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.
Commissioned by Fogo Island Arts, EDM House was produced by the artist for five months during the winter of 2013, using a small cabin in the interior of British Columbia. An abandoned house in the middle of an isolated winter landscape has its outside festooned with garlands of colourful lights akin to a suburban celebratory display. The building also glows from within; the illuminations synchronized to the rhythm of an electronic beat, creating the illusion of a night club in the middle of a secluded mountainous setting. This was the first European homestead in the area, built by Norwegian settlers in 1905, and like many such buildings in the new world, it evokes the desire for a new start away from poverty, crowding or persecution elsewhere.
Electronic Dance Music (EDM) typifies contemporary digital production in that it is disseminated on social media, an online community of enthusiasts, suggesting the individual as an alternative brand. Drawing parallels between the original settlers’ intent to escape to pastures new and contemporary “hobbyist” production or DIY culture as a counter to corporate dominance, Schmidt seeks to interrogate such ideas via a surreal combination of the spectacular. In addition to the light display itself, EDM House also functioned as a local radio FM channel, broadcasting the artist’s compositions within a small radius to those few passersby. The eerie nature of happening on this by chance is captured in the video projection, conjuring an occasion that is at once magical yet sinister, delightful yet strange. These anxieties are reflected in the horror-movie technique used to document the work, for as the camera rolls forwards or back, the zoom counteracts meaning the house stays the same size within the frame as the background swells or contracts.
Comprising a home-made camera and a large-format slide projection, High Altitude Balloon Harmless Amateur Radio Equipment used a weather balloon to capture an image of the Earth by launching the equipment 35,000 meters into space. Both the timing and the right conditions to release the shutter were carefully calculated so that the camera—made of Styrofoam and duct tape and fitted with a 90-mm Linhof lens and a 4-by-5 inch film holder— pointed away from the sun toward the horizon, the resulting photograph of the stratosphere presented as an immersive projection in the darkness of the gallery. Encounters with such images are usually confined to the internet, low-resolution images limited to the size of a screen. In contrast, here the image takes on an all-encompassing quality as well as a tangible physicality, revealing the curvature of the Earth, the vivid blue curve of its atmosphere, the blackness of space beyond and the surface of clouds, earth and water below. Undeniably beautiful, the image is foiled by the means of its presentation and its production.
Like many of Schmidt’s works, High Altitude Balloon Harmless Amateur Radio Equipment makes clear the narrative of its construction and process, unexpected parallels drawn by bringing together different “realities”. This will be elaborated in a forthcoming accompanying publication made by the artist, a manual for other people detailing how to replicate the project. Device, staging and duration are integral to the contemplation of landscape and culture. Standing between the projector and screen, visitors are silhouetted against the image becoming part of the scene akin to the lone figure in Caspar David Friedrich’s painting Wanderer above the Sea of Fog (1818). High Altitude Balloon Harmless Amateur Radio Equipment suggests a new form of the sublime – one not indebted to the romantic idea of experiencing nature first-hand, but based on extending human vision by technical means. The image offers us the opportunity of experiencing unseen spaces through the process of looking; the world as contained within the picture.
The combination of settings for the artist’s work, notions of the heroic coupled with seemingly amateur quests, all are recurrent elements in his installations. Schmidt’s interest in the epic expresses the desire to go beyond the limits of knowledge and to chart other territories. Yet in his work manufactured spectacle is tempered by skepticism. Schmidt counters accepted conventions by using visible reminders of handy-man construction and theatrical devices – smoke machines, stage lights and DIY photographic equipment – while seeking to produce experiences that speak to his interest in the tension between doubt and faith. The possibility of art is critically reconsidered by reflecting on the manufactured seductions of spectacle or the romantic search for some truth as embodied within scientific expeditions.
The exhibition in Vancouver is made in collaboration with Braunschweiger Kunstverein, Germany, the two complementary exhibitions drawing together a body of new and recent work which will form part of an accompanying monograph, the first to examine Schmidt’s practice overall, scheduled for production later this year.
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
This catalogue is published on the occasion of the exhibition of Kevin Schmidt within the International Studio Programme at Künstlerhaus Bethanien, Berlin.MORE
Originally an installation and film, EDM House was commissioned by Fogo Island Arts and completed during a 2013 residency there. The film version of the work presents a cabin in the snow-covered, mountainous woods of northern BC, covered in strings of coloured lights that pulsate and flicker in rhythm with an EDM soundtrack composed by Schmidt. Like past works Fog (2004), Burning Bush (2005), Wild Signals (2007), and especially Long Beach Led Zep (2002), EDM House demonstrates Schmidt’s unique ability to balance his interest in the sublime with a sly sense of humour.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
This exhibition catalogue was published on the occasion of the group exhibition hammertown which was presented in 2002 at the Fruitmarket Gallery in Edinburgh, Scotland in association with the Contemporary Art Gallery. This catalogue includes texts by Vancouver based author Michael Turner and curator Reid Sheir and features the work of eight west coast Canadian artists: Geoffrey Farmer, Brian Jungen, Euan Macdonald, Myfanwy MacLeod, Luanne Martineau, Damien Moppett, Shannen Oksanen, and Kevin Schmidt.
This publication is out of print. A copy can be viewed at the CAG Abraham Rogatnick Library, email email@example.com if you wish to make an appointment for the library.MORE