography Festival. Young Patrons are invited to a complimentary round of cocktails following the talk at the Opus Bar. Opus will be creating two custom cocktails inspired by Alexander.
We will be meeting at 6pm at the CAG and will walk collectively to the Yaletown-Roundhouse Station, Canada Line.
Sign up as a Young Patron today and begin your membership with the chance to meet Vikky personally over complimentary drinks at the Opus Bar after the talk.
In becoming part of the CAG Young Patrons community, you are joining a network of art-minded young professionals, artists and other creatives. Attend behind-the-scenes art gatherings that are both social and educational (drink and learn about contemporary art), from studio visits, to collections tours and more, as well as exciting events with our dynamic community partners. New members will also receive a limited edition publication and artist edition. If you are interested in learning more about the Young Patrons, please email [email protected]
Derya Akay – The Chosen Food: Mantι, Börek, Baklava – Shabbat Dinner & Fresh Challah
Sunday, April 2, 5-8pm
The Jewish Museum and Archives of BC
6184 Ash Street, Second Floor, Vancouver
CAG and The Jewish Museum and Archives of BC are pleased to present The Chosen Food: Mantι, Börek, Baklava – Shabbat Dinner & Fresh Challah. This is the second event in the series Mantι, Börek, Baklava by Vancouver-based artist Derya Akay, the current CAG Burrard Marina Field House resident this spring. Akay will prepare a dinner informed by the family recipes of Jewish community members Sara Ciacci, Leonor Etkin, Claire Hammer, and Debbie Kafka. Several of these women will be present to share the history, memory and symbolism associated with the dishes served.
Expanding on recent projects, Akay is collaborating with women elders from a range of cultural backgrounds to explore and share local and diasporic culinary traditions through a series of workshops and meals. This convivial partaking of food is a gateway to oral history, which Akay understands as both storytelling and the sensations and memories summoned through communal eating.
This event is also the first evening in The Jewish Museum and Archives of BC supper club series, The Chosen Food. Each event in this series will showcase a regional style of Jewish cuisine. Read more here: www.jewishmuseum.ca/program/the-chosen-food/
We invite participants to join in the preparation and enjoyment of the food while sharing stories and conversation.
Tickets are free can be reserved here.
Limited tickets are available, a wait list will be available.
The Contemporary Art Gallery welcomes Vancouver-based artist Derya Akay as the CAG Burrard Marina Field House resident this spring. Expanding on recent projects, Akay is collaborating with women elders from a range of cultural backgrounds to explore and share local and diasporic culinary traditions through a series of workshops and meals. This convivial partaking of food is a gateway to oral history, which Akay understands as both storytelling and the sensations and memories summoned through communal eating.
About the Burrard Marina Field House
Throughout 2017 CAG is hosting a series of artists-in-residence, each working toward participatory projects to be realized throughout 2017–2019. The Field House Studio is an off-site artist residency space and community hub organized by CAG. This program moves beyond conventional exhibition making, echoing the founding origins of the gallery where artists were offered support toward the production of new work while reaching out to communities and offering new ways for individuals to encounter, participate and connect with art and artists.
The Field House Studio Residency Program is generously supported by Vancouver Park Board and the City of Vancouver, along with many private and individual donors. Please visit our website for a full list of supporters. For further details about the program, all forthcoming residencies and associated events visit our website at www.contemporaryartgallery.ca and the Field House blog at www.burrardmarinafieldhouse.blog
For 2016–2019 we acknowledge the generous support of the Field House Studio Residency Program by the Vancouver Foundation.MORE
On the last Saturday of each month, the CAG invites all ages to drop-in for short exhibition tours and free art-making activities that respond to our current exhibitions.
Saturday, May 27, 12-3pm
Through the Window
Inspired by the work of Niamh O’Malley’s Glass House, take photographs through a variety of textured windows to create different light, colour and texture effects.
We acknowledge the generous support of the Peter Szeto Investment Group for our Family Day program.
Presented in collaboration with ArtStarts on Saturdays. For more details visit: www.artstarts.com/weekendMORE
The Big Draw – Keg de Souza
Saturday, October 1, 12-3pm
*Off-site: 544 Main Street – entrance on Keefer Street
Australian artist Keg de Souza will be working from a temporary studio in Chinatown as part of the final phase of her eighteen month residency in Vancouver. Developing on from a series of public participatory events examining food culture as a metaphor for urban displacement, for ‘The Big Draw’ the artist will conduct an exploratory food mapping project of the Strathcona neighbourhood by inviting people to become urban cartographers and contribute to a large-scale collaborative map considering local shops, restaurants, urban farms and our interconnected relationships/experiences to them.
Presented as part of ‘The Big Draw’, the world’s largest drawing festival and Culture Days, a Canada-wide celebration that raises the awareness, accessibility, participation and engagement of Canadians in the arts and cultural life of their communities.
For more information and workshop times visit: www.drawvancouver.comMORE
The Big Draw
Saturday October, 1, 12–3pm
Free, drop-in activities
At CAG, 555 Nelson Street
As our contribution to this city-wide festival, CAG will present Walking a Line, a series of collaborative drawing experiences for all ages are created by students as part of Community, Collaboration and Pedagogy, a studio course with Emily Carr University of Art and Design hosted by CAG.
Jamie Chen, Madison Mayhew, Mary Seto, John Song and Patrick Takata
Create a drawing inspired by a story on a colourful sheet of paper. Learn how to fold your story into an origami link that will be joined with others to make one long continuous chain of different cultural stories.
Blind Drawing Workshop
Claudia Adiwijaya, Lexi Hilderman, Kayla Heald, Karen Nguyen and Nushin Yazdani
“Can you draw? No? Perfect, this workshop is for you! In this workshop you will have fun creating drawings without looking at them. These drawings will inspire you to share thoughts, questions and ideas that emerge while drawing.
Connect the Dots Walk
Mariah Brusatore, Michael King, Mo Qutob and Justine Zimmerman
This special guide will lead you on a drawing inspired walk from the CAG to ArtStarts while providing interesting social and historical information about the area. Activities in the booklet include texture rubbings, eye spy, tracing and observational drawing.
Drawing on the City Walk
Andrea Landivar Einstoss, Hana Kujawa and Emma Plested
With sidewalk chalk attached to sticks, we will be creating drawings that use the city as a canvas. As we walk we will create a pathway of colourful lines, stopping to create drawings based on things we see along the way.
Presented as part of The Big Draw, the world’s largest drawing festival and Culture Days, a Canada-wide celebration that raises the awareness, accessibility, participation and engagement of Canadians in the arts and cultural life of their communities.
For more information and workshop times visit: www.drawvancouver.comMORE
Artist talk and project launch with Keg de Souza
Wednesday September 28, 7pm
544 Main Street, Vancouver
We welcome back to Vancouver Australian artist Keg de Souza, on her final visit to the city, de Souza presents an artist talk and a public project exploring food culture as a metaphor for urban displacement. De Souza will discuss her recent projects including the Redfern School of Displacement, presented as part of the 20th Biennale of Sydney. This project reflected on the ongoing activism, debate, speculation and political rhetoric concerning displacement and gentrification in Sydney.
Throughout October, de Souza will operate from a temporary space in the former Park Lock Dim Sum/Seafood Restaurant on the second floor of 544 Main Street in Chinatown. From this location she will initiate a food mapping installation developed via a series of public events, workshops and discussions centered on this disused space, the last original building standing on the corner of Main and Keefer.
