Visiting curators talks
Saturday, May 17, 2014, 7pm
Please join us for a series of presentations discussing their programs and institutions by German curators Maike Behm (Kunsthalle Lingen), Bart van der Heide, (Kunstverein München) and Melanie Bono (Westphälisches Landesmuseum Münster and Skultpturprojekte Münster), on the occasion of their research visit to Vancouver. Presented in partnership with Or Gallery and the Embassy of Canada in Berlin.
Meike Behm, born 1966 in Mölln, Germany, Studies of Art History, Classical Archaeology and Science of Literature in Saarbrücken, Madrid and Frankfurt am Main. 1995 – 2006, Curator of the exhibition project rraum in Frankfurt am Main and Hamburg. 2000-2001, Curator of the group exhibition „Frankfurter Kreuz. Transformationen des Alltäglichen in der Zeitgenössischen Kunst“ at Schirn Kunsthalle Frankfurt am Main, 2001, coordinator of catalogue and short guide Manifesta 4, Frankfurt am Main. 2003-2006, Freelance guide at Museum für Moderne Kunst, Frankfurt am Main. 2006-2008 Scientific assistant at Kunstverein in Hamburg, curator of exhibition by Luis Jacob „Habitat“. Since January 2009 Director of Kunsthalle Lingen. Numerous articles for catalogues and lectures.
Melanie Bono, born 1977 in Hanover, is associate director and curator on contemporary art at LWL-Landesmuseum für Kunst und Kulturgeschichte, Münster. Bono studied sociology and art history in Tübingen and Stuttgart. Internship at the Archipenko Foundation in New York before taking up a post as a research assistant at the NAK Neuer Aachener Kunstverein in September 2004. There solo exhibition by Michael Stevenson (2005) and producing the video piece “Butterfly Jackpot” by Pablo Zuleta Zahr (2006). In 2006 Melanie Bono was appointed director of the EU project “After Cage. 24 Collections in motion”, based in Maastricht. 2007-2009 director of the NAK Neuer Aachener Kunstverein. Solo exhibitions by artists such as Albrecht Schäfer, Diango Hernandez and Nairy Baghramian and thematic group shows and experimental initiatives by the likes of Pieterjan Ginckels, Jimmy Robert or Wolfgang Müller. She has also taught a course on “Positionen der Gegenwartskunst” (Positions within contemporary art) at RWTH Aachen University since 2008.
Bart van der Heide
Bart van der Heide born 1974 in Cotonau. Lives and works in Munich. Bart van der Heide is an art historian and is currently director of the Kunstverein Munich. Prior to this he was curator at the Cubitt Gallery in London, curator at Witte de With in Rotterdam, and assistant curator at the Stedelijk Museum Bureau Amsterdam. Exhibitions curated by him include solo debuts by Trisha Baga, Bernadette Corporation, Keren Cytter, Ian Kiaer, Tobias Madison, Tris Vonna-Michell, Rebecca Warren, Cathy Wilkes, and Haegue Yang. Van der Heide has published texts on artists HeimoZobernig (Tate, London, 2008), Haegue Yang (Portikus, Frankfurt, 2008), Keren Cytter (Kunsthaus Zurich, 2008; MUMOK, Vienna, 2007), and Ryan Gander (ABN AMRO Collection, Amsterdam, 2006) as well as for international art magazines.
Kevin Schmidt’s solo exhibition at the Contemporary Art Gallery presents a survey of recent works including two major new pieces, EDM House and High Altitude Balloon Harmless Amateur Radio Equipment, both made in 2013.
Schmidt is an artist who has consistently developed a body of work that addresses notions of a displaced spectacle, often within a consideration of the sublime. This ongoing proposition is tackled not so much through exclusive references to landscape, of being awestruck at the point of apprehending such beauty and wilderness, but by juxtaposing seemingly disparate elements within these environments. Works are often situated in remote locations, where Schmidt stages remarkable events which transfer elements of urban culture into untouched natural contexts. In this way, he simultaneously examines both the seductive elements of contemporary cultural production and the constructions that surround the idea of nature.MORE
Michael Turner is a Vancouver-based writer of fiction, criticism and song. His published multi-genre literary titles include Hard Core Logo, The Pornographer’s Poem and 8 × 10. He has also written essays on the work of artists Julia Feyrer, Brian Jungen, Ken Lum, Christina Mackie and Michael Morris, whose 2012 exhibition Letters: Michael Morris and Concrete Poetry was co-curated by Turner and Scott Watson at the Morris and Helen Belkin Gallery, UBC. A frequent collaborator, he has written scripts with Stan Douglas, poems with Geoffrey Farmer and songs with Andrea Young. His writing can be found online at Canadian Art and on his blog at www.mtwebsit.blogspot.ca. Turner responds to Kevin Schmidt’s exhibition.
This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices, and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.
London-based curator Shama Khanna’s current research project Flatness engages screen based images and immaterial culture in relation to the internet. Launched at the Oberhausen Short Film Festival, Flatness currently operates across multiple platforms including www.flatness.eu featuring contributions by artists, writers and technologists who engage with the web as a creative site and a space for viewing. Khanna undertook a residency at Western Front (March 17 – April 14, 2014) and responds to the work of Kevin Schmidt.
This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.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
Burning Bush was published on the occasion of the exhibition by the same name held at Artspeak, September 9 to October 15, 2005. Speculating on belief, Kevin Schmidt's video Burning Bush and Juan Gaitan's essay Doubt as an Optical Illusion, instigate discussions around faith, disbelief and humanity. Schmidt's extended landscape portrait of a burning bush intermingles religious, political and art historical mythologies to point to the languages, both visual and textual, of doctrine. In the staging of a miracle, the bush assumes a kind of faltering breath, a sense of possibility. If the bush is indeed "a sleeping life," Burning Bush awakens in the viewer the prospect of humanistic consideration. Schmidt's and Gaitan's investigations are pertinent given the ongoing disasters reported on daily: New Orleans' sinking, Iraq's continued bedlam, environmental disaster, terror. In this climate of physical and philosophical crisis, miracles gain possibility, potency and even efficacy. They can ask us to suspend our (dis)belief and bear witness to the world. Burning Bush extends an invitation to meditate on aesthetic, cultural, political and spiritual references, offering the potential of sublime wonder and growth.MORE