Saturday, April 25 and Sunday, April 26, 12-6pm
The Contemporary Art Gallery presents a weekend of epic sound working with Vancouver based NURSE.
Performing two six-hour presentations, this group of tonal alchemists intend to create free improvisational music or Free-Continuum Music. They comprise two basses, one full of riffs, the other a distorted drone, a haunting slide guitar and one constant ‘phase-drone’ guitar, providing the continuum. A wash of space synths make this spare drone-scape lush. The performances will be ongoing throughout the day, the sound reacting to and in response to the environment as it unfolds over time, a constantly evolving texture ebbing and flowing throughout the building.
NURSE prescribe heady medication. Releases to date include Heads Remain (C20 on Soldierpumps); Camping Jam and X-Ray (both cd-r on Get Medicated).MORE
Keg de Souza’s handmade inflatable dome will become a temporary space outside the Burrard Marina Field House for a public picnic engaging Canadian colonial narratives via a consideration of Canadian food traditions. Meeting with local chefs, food activists and local residents de Souza is preparing a truly Canadian feast as a source for an afternoon of unfolding dialogue that de Souza will map directly onto the inflatable’s flooring. A starting point for the discussion is the ephemerality of the event itself – perhaps the only remnants that will be left behind are an intertwining of disconnected dialogues, mapped together with dirty dishes, crumbs and more questions posed. After the meal is eaten and the structure deflates, the temporary community is also dispersed. This event is the first public event by Keg de Souza in Vancouver throughout 2015-16 exploring food culture as a metaphor for urban displacement.
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 emphasizes participation and reciprocity, and often involves the process of learning new skills and fostering relationships to create site and situation-specific projects. For over ten years she has self-published her hand-bound books and ‘zines under the name All Thumbs Press.
In 2013, de Souza developed projects for the 5th Auckland Triennial, 15th Jakarta Biennale and the 4A Centre for Contemporary Asian Art, Sydney. More recently, at the Delfina Foundation, London, she hosted a series of picnics held inside an inflatable tent installation designed to fit within the gallery space. Notionally “traditional” English food such as cucumber sandwiches, Cornish pasties and Ploughman’s Lunches were made linking to specific cultural histories as a way to discuss class, privilege, space and colonialism. As picnickers ate and spoke, de Souza mapped the discussion on the floor creating a giant cartography of the conversation. Also in 2014 she completed a residency with KUNCI Cultural Studies Center in Yogyakarta, Indonesia working closely with community organizers and residents of Kampung Ratmakan to create an inflatable ghost house and a film featuring drawings by local children made during a ghost story workshop. Their local government had announced a major development plan affecting the Ratmakan area and the squatters residing there started to be displaced. The area is built on a graveyard so ghosts are constantly appearing to the residents, ongoing exorcisms by the local ghost expert, paralleling their own evictions in the living world.
Harrell Fletcher – Artist talk
Friday, March 20, 7pm
Burrard Marina Field House Studio
1655 Whyte Avenue
Join us for an artist talk and open discussion with new Field House resident acclaimed artist and Portland State University Social Practice Program founder Harrell Fletcher. With a focus on his recent walking projects, Fletcher is in Vancouver to begin research on a new public project slated for 2016.
Following Fletcher’s talk the Field House Studio hosts Social Practice Gathering (www.socialpracticegathering.tumblr.com) at 8:30pm. For the event artists Genevieve Robertson, Jay White and Jacklyn Harris are excited to bring you The Walk Exchange, a thought-provoking, creative & collaborative gathering that will challenge the boundaries and encourage alternative methods of route finding over conventional landmarks and grid systems within our city. The event will be primarily outdoors, apart from beginning indoors and ending the evening by reconvening for discussion and reflection on our experiences. Feel free to bring a hot beverage and snacks. Dress warmly/according to the weather! Supplies will be provided, though we ask that if you feel so generous, we would be delighted to have participants document the gathering in any way they feel inclined.
Throughout spring 2015 the CAG is hosting a series of artists-in-residence, each continuing research toward participatory projects to be realized throughout 2015–2016. 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 are an ongoing series of public events for all ages.