Participants are invited to contribute items that represent the changing urban fabric of the Chinatown/DTES area through its food culture. Each participant’s items will be vacuum bagged and used to create a tile in the construction of a temporary structure within the Chinatown space. The numerous vacuum bags will create a patchwork surface that represents various community members, and their insights into local food culture and gentrification. Items could range from: menus from new upmarket establishments; packaging from iconic restaurants of the area, soup kitchen fliers, info on urban farming or even something grown from an urban farm.
De Souza’s practice investigates the politics of space, emphasizing participation and reciprocity to create site and situation-specific projects. De Souza aims to cultivate local knowledge regarding the displacement of low income, indigenous and immigrant communities in collaboration with residents and the community, creating a platform for conversation and debate.
The project in Vancouver is assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and Left of Main.MORE
Free screening at The Cinematheque, 1131 Howe St. Vancouver.
The 7pm screening is now booked out. Due to high demand a 2nd screening has been added at 9pm on the same night (Tuesday, September 27), tickets will ONLY be available at the door, on a first come, first served basis at the Cinematheque box office from 6.30pm onwards.
ART21, The Cinematheque and Contemporary Art Gallery partner to premiere ART21’s new season, Season 8 of Art in the Twenty-First Century includes a one hour film on four, Vancouver based, celebrated Canadian artists: Stan Douglas, Brian Jungen, Liz Magor and Jeff Wall.
“In small and tightly-knit Vancouver, artists reframe the world through a series of sophisticated illusions. By recreating historical moments, staging photos of vernacular scenes, and crafting intricate sculptures that trick the eye, artists reveal how everyday images and moments from the past are not always what they seem. Liz Magor (b.1948, Winnipeg, MB, Canada) makes uncannily realistic casts of humble objects—gloves, cardboard boxes, cigarettes—that speak to mortality and local histories. Through complex video installations, photos, theatrical productions, and virtual reality simulations,Stan Douglas (b.1960, Vancouver, BC, Canada) reenacts historical moments of tension that connect the history of Vancouver to broader social movements of struggle and utopian aspiration. Brian Jungen (b.1970, Fort St. John, BC, Canada) draws from his family’s ranching and hunting background, as well as his Dane-zaa heritage, when disassembling and recombining consumer goods into whimsical sculptures. Attentive to the accidental encounters that can inspire an image, photographer Jeff Wall (b.1946, Vancouver, BC, Canada) recreates flashes of inspiration by building sets and repeatedly photographing gestures until they coalesce into a picture that’s printed on a grand scale.” (ART21)
ART21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, ART21’s mission is to inspire a more creative world through the works and words of contemporary artists. Season 8 of Art in the Twenty-First Century premieres fall 2016 on PBS with stories on artists who live and work in four North American cities: Chicago, Los Angeles,Mexico City, and Vancouver. For more information on ART21’s films and educational programs:art21.org
Intertextual: Art in Dialogue
Dylan AT Miner: Indigenous Aesthetics: Art, Activism and Autonomy
Grunt Gallery, #116–350 E 2nd Ave, Vancouver
Wednesday, August 3, 7pm
Join Dylan AT Miner a Wiisaakodewinini (Métis) artist, activist and scholar for a discussion of from his book, Indigenous Aesthetics: Art, Activism and Autonomy to be published in 2017.
This talk is presented as part of Intertextual; Art in Dialogue, a roving reading group that aims to examine/critique and create/ support a community based in text. In addition to the CAG
participating organizations include UBC Press, Morris and Helen Belkin Gallery, grunt gallery, SFU Galleries, Vancouver Art Gallery, Museum of Anthropology, Western Front, Presentation
House Gallery, Access Gallery, Or Gallery, Charles H Scott, 221A Gallery, Bill Reid Gallery and VIVO Media Arts Centre. For more information about Intertextual: Art in Dialogue, please visit www.facebook.com/intertextualartindialogue
Tuesday, August 16, 6:00-8:00 pm: Young Patron members | Happy Hour with artist Skawennati
Join us for a special evening with Montreal based, Kanien’keha:ka artist Skawennati. She will discuss the ongoing project with CAG, her ‘machinima’ workshops that use new technologies, virtual environments and video games to empower Indigenous youth to tell stories in a new way. Delicious sweets generously provided by Cartems Donuterie and Say Hello Sweets. Happy hour cocktails by Jameson Irish Whiskey. All welcome!
About CAG Young Patrons
The CAG Young Patrons program engages individuals aged 19-45 who are interested in developing a dynamic cultural scene with influencers, tastemakers and patrons of the arts. Connecting young professionals, artists and creative individuals, Young Patrons is an entry point into engagement in the Vancouver arts community through social and educational events, from artist studio visits, to curatorial tours of our exhibitions, to artist run workshops and discounts on our publications and editions.
Join us as a Young Patron member, be part of an upcoming series of artist-centered events; combining educational, social and accessible ways to learn about contemporary art. Young Patron members will be able to directly engage with local and international artists, build networking opportunities and enjoy benefits from our community partners including: SAD Mag, Cartems Donuterie and Jameson Irish Whiskey.
UPCOMING YOUNG PATRON EVENTS:
Tuesday, September 6, 6:00-7:30pm: Artist Talk with Rebecca Chaperon
CAG Young Patrons and Vancouver Art Gallery Young Associates collaborate on a Q&A with Art Rental & Sales featured Artist Rebecca Chaperon. Join us to connect and engage with work by emerging local artists over wine and charcuterie. Following the event, you can skip the line for to view Vancouver Art Gallery’s current exhibitions. Refreshments and snacks served.
Thursday, October 6, 6:00-8:pm: Happy Hour: Behind-the-scenes tour by Assistant Curator Jas Lally
Join us for an in-depth, behind-the-scenes, final look at The weakened eye of day an exhibition by Irish artist, Isabel Nolan. Refreshments and snacks served: donuts generously provided by Cartems Donuterie and cocktails by Jameson Irish Whiskey.MORE
The Contemporary Art Gallery (CAG) is searching for a Curator
The Contemporary Art Gallery is seeking to appoint a new Curator to take up post as soon as possible in 2017.
Working as part of the team, the Curator initiates, develops and implements gallery exhibitions, off-site projects, residencies and publications in consultation with the Executive Director. The Curator oversees all aspects of program delivery, exhibition coordination and preparation, installation planning, monitors certain budgets and contributes to development and public programming initiatives. The Curator represents CAG in the community to enhance the profile and reputation of the gallery. Evening and weekend work is required.
The successful applicant will be appointed within the salary band $42,000-$50,000/annum subject to qualifications and experience. This is a permanent full-time position (minimum 40 hours per week) that includes extended health and dental benefits after successful completion of a probation period. Successful applicants must be eligible to work in Canada.
The Contemporary Art Gallery (CAG) is searching for an Operations Administrator (Part time)
The Contemporary Art Gallery is seeking to appoint a new Operations Administrator to take up post in 2017. The position is offered on a 3 days/ 24 hours per week basis.
Reporting to and providing administrative support for the Executive Director, the Operations Administrator is responsible for the efficient management of CAG’s operations in relation to office effectiveness, facilities management, Society administration and IT, to best support the organization’s mission and strategic goals.
This is a permanent part-time position, 3 days/ 24 hours per week. The successful applicant will be appointed pro rata within the salary band $40,000-$45,000/annum subject to qualifications and experience plus be eligible to receive extended health and dental benefits after successful completion of a probation period.MORE
In September, the CAG welcomed New York-based artist Marie Lorenz back to Vancouver as an artist-in-residence at the Burrard Marina Field House Studio and to complete her project Tidal Dérive.
