The Contemporary Art Gallery presents the first Canadian solo presentation of work by Swedish artist Gunilla Klingberg, two new interrelated large-scale commissions across the gallery façade and off-site, both challenging and exploiting the opportunities presented at each location.
Klingberg’s practice is characterized by the intersection of received knowledge, folk beliefs, popular culture and divergent cultural activities. Her work draws our attention to how complicated the connections between these systems are, but it also plays with the things that arise in this encounter, a pivotal feature being an interest in what is produced by the hybridization of distinct cultures, traditions and geographies. The disparate and heterogeneous are interwoven creating meanings that mutate to form a new context.
At the gallery and the Yaletown-Roundhouse Station, two murals of seemingly quasi-oriental pattern appear to evoke cosmic mandalas, transforming the individual spaces and enveloping the viewer in light and colour, shifting patterns and reflections. Klingberg’s work surrounds us. We are seduced, made part of a special atmosphere, immersed within the work rather than just looking at it. Her interest in using patterns and movement to manipulate our seeing, to influence our state of consciousness and our sensory impressions, has links with Op Art and the psychedelic movement of the late sixties, appropriate touchstones in the recent history of the counter culture in this part of the world.
However, what at first glance appears to recall a certain set of values and moments in time has another dimension, a different shared experience. If we look more closely we see that the intricate ornamentation, the symmetrically repeated symbols of these murals, is made up of something much more mainstream, corporate logos from Canadian low cost and high street stores. Concepts are intertwined: while science might appropriate metaphors from mythologies or New-Age ideas borrow from the language of the natural sciences, here spirituality merges with everyday consumer culture. Klingberg suggests that they are analogous, that both seem to promise the same thing: a state in which nothing is uncomfortable or threatening – the possibility of total, rapid satisfaction of our needs and desires, accessible to everyone. The images are so familiar that we no longer think about them, yet they present a subconscious influence uniting us in a no-man’s land between the public and the private. She evokes a spirit of community, or of commonality, and poses questions regarding what it would be to have something in common.
Amid the proliferation of progressively similar goods it is the small, meaningful differences that count. The world around us is increasingly transformed into a surface filled with signs—computer screens, urban space, advertisements, the pages of newspapers— the most tangible properties being disposability and change. It is these surfaces that concern Klingberg. Our urban environment, its dwindling public places increasingly invaded by homogenous architecture and development, the objects we own, all constitute an intricate system of codes, messages and ideologies, our choices and participation tantamount to consuming. The boundary between art and design is often drawn along the line of utility and usefulness. But the edge becomes increasingly elastic when the difference between the values of these forms depends not so much on their functionality as on their seductiveness or power of rhetorical persuasion. Thus Klingberg’s work moves further than a mere critique of brand fetishism, the lure of contemporary global labels, beyond just pointing things out and rejecting them. It poses the awkward question of whether being alternative to a mainstream or on the “outside” is any longer possible. Might a more critical and appropriate assessment lie in revealing and acknowledging the subtle and insidious way in which we are all drawn into a sense of fascination with the things that surround us. Through her work we find ourselves in a situation in which we feel the power of images and beliefs being examined. We are all complicit.
The exhibition is supported by Iaspis, the Swedish Arts Grants Committee’s International Programme for Visual Artists.
Tuesday, November 4, 7pm
Director/Curator at Access Gallery, Phillips holds a doctorate
in art history from the University of British Columbia, where
she focused on the complexity of German collective memory
as negotiated through ephemeral artistic interventions in the
public realm of post-1989 Berlin. She is a sessional instructor
at Emily Carr University of Art + Design and the University of
British Columbia, where she teaches courses on the history of
visual culture, cultural theory and curatorial practice. During her
recent residency at 221A, she collaborated with Vanessa Kwan to
present a solo exhibition of work by Kara Uzelman accompanied
by the publication Unknown Objects, featuring a text by the poet
and essayist Lisa Robertson.
Brand New View (Vancouver)
Opening reception: Thursday, October 9, 7–10pm
Join us to celebrate the opening of our new gallery façade and off-site commission.MORE
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