Fletcher will develop research rooted in his recent walking projects toward a new piece for Vancouver. In 2013, at the Exploratorium in San Francisco, he developed a four day walk with a group of museum staff, scientists and members of the public. Over forty miles, from the museum across the Bay to Emeryville and the top of Mt Diablo, each participant presented topics related to the areas they were travelling through. Each day featured several official stops while countless unofficial observations added to the experience, additional members of the public connected with the core group at more than a dozen points along the path. By extending the museum’s curiosity based learning into the surrounding landscape, the project aimed to transform the everyday world into an open classroom, working toward a greater integration of the cultural institution within its surrounding community.
Fletcher has produced a variety of socially engaged collaborative and interdisciplinary projects since the early 1990s. His work has been shown at SFMoMA, de Young Museum, CCA Wattis Institute for Contemporary Arts, Yerba Buena Center, all in San Francisco; Berkeley Art Museum; The Drawing Center, Socrates Sculpture Park, and The Sculpture Center, all in New York; PICA, Portland; The Seattle Art Museum; Signal, Malmö, Sweden; Domain de Kerguehennec, France; Tate Modern, London and the National Gallery of Victoria, Melbourne, Australia. His work was included in the 2004 Whitney Biennial and was the 2005 recipient of the Alpert Award in Visual Arts. From 2002 to 2009 Fletcher co-produced Learning To Love You More, a participatory website with Miranda July. His 2005 exhibition The American War originated at ArtPace in San Antonio, travelling to Solvent Space, Richmond, VA; White Columns, NYC; The Center For Advanced Visual Studies, MIT, Boston; PICA, Portland and LAXART, Los Angeles among other locations. Fletcher is an Associate Professor of Art and Social Practice at Portland State University, Oregon.
Feedback Talk: Close Readings Jeremy Shaw’s Variation FQ
Tuesday, March 24, 7pm
Join us for a close reading of one work in our current exhibition Jeremy Shaw’s Medium-Based Time. The CAG has invited a group of local artists to give short responses to Shaw’s Variation FQ to open up a diverse and layered conversation regarding the work. Each speaker will offer a response in the form of a reading, image or video (their own or found) engaging the various thematics Variation FQ encounters.
Background information about Variation FQ
For Variation FQ (2011-13), Shaw worked with legendary voguer Leiomy Maldonado to produce a film that explores aspects of subculture, dance, gender, power and special effects. “Vogue” is a primarily black and latino, gay subculture that evolved out of the drag balls of New York in the 1980s and includes a fluid, yet raw dance style based around miming the poses of models from high fashion magazines.
The film sets Leiomy starkly lit against a black void performing her signature freestyle dance teetering between elegance and violence. As the film progresses, Shaw introduces step-and-repeat style visual effects, originally created by Canadian animator Norman McLaren in his 1968 ballet film Pas de deux. In Pas de deux, this optical printing technique embellishes the seduction between a male and female ballerina as typically choreographed for the stage. In Variation FQ, the use of special effects creates a ghostly layering and repetition of Leiomy’s image in her most virtuosic gestures and extends the experience of abandon evident in the consequences on her human body. Leiomy’s performance is accompanied by Shaw’s original soundtrack that combines a minimalist piano score with contemporary chopped and pitched audio techniques. This merging of classical composition with manipulated pop a cappella MP3’s is emblematic of Shaw’s fascination of the interdependence between high and low taste cultures.