The project, a multi-day dérive in a handmade driftwood boat along the Fraser River (Hope to Richmond) and between the Southern Gulf Islands was from September 1 to 8, 2015. Studying tidal charts of the area, the artist used tides and currents to direct and drift the navigation of ocean and rivers. This simple act of journeying along the contemporary ecosystem and industrialized commercial port of Fraser offered a different and unfamiliar experience of space for city residents who travel over these bodies of water daily. The experience of floating, of movement controlled by natural forces, adds a specific dimension to one’s own observation: the viewer made aware of their own balance and form as they absorb the details of their surroundings, creating something new from something familiar.
The journey was live-streamed for the land-bound audience to follow, providing a mediated representation of the visceral experience of the expedition. See the video below for highlights from the journey.
Over the past two years Marie Lorenz has participated in a sequence of residencies at the CAG Burrard Marina Field House resulting in the development of a new Pacific-based series of projects centred on the launch of a handmade boat constructed from driftwood found along Vancouver’s coast line. The boat has since travelled to Northern California where Lorenz completed “tidal derives” in San Francisco with Southern Exposure and most recently along the Russian River with Look Up Gallery in Guerneville, California.
Since 2002, Lorenz has been exploring the waterways of New York City in boats that she designs and builds, her work combining psycho-geographic explorations with highly crafted, material forms that explore the intertidal zone. She envisions a city harbour as a giant centrifuge, spinning things in the tide and redistributing them around its shore; reorganizing things that we value and representing things that were thrown away. The tide examines the nature of each object with its own incomprehensible order; Lorenz’s driftwood boat a way to gather and record evidence in collaboration with the tide.MORE
Krista Belle Stewart
Nisga’a Museum New Visions Artist Residency
This Fall, in partnership with the Nisga’a Museum, the CAG launched a collaborative artist in residence project. Vancouver based Okanagan/Upper-Nicola artist Krista Belle Stewart travelled to Nisga’a in late October to mid-November to develop new work that will be exhibited at the Nisga’a Museum. A key component to this residency is community engagement and participation. Stewart’s project is centered on narrative and storytelling. She is curious to explore, learn about and listen to the stories/oral histories of Nisga’a people, their life and connection to the land. While in residence Stewart engaged with youth and elders throughout Nisga’a’s Nass Valley through visits, talks, workshops and the sharing of stories. Investigating how these stories are being preserved in the community; how they are shared and how community members talk about the past are critical components to the residency and future work created by the artist. Out of these community engagements Stewart is developing a video-based work.
Krista Belle Stewart is a member of Okanagan/Upper Nicola Band. She lives and works in Vancouver. Stewart holds a BFA from Emily Carr University and is currently working on a MFA from Bard College in New York. Recent exhibition and performance history includes Music from the New Wilderness at The Western Front, Shelved at the Burnaby Art Gallery (with Rebecca Belmore) and the Fiction/Non-fiction at the Esker Foundation (Calgary). Krista’s work explores First Nations identity, particularly by individuals and groups who have no direct links to North American Native culture, other than through romanticized/ fetishized interest such as health products that tap into the wisdom of the elders to help relieve your carpal tunnel syndrome; sculptures and trinkets that depict proud, ideal figures, and phenomena such as the German Indianer Klub, where members don elaborate buckskin outfits while interpreting Native American song and dance. Stewart’s photographic practice creates a dialogue between past and present, the romantic and the real, creating an awareness of the implications of misrepresentation, stereotypes, and racism. Her work engages the complexities of intention and interpretation made possible by archival material. The work approaches mediation and story-telling to unfold the interplay between personal and institutional history.
Most recently, Stewart was commissioned by the City of Vancouver as part of the Year of Reconciliation. The City’s Public Art Program commissioned 10 new artist projects overall with the first five debuting in March 2014 and new projects being introduced monthly through August 2014. The Granville and Georgia entrance of the Canada Line City Centre Station will host Krista-Belle Stewart’s Her Story, a large photo mural and a video work derived from the 1967 CBC documentary Seraphine: Her Own Story about her mother, the first Aboriginal public health nurse in BC. The images reflect personal and institutional histories and the complexities of residential school history. It touches on the young woman’s journey from residential school to UBC and the city.
This artist residency is supported by and made possible through the generous funding provided by the First Peoples’ Cultural Council, British Columbia Arts Council, and the Nisga’a Nation through the Nisga’a Lisims Government.MORE
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.
Talk info + audio: www.contemporaryartgallery.ca/learning/a…yam-jafri/MORE
Call for submissions: Cartems donuterie in partnership with CAG Young Patrons
Application Deadline is April 30th.
Cartems is partnering with the Contemporary Art Gallery, Vancouver to select an exhibition for June 2017 that will be presented in our storefront on West Pender Street.
Submission details below.
We are accepting submissions for either a solo or group exhibition that speaks to the evolving narrative of what it means to be a ‘Vancouverite’ – how work can address our notions of identity, history and space. This show will run for approximately one month and features an opening night with wine and donuts, actively promoted through social media coverage.
The featured artists or collective will be chosen by Krista Bailie, General Manager of Cartems Donuts and a panel comprised of CAG Young Patrons.
The selection committee will be judging work based on its ability to:
– activate and be in dialogue with the social space of Cartems Donuts
– strengthen community connections
– celebrate Vancouver’s rich and diverse arts and culture community.
If you are interested in submitting your work, please apply by attaching your CV, artist statement and 5-6 images in a single PDF to [email protected]
Application Deadline is April 30th, at 5pm.
Cartems Donuts is a locally owned and operated bakery in various locations in Vancouver. As a team consisting of artists, dancers, writers and musicians, we believe in promoting emerging artists in our community and offer a high traffic location where emerging artist’s work can be seen and enjoyed by Vancouverites and visitors.
The CAG Young Patrons program is an initiative to engage individuals aged 19-45 who are interested in becoming involved in the vibrant cultural scene in Vancouver. Connecting young professionals, artists and creatives, Young Patrons is an entry point into engagement in the Vancouver arts community through social and educational events, from studio visits to collection tours and more, as well as exciting events with our dynamic community partners.MORE
We are pleased to announce Andi Icaza-Largaespada as the winner of the second CAG Prize for an emerging artist selected from the BFA program at the School for the Contemporary Arts at Simon Fraser University.
Generously sponsored by the Peter Szeto Investment Group | BMO Nesbitt Burns, the CAG prize includes an award of $2,500, a solo presentation at CAG, career advice and a gift certificate from the CAG bookshop.
Andi Icaza-Largaespada’s practice — of image-reading and image-making — suggests a continuation of symbolic and subversive acts of resistance. Her multidisciplinary work incorporates elements of social research, ethics and sustainability and takes the forms of photography, sculpture and writing. Through her work, Icaza-Largaespada seeks to honour the emancipating labour of the women of Mina El Limon, Rancho Grande and Nueva Guinea in Nicaragua and the growing localized efforts of alternative community building.
The BFA graduation exhibition Lazy Susan at Audain Galleries continues until April 22. Congratulations to all the graduating students:
Jessica Chu, Danni Gárate Cubillos, Kayla Elderton, Megan Fillo, Aghigh Gougani, Andi Icaza-Largaespada, A Yeong Kim, Carolina Krawczyk, Jilann Lechner, Cindy Liu, Clara Liu, Betty Ma, Emily Marston, Sana Sayahpour, Feon Yeung, Nico Yu and Jaromir Zelazny.MORE
Curatorial assistant Lanna Lastiwka reports on her experiences of assisting artists Sameer Farooq and Mirjam Linschooten with preparation for the installation of their exhibition White, Steel, Slice, Mask in the CAG window spaces.
