Guided Visit in Korean | Kate Dayoung <한국인을 위한 무료 관람 안내>

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Guided Visit in Korean | Kate Dayoung <한국인을 위한 무료 관람 안내>



17 May, 2015 – 3 pm to 4 pm

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Kate Dayoung
Sunday, May 17, 3pm
A guided visit of the exhibitions on display in Korean led by Kate Dayoung.

Guided visits are open to the public, providing free opportunities to engage with exhibitions and develop new skills for interpreting contemporary art. We also encourage visits from primary and secondary schools, ESL groups, university and college students and community groups. For more information or to book a guided visit for your group, contact or telephone 604 681 2700.


<한국인을 위한 무료 관람 안내>

- 2015년 5월 17일 일요일 오후 3시

본 갤러리를 찾아주시는 한국인 관람객들을 위해 현재 전시중인 작품들을 안내해드립니다. 관람객들은 누구나 전시회와 현대 미술 해석에 관한 정보를 제공 받으실 수 있습니다.

- 진행 중인 전시:

Julia Dault 줄리아 덜트

Blame It On The Rain

2015년 5월 1일 – 6월 28일

BC Binning and Alvin Balkind Galleries

컨템포러리 아트 갤러리는 현재 뉴욕에서 활동 중인 토론토 출신 아티스트 줄리아 덜트의 개인 전시회를 선보이고 있습니다. 그녀의 최근 작품들 중 몇 작품을 중심으로 그녀의 작품 세계를 전달하고, 즉흥적인 표현과 규칙과 논리에 대한 민감성, 그리고 재료의 제한, 이 세 가지의 균형이 그녀의 작품 세계에 미치는 중요성을 함께 보여드리고 있습니다. 줄리아 덜트의 작품은 1940년대 추상 표현주의자들의 그림과 후기 미니멀리즘적인 조각, 이 두 가지 영역에서 강조된 부분을 복합적으로 담아내고 있는데, 패턴과 결함의 매력을 통해 기계적으로 보여지도록 인간의 기원을 나타내는 동시에 포스트 미니멀과 예술 작품이 구현하는 개념을 가리키는 추론과 규칙을 통해서 표현적인 제스처를 만들어 통합하는 양상을 보실 수 있습니다. 줄리아 덜트는 오늘날의 예술에 대한 관념을 재활성화 시키는 예술가들 중 한 명입니다.

Shannon Bool 샤넌 불

Michelangelo’s Place

2015년 5월 1일 – 8월 30일

컨템포러리 아트 갤러리는 현재 캐나다인 아티스트 샤넌 불의 새로운 두 개의 작품 중 두 번째 작품인 Michelangelo’s Place 를 전시 중입니다. 4월에는 캐나다 라인의 예일타운 라운드 하우스 역 건물의 벽에 그녀의 직물 작품 중 하나인 The Flight of the Medici Mamluk 의 커다란 사진이 설치되었던 적이 있습니다. 샤넌 불이 최근 제작한 대리석 벤치 시리즈의 마지막 버전인 Michelangelo’s Place 는 현재 갤러리 입구에 전시되어 있습니다. 이 조각품은 이탈리아 플로렌스의 도시 풍경을 한 눈에 볼 수 있도록 높은 곳에 위치한 Piazzale Michelangelo(미켈란젤로 광장)에 있는 벤치를 참고한 작품이며, 이 벤치는 1869년 미켈란젤로가 제작한 가장 유명한 작품들 중 하나입니다. 샤넌 불은 전시의 개관에 앞서 벤치를 뒤덮은 그래비티를 재현하기 위해 3주 동안 밴쿠버에서 작품 활동에 힘썼는데, 이 그래비티들은 작가가 직접 제작했음을 강조하기 위해 거울에 비친 것처럼 좌우가 상반된 채로 표현되었습니다. 미켈란젤로의 원 작품에는 관광객들이 휘갈겨 쓴 낙서부터 사랑에 관한 선언과 이탈리아의 첫 번째 노동당에 대한 코멘트 등 100년도 넘은 갖가지의 그래비티들이 새겨져 있습니다. 과감하고 거친 커팅과 새김을 통해 광장에서 르네상스를 대표하는 도시의 장엄한 풍경에 시간을 소모하는 대신 그들 자신의 흔적을 남기고 가는 편을 택한 방문자들 개개인의 경험에 주목하여 그것들을 그림으로써 벤치의 목적을 개조한 작품이라고 할 수 있습니다.