Aja Rose Bond is an intermedia artist with background in music, craft and fashion respectively, drawing from the deep influence of D.I.Y. punk, feminisms and magick. She explores the interplay of the public and the private through collaborations, collective organizing, solo-projects and a variety of mediums including sound, performance, installation, textile sculpture, drawing, collage and social practice. Her intimate relationship with certain mystical traditions has informed her process which often includes the use of divination, symbols and geometry to align and reveal the more hidden elemental and energetic aspects of the work. While at once being a political statement and an economic necessity, the use of found and reclaimed materials is instrumental to her understanding of the subtle life within objects. By attempting to balance service and self-care within her practice as a whole, and by ritualizing both process and presentation, she creates spaces wherein their boundaries may overlap or dissolve altogether. It is an intentionally intuitive approach wherein conceptual analysis reveals itself lastly, if at all. She is self-taught with the exception of some formal training in fashion arts and contemporary music. Her other projects and collaborations include; HYPERCRAFT Studio, The STAG (Strathcona Art Gallery) Library, Craft Pride Procession, Her Jazz Noise Collective, UNARC (Underground Network of Artist-Run Culture), WOEVAN (Witches of East Van), Seamrippers Craft Collective, Diadem (w/partner Gabriel Saloman), In Flux (w/members of Shearing Pinx), DJ Tapes and the Women’s Studies performance series co-produced w/VIVO Media Arts Center. She lives on unceded Coast Salish Territory, in Vancouver BC.
Hannah Jickling experiments with the possibilities of form, participation and meaning-making across disciplines and publics. Her projects institute sport, outdoor recreation and education as models for performance, participation and feminist engagement. Works often take shape as site-specific sculptures, public installations, events and exchanges, while documents of these gestures become photographs, multiples, printed matter and other ephemera. Atypical forms of distribution, entrepreneurial scheming and audience-seeking are important strategies for supporting and disseminating her work. Originally from Whitehorse and currently based in Vancouver, Hannah has lived and worked in Halifax, Glasgow, Toronto, Dawson City and Portland. In recent years, she has shown and/or presented at the YYZ Artists Outlet, the Power Plant (Toronto), Apexart (New York), the Carleton University Art Gallery (Ottawa), the Portland Art Museum, Recess Gallery (Portland), the SFMoMA (San Francisco), the Vancouver Art Gallery, Access Gallery, the Or Gallery (Vancouver), the Dalhousie University Art Gallery, the Eyelevel Gallery (Halifax), and the Yukon Arts Centre Gallery (Whitehorse). Her work is held in private collections across North America and can be tasted in the form of sourdough pancakes, a permanent public work at Bubby’s, a restaurant in Manhattan. She holds a BFA from the NSCAD University and an MFA from Portland State University. Hannah Frequently collaborates with Helen Reed.
Helen Reed has made work with Twin Peaks fans, lesbian separatists, high school art teacher candidates and grade six students. In each project, collaboration is a working process from which the artwork emerges. Reed favors collaborators that reflect her interest in participatory culture, affinity groups, and fantasy-based subcultures. Her projects take vernacular form as television shows, publications, postcards and other forms of easily transmittable and dispersed media. Reed has exhibited work at Prefix Institute for Contemporary Art (Toronto), The Dunlop Art Gallery (Regina), The Foreman Art Gallery (Sherbrooke), apexart (New York), Smack Mellon (New York), Portland Art Museum, Seattle Art Museum and La Centrale Galerie Powerhouse (Montréal). She holds a BFA from the Emily Carr University of Art and Design (Vancouver), an MFA in Art and Social Practice from Portland State University. She frequently collaborates with Hannah Jickling.
Justine Chambers’ interests lie in collaborative creation and re-imagining dance performance. She is drawn to the movement of all bodies, and is focused on the dances that are already there: the social choreographies present in the everyday. Her recent choreographic projects include: Family Dinner, Enters and Exits, COPY, On Any Given Day, and Caesura. Chambers’ work has been presented by: Dances for a Small Stage, Dance Saskatchewan, Dancing on the Edge Festival, New Dance Horizons, The Roundhouse Community Arts Centre, Vancouver Art Gallery: FUSE and the Western Front. Chambers is a founding member of projet bk. Justine is currently on of five artists in residence at ten fifteen maple
Stacey Ho has worked with organizations such as FADO Performance Art, Gallery 44, Vidéographe, and WWTWO. Her writing has been published in Modern Painters, West Coast Line, and Inter: art actuel. She lives in Vancouver, where she is presently associate director of LIVE Biennale.MORE