Installing White, Steel, Slice, Mask posed a physical challenge due to the narrow space in the CAG windows. Installing was difficult! on reaching up to paint the last white space black in the display window, I tried to turn horizontally, but couldn’t. I was stuck. The only way I could move in eight inches of space was vertically. Shimming along the edge of the small platform, inside the window, I could only look directly at the wall or through the glass onto the street, without turning. I created a variety of poses from bending with one leg up behind me (to keep me balanced) to crouching and reaching, with one foot in front of the other, while juggling a paint brush, measuring tape, nails and art objects. The intimacy of the space caught the attention of many casual observers who not only responded to my struggles, but the cultural and religious pieces being installed in the windows.
The challenge the artists and Kay Slater (the head installer) faced was creatively melding the reality of such a unique space with the artists’ vision through intense construction and artistic planning. Since I could only see a few inches away from my face, it was difficult to gauge if every black paint stroke was dark enough, or if drill holes from previous exhibitions were noticeable to the viewer on the street, or if every bracket and shelf was placed correctly.
We decided to install in parts. First, the brackets and shelves individually, then, placed the art pieces one at a time, allowing us to see the overall artistic effect at the very end. Yet, it only took a couple of religious or cultural objects being placed in the windows for passers-by to take notice.
The East Indian window had only a few shelves and religious objects in it when I had my first interaction. Balancing on one leg and stretching towards the far wall in a ballet-esque pose, I began dusting the shelves in preparation for more objects. Looking up through the glass I noticed an elderly Hindi man. He watched me gently weave through the objects to the far shelf with a cloth. He waited until I was finished and asked me about moving in the enclosed space: if it was difficult? did I like it? why install these objects in such a closed space? was I claustrophobic? and was I afraid to break or smash one of the pieces because of the tight space?
During our conversation about the space, he smiled and began to tell me the significance and history of the religious objects and images in the window. Afterwards, I realized that the nature of the space led to interactions about the objects being installed. It lured people into the intimate space, so that they could connect with what was being displayed.
Hello! This is Edwina Zhao, the new curatorial intern from Singapore!
I am currently pursuing a BA (Hons) Fine Art Degree at University of the Arts London – Chelsea College of Arts. For the fall semester, I travelled to Vancouver as an exchange student through Emily Carr University of Art + Design to take part in the Media Arts Internship Program. The program gave me this great opportunity to join CAG and work alongside Curator Shaun Dacey and Assistant Curators Jas Lally and Holly Schmidt, and the rest of the CAG team.
Back in London, my art practice is multidisciplinary and I work primarily with digital medium. For this reason, I decided to continue my studies with Emily Carr’s Film, Video and Integrated Media program while I am in Hollywood North – Vancouver. Putting my skills and knowledge into practice, I am going to create some exciting video content for CAG working with current Field House artist Keg de Souza. So, stay tuned to CAG’s vimeo channel for more updates.
Hope to see you in the gallery soon,
I had the pleasure of attending a workshop CAG artist-in-residence Keg de Souza held for the multi-year Art class students of King George Secondary, a partner High School in the CAG’s education programming. The workshop involved the artists introduction of her current project with the Burrard Marina Field House Residency involving a participatory collage of matter found in Vancouver’s historic Chinatown that reflect the gentrification and displacement of the area manifesting through food culture. Keg encouraged the students to collect any items that will contribute to her project on the historical tour they embarked on shortly after. As I documented this interactive workshop whereby students were able to learn about the gentrification of the area in a historical and tangible way, I found much appreciation in to the different areas of teaching the community about contemporary artists work in diverse forms of accessibility.
As for my personal interest in contemporary art, my first cognitive memory of “contemporary art” was at age 8, when my parents took me to see La La La Human Steps ballet dance. I remember feeling an insurmountable amount of confusion as to understand the meaning of this abstract dance. This initial uncertainty did not drive me away from contemporary art however, rather provided me inspiration in to further inquiring what it means to be a contemporary artist and what we can learn from them. I now find myself in the Visual arts program at UBC, engaging in various artistic mediums, namely video/installation/drawing, and art theory and history. What I have found important within studying art and conceptual theory are the different methods that an institute, artist, or program can conduct to broaden the educative accessibility to the art that is being exhibited or discussed. The partnerships that the CAG conducts with local high schools is an amazing example of enabling a younger demographic a chance to participate in understanding various research that contemporary artists are pursuing.
I am excited to contribute to the CAG’s public programming this fall/winter. Throughout my internship here I will be conducting research on the exciting upcoming artist, Haroon Mirza, to help facilitate writing the teachers guides for Mirza’s exhibition come January. As I reflect on my preliminary experience with La La La Human Steps contemporary ballet group, I look forward to be working with the CAG’s public program to become involved in the process of educating younger demographics in to the contemporary art world. I furthermore look forward to attending Keg De Souza’s open house events, and furthermore her final showcase on November 4th at 6pm, facilitating discussion concerning the artists project and context of the community.
I’m used to the routine of exhibitions. I choose my path around the gallery and take my time approaching, examining, engaging each artwork. I’m always careful to maintain a specific breadth, and to never lean over pieces or on walls.
However, observing the process of unpacking the 16 works for Isabel Nolan’s exhibition, “The weakened eye of day,” was a wholly new experience of encountering art. While the critical process of reading and looking is something that I’ve become comfortable enacting, the practical matter of condition reporting was unfamiliar territory. I watched as each work was handled and turned in the light so as to spot any tears, rippling, lifting or indentations. Gloved white hands smoothed out surfaces, gently brushing away lint and other specks of dust.
It’s a task that takes extreme attention to detail and a methodical manner of analysis. Unpacking the six large crates in the gallery took two days. The bubble wrap, foam peanuts, plastic sheets and polyurethane was gathered, folded, labelled and kept in order, so that re-packing would be more efficient.
While several of Nolan’s works in the exhibition are built of sturdy steel, ceramic or wool, a few pieces are of a more delicate nature. In particular, Here (anchored in oblivion) was a work that took the most careful consideration to unpack. Placed on top of a styrofoam block and cushioned with gallons of peanuts, the work had to carefully be lifted upward out the crate. Though the sculpture has a core of metal mesh and armature wire, the exterior is made with fragile jesmonite and plaster bandage.
The asymmetric form is reminiscent of nascent organisms born following Nolan’s origin story of the universe (a poetic fiction which can be read in Rock Founded Place). The work rests on the concrete floor of the gallery, just balanced enough to maintain its upright stance. The fleshy, pale pink colour seems raw and vulnerable in the open space.
Seeing Here (anchored in oblivion) unpacked and being prepared for display was a sharp reminder of the ultimately fragile nature of objects. The gallery setting so often feeds into the mythos of the art world, an image of things that are glossy, revered, protected. Observing from behind the scenes created a fissure in the folly. Objects, indeed art, can be damaged or broken.
Isabel Nolan, ‘The weakened eye of day’ is on view until October 2, 2016.
Hi there. My name is Ines Min and I just began a summer internship as curatorial assistant. I’m excited to be working alongside Curator Shaun Dacey, Assistant Curator Jas Lally, and the rest of the CAG team.
I am entering my second year in the Critical and Curatorial Studies master’s program at UBC, as well my second year in Canada. Originally from the States, I graduated from the University of Texas at Austin with a bachelor of journalism. Less than a month after receiving my degree, I moved to Seoul for what was supposed to be a few months. Instead, a part-time position as an intern reporter turned into a career that led to positions at several newspapers and magazines.
