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
Gallery Hop Vancouver: Saturday, April 11, 2015
Art. Talks. Tours.
Join us for a day of art, talks and tours at the Canadian Art Foundation’s Gallery Hop Vancouver.
Panel Discussion: Making Opportunity
11:30 a.m.–1:00 p.m.
Contemporary Art Gallery, 555 Nelson Street
With important cultural infrastructure projects underway, or recently completed, it is time to take a look at what kinds of new opportunities these projects will bring to the Vancouver art scene. Join Canadian Art editor Richard Rhodes as he kicks off the Gallery Hop with a panel that looks into the future that Vancouver is building for itself.
Kathleen Bartels, Director, Vancouver Art Gallery
Ron Burnett, President, Emily Carr University of Art and Design
Brian McBay, Executive Director, 221A
Nigel Prince, Executive Director, Contemporary Art Gallery
Reid Shier, Director and Curator, Presentation House Gallery
Andy Sylvester, Owner and Director, Equinox Gallery
Talks and Tours
Various locations in Vancouver
Enjoy guided tours of many galleries and institutions in Vancouver. At each stop, an art expert will share a talk on the exhibition on view.
Equinox Gallery, 525 Great Northern Way
Finish your Gallery Hop at the Canadian Art wrap party, being held at Equinox Gallery. Martin Elder’s “Perceptual Renderings” and a group show called “Pictured Windows” will be on view. Richard Rhodes, editor of Canadian Art, and David Balzer, associate editor and author of Curationism: How Curating Took Over the Art World and Everything Else, will introduce the Spring 2015 issue of the magazine, and subscriptions will be available at a special Hop rate.
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.
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
Jeremy Shaw in conversation with Caitlin Jones
Emily Carr University of Art + Design
Room 301, 1399 Johnston Street, Vancouver
Monday, March 2, 6pm
February 27 to April 19, 2015
B. C. Binning, Alvin Balkind Galleries and window spaces
This exhibition forms part of the Capture Photography Festival, running from April 2 to 29
The Contemporary Art Gallery presents Medium-Based Time by Berlin-based Canadian artist Jeremy Shaw, featuring a black and white 16mm film of transgender voguer Leiomy Maldonado, an HD video installation that reworks archival ethnographic film into a dystopian science fiction narrative, and a new series of light-activated UV prints in the windows of our street façade.MORE