Kate Dayoung  


Related Exhibitions

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

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

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

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

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

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

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

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


Julia Dault - Blame It On the Rain


Related Learning

On Friday, April 10, 2015 and in conjunction with the Canadian Art Foundation Vancouver Gallery Hop, the CAG hosted a talk by Canadian Art associate editor David Balzer based on his latest book ‘Curationism: How Curating Took Over the Art World and Everything Else’.

David Balzer is a Toronto-based critic, editor and teacher. He has written for The Globe and Mail, Modern Painters, Camera Austria,, The Believer and others, and is the author of two books, the short-fiction collection Contrivances (Joyland/ECW Press) and the non-fiction study ‘Curationism: How Curating Took Over the Art World and Everything Else’ (Coach House Press/Pluto Press).


David Balzer | Curationism: How Curating Took Over the Art World and Everything Else


Related Blog Posts

The CAG has invited artist, deejay and movement based therapist Tad Hozumi to create a series of feedback events and workshops in response to Julia Dault’s paintings in her exhibition Blame It On the Rain.

His upcoming series of music and movement workshops and events will playfully reference elements found in her work.

Here Hozumi writes, the first in a series of blog reports, about his work and about preparing for the events and workshops:

Last weekend I installed a listening station for a selection of funk and disco vinyl records in the CAG bookshop (see above image). This listening station is part of my feedback response to the current exhibition: Julia Dault’s Blame It On the Rain. My initial task was to curate a selection of records that responded to Dault’s works and that served as the inspiration for a series of workshops. The curatorial method I undertook was really simple: Rhythms x Patterns x Geometry x Materials. Dault’s eye is similar to that of a crate-digger, she is constantly scanning the visible ‘debris’ in our environment for moments of resonance.

Crate-digging, if I can give the most romantic definition, is the practice of scouring through dusty bins of long forgotten music to unearth rare or special records. There are a lot of great crate-diggers out there, including Japan’s DJ Muro or Vancouver’s own Sipreano, who recently released Native North America Vol. 1 – Aboriginal Folk, Rock, And Country 1966–1985, a project that I am sure will go down as something of historical importance in our time.

Not all crate-diggers have an active public life, deejay or compile music. If I had to guess most are actually very private, sharing their collections with a few people who are willing to bear them in order to get a sneak peak at an unknown gem. There is one thing I am pretty sure of, digging while mysterious, certainly is not glamorous.

As a crate-digger, I’m just a baby. It’s exciting, because almost everything I come across is new to me. Perusing bins at a thrift shop will almost always turn up some new discoveries. I used to think I had a pretty good handle on music. I was wrong. I think the current statistic is that over 80% of recorded music on vinyl is unavailable digitally. So crate-digging can expand the musical world you live in quite a bit.

The record in the above picture (click on the arrow for the slideshow) is Outline – Gino Soccio. A really top notch Montreal disco record. It was actually one of  first five records I randomly bought in a thrift store. Man, I was happy when I first heard the slick beat on Dancer. Somehow I felt like this omniscient being who could magically discover dope records. Being able to visually locate the sensibility of an album without any audio information is a big part of crate-digging.

After I bought Soccio’s album, when I was about 1,000 records deep in to my collection, I realized that the album was pretty common. A great album for sure, but not necessarily a spectacular or rare find that I thought I had made. I now have three copies of Outline and a 7” of Dancer. Still, I have a lot of emotions attached to Soccio’s first release.

Any ways, you can listen here to Dancer. A real classic. Thumping.

Other albums selected for this project are:

Extensions of a Man
- Donny Hathaway

Encounters Of Every Kind – Meco

Sweet honey: in the rock (Self-Titled)

A Fifth of Beethoven – Walter Murphy

Live Oblivion – Brian Auger’s Oblivion Express

I hope you will come by the CAG and enjoy listening to the above records in person

This is my music + vinyl blog.

- Tad Hozumi


Join Tad Hozumi at these upcoming feedback events: 

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

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

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

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



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