Eventually I moved to freelancing, which then led to specializing in contemporary Korean art. Artist interviews and exhibition reviews quickly led to translating catalog texts, and then finally PR work. I helped manage international media relations for the 10th Gwangju Biennale, and from there became a member of staff for the Gwangju-based International Biennial Association. It was at that point I decided to return to school—to study more closely what my work had come to encompass.
Although I was aware of CAG’s leading reputation even before landing in Vancouver, I became engaged on a more personal level after seeing a talk by Korean artist Kim Beom. The gallery holds a unique position not only locally but internationally, and I was drawn to its ability to collapse distances between seemingly disparate worlds. This subtle skill highlights what makes the gallery singular.
Over these next few months, I’ll continue weaving together my writing with art, while also incorporating new knowledge of gallery operations and curatorial production. Check back here on the blog for interviews with artists in residence Dylan Miner and Isabel Nolan, and sneak peeks at what’s to come at the CAG.
And, most of all, hope to see you sometime in the gallery.
P.S. If you’re interested in reading some of my past work, visit www.inesmin.comMORE
OFFICIAL NOTICE OF ANNUAL GENERAL MEETING 2016
CAG Contemporary Art Gallery Society of British Columbia
MEETING OF GENERAL MEMBERSHIP
Thursday, June 14, 2016 at 6:00 p.m.
At the Contemporary Art Gallery, 555 Nelson Street, Vancouver
We thank these outgoing Directors for their significant contributions:
Marina Newson – outgoing Director, 3 years of service
Don Millar – outgoing Director, 4 years of service
Mark Killas – outgoing Vice President, 4 years of service
Nancy Hay – outgoing Director, 5 years of service
Rick Erickson – outgoing Director, 6 years of service
Mark Wentzell – outgoing Secretary, 6 years of service
Thank you to our members for supporting the CAG throughout the year.MORE
Hello! My name is Helen Wong and I am the Summer Development Assistant here at the CAG. I’m very excited to start working at the CAG where I will be helping out with the Annual Gala and Art Auction alongside Development Officer, Kristin Cheung.
I’m currently in my last year of undergraduate studies at the University of British Columbia with a major in Art History. With this looming ahead of me, it’s nice to be surrounded by individuals who are able to impart some knowledge and experience as to their post-undergraduate lives. I’ve done a lot of travelling through UBC, I have taken a 15th Century Art History course in Venice and I have studied abroad in Bristol, UK. Through my time abroad, I was exposed to so many different cultures and types of art that it has really expanded my areas of interest.
My interest in Art History was sparked during a 200 level Renaissance art class at UBC, and from then on I haven’t looked back. I think art becomes a way in which we can speak about so many contemporary issues and subjects because of its interdisciplinary nature, plus I feel like a detective when I’m analyzing a piece of work which is another reason why I love it!
My interest in the CAG began when I wanted to learn more about local art and artists. I think that the CAG is a natural hub for dialogue and I wanted to be a part of that. I look forward to the rest of my summer here and learning more about ‘behind the scenes’ and ‘what it takes’ to plan a grand Gala and Auction event like this! Stay tuned for more Gala and Auction news as the summer progresses…
– Helen WongMORE
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.MORE
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.MORE
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 LallyMORE
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 LallyMORE
We are very excited to launch and follow the progress of our Kickstarter campaign for a new partnership commission with Ballet BC and artists Wood & Harrison. Since launching last week we have 12 initial backers and lots of press on the project.
Click below to read what they are saying about us!
More on the project….
The CAG and Ballet BC in association with the Art|Basel Crowdfunding Initiative are excited to announce a new project.
For our project, selected by independent jury for Art|Basel’s curated page on Kickstarter, we are commissioning visual artists John Wood and Paul Harrison to team with the renowned dancers of Ballet BC, to produce a collaborative cross-disciplinary performance combining the very best in both contemporary dance and visual art.
The funds will be used to bring the visual artists to Vancouver for an intensive development period during spring and fall 2015 with the premiere in 2016.
The collaboration between CAG and Ballet BC recognizes the distinctive contribution each of us brings to the project, making the whole much bigger than the sum of its constituent parts. Our supporters are a major part of this, extending that partnership into a broader sense of sharing and building a real community involvement in this dynamic venture.
The cost of developing and producing such a commission can often be prohibitive despite the strength of idea and partners involved. While accessing of funds for the actual production and performances in 2016 provides many openings, the research phase is where we need help now. We need assistance in supporting the artists’ commissioning fees and expenses in order to get the project started.
We need to bring the artists to Vancouver for the research/development phase, an initial one week orientation and introduction in April-May 2015 where ideas can be discussed and meetings made, to be followed by a second two week intensive period developing the project through a series of rehearsals and workshops.
The completed work will receive its premiere in Vancouver in 2016 and then have potential to be presented on tour.
Since Wood and Harrison’s first collaboration in 1993, their work has evolved from single shot ‘studies’ filmed against neutral backgrounds to longer pieces in which a sequence of actions unfold within constructed locations that have more implicit meaning and contribute to greater narrative complexity. Pieces maintain a strict internal logic, with the action directly related to the duration of the work. Inside this ‘logical world’ action is allowed to happen for no apparent reason, tensions build between the environment and its inhabitant, play is encouraged and the influences on the work are intentionally mixed.
Why should you support it?
This cross-disciplinary approach to contemporary culture signals an ambitious attempt to join together in the production of what will be a major new work, combining great opportunities for artists and audiences alike. This project will be a first for all involved, marking a significant and transformative partnership between each institution as well as an exciting and key opportunity for all artists. For Wood and Harrison, despite their work often being written about in relation to contemporary dance, it will be the first time they have ever worked toward a live performance.
– Jill HendersonMORE
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 BruneauMORE
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 DirectorsMORE
After an amazing week of talking, sharing, conceptualizing and relationship building- the Indigenous Acts Gathering has come to an end. On Friday, August 8th we hosted the participants at the Contemporary Art Gallery for a chance to share and exchange experiences, and potential “next steps” from their week together. Vancouver-based curators, directors and artists were invited to listen, share and respond to the topics and themes that surfaced over the week.
It was an opportunity for the participants to meet and hear from those involved in Vancouver galleries and urban/artistic planners from around the city and artistic community at large. Dylan Robinson and Candice Hopkins facilitated an engaging and thought provoking closing discussion that allowed for the participates to engage with each other and begin dialogues with the invited guests.
It was an honour to have been able to participate and work through topics that are owed so much attention. I look forward to seeing all of you again, and to continue to learn from your works and teachings!
– Lindsay Lachance
Continuing our Summer series of book recommendations from CAG staff, volunteers, interns and board members, CAG Director Nigel Prince highlights three publications from the CAG’s thirty year publishing history:
Some Detached Houses
Robin Collyer, Todd A Davis, Dan Graham, Amy Jones, Bill Jones, Robert Linsley, Warren Murfitt, Margaret Naylor, Ed Ruscha, Nancy Shaw, Greg Snider
Contemporary Art Gallery
March 29 – April 1989
This was a crucial exhibition and publication linking West and East Coast conceptual practices, including a number of key artists. The photograph on the cover is an aerial view of the Eastside of Vancouver circa 1960. Included in the exhibition were Dan Graham’s New Balloon Houses, Surrey made in the then suburb of Vancouver. It was one of the first CAG publications I purchased on my initial visit to Vancouver in 2000.
Contemporary Art Gallery
November 14, 2003 – January 4, 2004
Terada often uses the things normally thought of as ancillary to art itself as raw material for exhibitions, for example, by employing promotional and didactic material as the objects for display. Catalogue took the form of an exhibition publication but highlighted the patronage of those who collaborated with the artist in support of the show by their logos becoming the actual artwork on display on the gallery walls. The book itself becomes the exhibition representing everything that it encompasses.
For Example: Dix-Huit Leçons sur la Société Industrielle
Contemporary Art Gallery
January 14 – March 6, 2005
A key exhibition for the Contemporary Art Gallery and the artist, Christopher Williams’ work grows out of the history of conceptual art of the 1960s and 1970s, which used language and photography to address issues related to painting and sculpture. The publication, beautifully designed and conceptually rigorous with the exhibition, was curated by Claudia Beck, an individual who along with husband Andrew Gruft has made a significant contribution to Vancouver’s artistic scene.
All three of these publications 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.MORE
That’s me with a little bit of a smirk bidding last year at the annual Contemporary Art Gallery auction.
I’m pretty sure that smirk was a paddle-lifting induced buzz. It’s a natural high — nerve wracking, exhilarating, nauseating, and exciting, all at once, especially when there’s something that really speaks to you. Auctions are fun, and hopefully you’ll join us November 8th for our next one.
If you follow the CAG on Twitter or Facebook, you’ll see there’s all kinds of ways – most of them free! – you can come experience the exhilaration of art. Hanging out with art is a gift, and I’m proud to be able to be a service to the CAG and in some small way help ensure this institution can continue to provide that opportunity to everyone.
It’s meant a lot to my life. Contemporary art has so much to tell us about the world, about our experiences, and how we relate to each other. The wonders of the world and the magic of our complicated relationships to each other and to the current moment.
I can see or experience something that gives me that “a ha” feeling. Where the artist is able to evoke something that maybe has crossed my often too busy brain, but that I was unable to express or quantify. An elegant representation of a feeling or a sense that I wasn’t sure I had. I’ve caught myself at times in galleries silently nodding as this thing that was on the tip of my tongue is represented to me, and there’s a kind of feeling of relief that goes with that. It’s magical to me in those moments.
Almost, dare I say, a place where I experience spirituality – my connection to the bigger we.
Sometimes it might take me to a place of sadness. Social anxiety; human suffering; the loss of love; the struggle with sorrow. Sometimes it’s joyous, or funny. Outrageously ridiculous, or ridiculously outrageous….those moments are the best! I’ve even at times been disgusted by pieces of contemporary art where I’ve walked in and turned around moments later.
But it’s all good as the saying goes…it all matters, it all sticks and swirls around inside and makes some sense of the sometimes chaotic world we live in and that lives in us. It is all worth it for the sense it provides that we are not alone in the universe. That the infinite uniqueness of our experiences can be represented and shared and we have places like the CAG where we can gather to experience, discuss, and celebrate them.
It’s pretty great.
Please keep in touch, and I hope to see you soon at a CAG event.
Marcella Munro became President of the Board of the Contemporary Art Gallery on June 19, 2014.MORE
Brooklyn based artist and Burrard Marina Field House Studio artist-in-residence, Marie Lorenz has arrived back in Vancouver and has got to work right away on building her handmade driftwood boat.
Check out the images above of her progress so far.
The first image is the first step in the process, it is of the frame that the boat will be built on and is a marker or guide for the whole shape of the boat. Lorenz pre-made this frame and shipped it from New York in order to assemble it here. This is the same boat frame that was used to build the boat she rowed at the Frieze Art Fair in NYC in early May (see pictures here and above). The piece of driftwood, that is seen in the photos on top of the frame, will become the bow of the boat – this is first piece of the actual boat – she will be using found driftwood from beaches in the lower mainland to make the rest, stay tuned for more updates on the building process and launch.MORE
We are pleased to welcome back Brooklyn based artist Marie Lorenz at the Burrard Marina Field House Studio for a residency and project titled ‘Driftboat’. Marie will be here until early June building a new vessel as part of her ongoing project www.tideandcurrenttaxi.org. Look for updates on this blog of Marie at the Field House Studio, getting to work building her boat from driftwood sourced from the lower mainland. Read more about her residency and the Burrard Marina Field House here.MORE
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.MORE
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.MORE
On Thursday, December 12th, the Point Grey Secondary grade twelve, Art Careers class visited the Contemporary Art Gallery for a full day workshop.
They spent the day exploring James Welling’s exhibition The Mind On Fire with a focus on studying curatorial practice and conceptual art practices. As part of the investigation they undertook an experiential response to Welling’s working methods, by conducting a photo-shoot in which students were asked to explore in-camera abstraction techniques. They spent their lunch hours creating images while exploring downtown Vancouver.
The students were interested in questioning our assumptions of perception and the photographic image, as well as how the inherent ambiguity affected the reading of an image. The students met afterward to discuss and edit the images and categorize them based on the abstraction technique or subject matter of the photographs. In effect the students curated an exhibition of photography, taking a cue from Welling in grouping images based on intended effect.
The CAG is excited to present a selection images of their work, see above for a slide show. A big thank you to the whole Point Grey HS Art Careers class and the artists we are presenting here: Kiel Torres, Catherine Wang, Cosette Bote, Aly Slobadov, Nancy Tseng, Forever Young, Kevin McAllum. They’ve posted more images on their Point Grey Art Blog.
The CAG welcome groups of all ages and levels for free guided visits. We also produce guided visits with art-making responses to the exhibitions on display.
Contact [email protected] for more information.
– Shaun Dacey, Curator of Learning and Public ProgramsMORE
Take a look, above at a selection of images from the previous two family day Saturday events, held at the Burrard Marina Field House. Don’t miss joining in the next family day event on Saturday, August 29, from 1-4 pm!MORE
I spoke with Burrard Marina Field House artist-in-residence Raymond Boisjoly, who was on the other side of the big pond, and he took a few minutes to fill me in about where he was, and what he was up to.
Where are you right now?
I am in Manndalen within Sápmi, the land of the Sami people that extends across Norway, Finland, Sweden and the Kola Peninsula of Russia.
What are you doing there?
I am attending Riddu Riđđu, an indigenous arts festival that has been running for 22 years.
What comes to your mind about being there?
Having been gifted a book of Sami proverbs, I found this: “When in a new country, follow its ways.”
Have you seen any art you want to tell us about?
Yesterday I was told about a house here in Manndalen built to spite local Norwegian authorities following the Second World War. Anton Sjåbakken built a house from scraps found from various sources. The Norwegian government want to tax him and collect the equivalent of one years wages for this provisional shelter. Sjåbakken wrote a letter outlining his frustration which also gave the house the name by which it is now known: The Shit Hell Fucking House.
Tell me about a meal you’ve enjoyed…
I have been enjoying traditional dried reindeer meat.
… and a reason you wouldn’t want to leave?
The midnight sun provides many good working hours, I often see people simply going about their business at absolutely any time of day.
– Thanks Raymond, see you back in Vancouver, Jaclyn.
Raymond Boisjoly is currently the artist-in-residence at the CAG Field House at Burrard Marina. 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.MORE
Today, the CAG (and people across Canada) celebrate Nunavut Day, a day that commemorates the NLCA (the Nunavut Land Claim Agreement). The NLCA is the largest comprehensive claim settlement in Canada, and it marked the first time that the Canadian map has changed since 1949 (with the incorporation of Newfoundland and Labrador).
Nunavut Day is a day to celebrate arctic traditions and the northern way of life. As our current exhibition features Inuit artist Itee Pootoogook, we invite anyone interested in celebrating Nunavut Day in Vancouver to join us and experience his work.
While you might seek out Wikipediato learn more about Nunavut today, the listing doesn’t say much about their fine arts scene. There has been an accelerated change in artistic expression in the past 50 years as many modern Inuit artists react to the present and the wider, more accessible world. Today’s northern nunavut artist is not as isolated, and the work produced is more contemporary, but no less representative.
As I was researching more about Nunavut Day, I learned that while the official languages of Nunavut are English and French, 8% of the population speaks neither English, French, nor Inuktitut (the primary language of Nunavut). Unfortunately, my language skills are limited to English and French, so to those remaining 8%, I say: Nunavut Quviahugvik (Happy Times Nunavut in Inuinnagtun!)
Aujourd’hui, le CAG (et les personnes à travers le Canada) célèbrent la journée Nunavut qui commémore l’ARTN (Accord sur les revendications territoriales du Nunavut). L’Accord est le plus important règlement de revendications territoriales au Canada, et il a marqué la première fois que le plan canadien a changé depuis 1949 (avec l’incorporation de Terre-Neuve et Labrador).
La journée du Nunavut est une journée pour célébrer les traditions arctiques et la vie nordique. Comme notre exposition actuelle présente l’artiste inuit Itee Pootoogook, nous vous invitons à célébrer la journée du Nunavut à Vancouver avec nous et à découvrir son travail.
Alors que vous pourriez rechercher Wikipedia pour en savoir plus au sujet du Nunavut aujourd’hui, l’article ne dit pas beaucoup à propos de leur beaux-arts. Il y a eu un changement accéléré dans les expressions artistiques dans les 50 dernières années et nombreux artistes inuits modernes réagissent à l’actualité et à le monde plus accessible. Ces artistes d’aujourd’hui n’est pas aussi isolé, et le travail qu’ils produisent est plus contemporain, mais non moins introspective.
Si vous n’arrivez pas à venir aujourd’hui à la galerie, n’hésitez pas à nous rendre visite à nos visites guidées à venir en anglais, français, et espagnol de les expositions au CAG.
Comme je faisais des recherches au sujet de la journée du Nunavut, j’ai appris que même si ses langues officielles sont l’anglais et le français, 8% de la population ne parle ni anglais, ni français, ni l’inuktitut (la langue principale parlé au Nunavut). Malheureusement, mes compétences linguistiques sont limitées à l’anglais et le français (rouillée), donc à ceux qui tombent au 8%, je dis: Nunavut Quviahugvik (temps heureux Nunavut!)MORE
We are all set up and excited for tonight’s opening of the New York Art Book Fair at PS1 MoMA, come by our booth Q49 on the second floor. We are presenting CAG publications from 30 years of publishing, among them Christopher Williams, Robert Orchardson, Sarah Browne, Roy Arden, Hans-Peter Feldmann, Ken Lum, Shannon Oksanen, Frances Stark and many more. We are also featuring limited edition prints by Robert Orchardson and Thomas Bewick. We will also have some rare signed copies of several of our publications as well!
See you at the fair, yours Jill and Soledad.MORE
On Wednesday July 11 between 1:30 and 4:30 am Nicolas Sassoon with four extension ladders and some expert help installed the first layer of WAVES at the Yaletown-Roundhouse Canada Line Station.
It was a difficult task getting to the North windows above the stairs. We tried the morning before with a boom, but couldn’t get the massive machine through the door.
Thanks to Contrada Enterprises LTD for helping us solve the problem. In less than 24 hours they pulled together a great crew who fearlessly climbed the 40 foot extension ladders and clamped on the frame in less than three hours.
The mural was finished the next afternoon by Proper Design who perfectly applied the second layer to the outside windows.
Many thanks to both. The piece looks great. It is on view at the Yaletown-Roundhouse Station, Canada Line until January 20, 2013. We hope you get to see it numerous times.MORE
I’ve posted a few research images from my recent trip to Belgium and Germany, starting in Genk at Manifesta 9 and ending in Kassel for Documenta 13. The slide show represents a fraction of what I saw, but here are some highlights.
Matthew Monahan is interviewed for Life on Mars the Carnegie International in 2008. Matthew Monahan’s first Canadian solo exhibition opens at the Contemporary Art Gallery on Thursday April 26 and continues until July 1, 2012.MORE
There are only a few days left to see both Guo Fengyi and Frances Stark’s work at the Contemporary Art Gallery.
And YOGA. After a very successful and sold out yoga event on Sunday March 25th at the Contemporary Art Gallery, we have once again partnered with Yoga Outreach to present one last yoga workshop on the closing day of the exhibition, this Sunday from 11am to 1pm.
To accommodate for this special yoga fundraising event we are thrilled to extend our hours on Sunday from 1 pm to 7pm for a final view of these two extraordinary exhibitions. We look forward to seeing you this weekend at the Contemporary Art Gallery.
Sunday, April 15, 11 am – 1 pm
Participate in a yoga workshop in the gallery surrounded by the large-scale drawings by Chinese artist Guo Fengyi. Master Tantric yoga teacher Mary-Jo Fetterly leads a class held in the context of the solo exhibition of Fengyi’s complex and intricate drawings.
On Sunday April 1st at the CAG, Tate Modern curator Mark Godfrey gave an engaging talk on Frances Stark’s practice in relation to her work My Best Thing to over 100 visitors. Frances Stark’s My Best Thing is a feature length animation film currently on view until Sunday April 15. Here are some images of the event taken by CAG volunteer Jamie Dolinko.MORE
Join us at the Contemporary Art Gallery on Saturdays at 3pm for a series of guided visits and public discussions on our current exhibitions. Recent discussions, led by Neil Campbell and Carla Nappi, have focused on Guo Fengyi’s work now on view until April 15th, 2012. Their talks ranged from issues relating to artistic process to traditional methods of Chinese healing and medicine. Guo Fengyi began drawing as a form of healing within the practice of Qi-qong, referring to her work as “painted perscriptions.” Over the course of twenty years her drawings evolved to engage relationships between history and myth, and knowledge and mystery.
This upcoming Saturday Keith Wallace, editor of Yishu: Journal of Contemporary Chinese Art, will expand further on Guo Fengyi’s work in the context of art in China. The following Saturday, March 24th, The CAG’s Executive Director Nigel Prince, will give a Guided Visit.
In the following weeks we are offering guided visits of all our exhibitions, including Frances Stark’s My Best Thing and Scott Massey’s Aurorae. On March 31 CAG volunteer and educator Patricia Huijnen will give a tour in French and on Sunday, April 15 (the last day of the exhibitions) Jill Henderson, CAG Gallery Coordinator, will present.
Admission is free so please join us for this series of discussions on Saturday afternoons plus one Sunday. Conversation is encouraged and all are welcome! Please visit our website or contact [email protected] for more information.
Curatorial Intern – Karina IrvineMORE
We wish to extend a sincere and heartfelt thank you to everyone for their generous support of the Contemporary Art Gallery’s 40th Anniversary Gala Dinner and Auction this past Saturday night at the new Rosewood Hotel Georgia.
This was the 23rd edition of the event and in our 40th year we are exceptionally grateful for the overwhelming support from members, friends, supporters and artists, locally, nationally and internationally. We had forty nine exceptional works this year and the nod to our founding year of 1971 created a fun evening that raised an amount in excess of $230,000 (the most the CAG has ever raised at any fundraising event to date) THANK YOU!
It was a fantastic evening full of great artwork, fabulously dressed guests, a blasting birthday guitar solo by artist Kevin Schmidt and birthday cake delivery and dance routine by sequin bedazzled artist Germaine Koh and the roller derby girls, the Faster Pussycats. Each lucky guest also received a beautiful handmade sculpture by artist Natalie Purchswitz as their take home gift. The evening directly supports the programme at the Contemporary Art Gallery as we grow in scope and ambition, and allows us to continue our crucial role, since 1971, as the longest standing free public art gallery dedicated exclusively to presenting contemporary visual art in Vancouver.
The CAG is honoured to continue this role and with Nigel Prince, our new Executive Director, we look forward to an expansion and diversification in our programming, striving to introduce new audiences, increasing accessibility and supporting visitors in their interaction with and interpretation of contemporary art. With this unequivocally successful evening we can proudly move forward in presenting the very best in contemporary visual art from Vancouver, Canada and abroad.
Thank you again to the artists, guests, members, volunteers Board and staff who made this special evening a memorable and successful one. We can’t wait to see you next year at further events and benefits for the CAG.MORE
The CAG has launched a new website to announce our Annual Gala and Art Auction, www.cagauction.com.
This year’s event will be held at the NEW Rosewood Hotel Georgia on Saturday, November 5th at 6.30pm.
The website showcases the artists and the exceptional works they have generously donated in honour of our 40th year.
Some of the artists include Jeff Wall, Ian Wallace, Dexter Sinister, FASTWÜRMS, Germaine Koh and Hadley + Maxwell, just to name a few.
The evening is an important benefit event for the CAG which allows the CAG to continue its crucial role as the only FREE independent public art gallery dedicated exclusively to presenting the very best in contemporary art from Vancouver, Canada and abroad.
Tickets are on sale now and selling quickly!
Thank you for your generous support and we hope to see you there!MORE
It is always exciting to retrace the path of an artist you admire.
Today, the gracefulness and lightness of Elspeth Pratt’s work adorns the urban Offsite exhibition space of the VAG. It looks novel and contemporary, seemingly hand-made and whimsical but rendered in a scale that is normally out of proportion to the material.
In this blog entry, I’d like to consider Pratt’s journey towards becoming an important figure in the Vancouver art scene in relation to the CAG.
In several ways the CAG played an important role in her artistic career, being the site of her first solo exhibition. In 1985, Pratt reflected on social commentary, urban issues, art, architecture and man-made environment through her formal sculptures.
In 1988, Robert Linsley, with assistance from the CAG, curated an exhibition of three Canadian sculptors held at Sala 1 gallery in Rome. Among them, Elspeth Pratt would travel to Italy to present her abstract yet gestural sculptures to a European audience in an exhibition entitled “Architettura: Astrazione”.
These are not the only instances Pratt has shown work at the CAG. She also exhibited Bluff in the gallery’s street front windows in 2007. This site-specific work commented on the lack of foresight that characterises downtown Vancouver’s residential-highrise industry.
Currently Pratt’s name is listed among 1000 others in the windows as a reminder of the gallery’s artistic legacy and in commemoration of their 40th anniversary.
To view a short video of the artist commenting on her work, please follow this link:
To read a recent article on Elspeth Pratt’s work at the VAG Offsite location, please refer to:
The Contemporary Art Gallery is celebrating its 40th Anniversary, and as part of commemorating the occasion we’ve been reflecting on our past, searching through the archives and discovering some random mementos.
We found the above poster in the ‘best of the ’80’s file’, did you or do you know someone who might have attended any of the advertised talks? If so, we would love to hear your recollections of what must have been some memorable Summer of ’84 Vancouver nights.MORE
The Contemporary Art Gallery is celebrating its 40th Anniversary, and as part of commemorating the occasion we’ve been reflecting on our past, searching through the archives and discovering some random mementos.
We found this photograph, but have no factual information about it. We assume it was taken in the CAG’s old office and is of Gallery staff and Vancouver artists, but we don’t know when it was taken or who is in the photo. We’ve posted it here to see if anyone can help. The puppet is obviously the key.MORE
Tomorrow afternoon at 4:55 pm there will be a guided visit of our current exhibitions Beyond Guilt – The Trilogy and In the Near Future led by CAG curator, Jenifer Papararo. This special guided visit is part of the Canadian Art Foundation’s Gallery Hop Vancouver. For information on the other events going on at galleries around the city visit canadianart.ca/vancouverhop.
Photos by Scott MasseyMORE
Come down to the CAG to check out our new street front window display!
Since it was established in 1971, the CAG has exhibited the work of almost one thousand artists. In recognition of our 40th anniversary, we wanted to make this history visible by displaying the names of the artists who have contributed to our exhibition programming.
The impressive list includes local heroes such as Jeff Wall, Liz Magor, Ken Lum and Stan Douglas as well as the names of rising stars like Holly Ward, who currently has a banner of her own hanging in front of the CBC building, and Stephen Shearer who is representing Canada at the Venice Biennial.
Putting the list together was a big job that involved scouring the archive. We think we got everyone, but let us know if you think a name is missing.
We would like to thank our volunteers Ksenia Cheinman and Kitsum Cheung for their work on this project.MORE
This week is National Volunteer Week and the CAG takes its hat off to our dedicated team of over 50 volunteers. We thank them for their valuable gift of expertise, amazing energy and dedication.
As Gallery Coordinator I consider myself privileged to work alongside volunteers who fulfill so many necessary roles in the organization. It might be a surprise to some to discover the sheer diversity of their backgrounds. This has encompassed occupations ranging from students, artists, teachers, architects, librarians, marketing professionals and designers through to treaty negotiators! In recognition, I would like to share with you a series of profiles that highlight the interests, backgrounds and experiences of these dedicated individuals.
What brought you to volunteer at the CAG?
I love contemporary art! I think that there is nothing that can relay various life experiences and different perspectives better then art. It really is the best storyteller. So being an artist since the age of two, I decided to get a post secondary education in art and pursue it as a career. That meant I was looking for “experience”, but also something fun relating to art which made me want to get involved with the CAG.
What is your favorite thing about your volunteer position at the CAG?
I like talking with the various gallery visitors. I have had some interesting chats. I also like my position in that I am the first person who people get a chance to talk to after they have seen the exhibit.
What and where was the first Contemporary Art work that you experienced?
It was at the Vancouver Art Gallery on a school field trip. I was quite young, in early elementary school. I remember seeing a piece hung on the gallery wall which consisted of a single straight line pointing upwards. It must have been Barnet Newman or something else like his work. But I remember I didn’t get it! I couldn’t see the point for a creation of such simplicity hanging in a museum! I guess my abstract mind was still developing. Of course now I understand and enjoy the intricate use of meaning in all disciplines of contemporary art.
What other creative activities do you do?
I am of course an artist in that I paint and draw with a focus on creativity and experimentation. I compose and record various genres of music by playing several different instruments, but my main musical focus is playing the guitar. I also write about art by including my various musings on life as they pertain to a particular art exhibition taking place around town. Check out Dan’s blog here: http://we-all-get-it-in-the-end.blogspot.com/
Thank you Dan for sharing! More profiles coming soon.
– Jill Henderson
Here are some favourite pics of our volunteers in action:
This morning an unknown person hung this handmade poster outside of the CAG. It features a photograph, which appears to have been taken at our opening last Thursday. Printed on top of the image is the text, “The piece in the other room is amazing”.
We like the poster and are curious about the story behind this intervention. Do you know anything about it?MORE