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Exhibitions

From fall 2015 to Spring 2016, CAG presents a six-month independent study residency with locally based artist, Fabiola Carranza. Considering the intertwining of art practice, community organization and public programing, Carranza is using the Burrard Marina Field House as a studio space from where to conduct her own research and to collaborate with CAG on a series of public programs. The artist’s multi-faceted practice focuses on issues that arise from the historical and cultural specificities of her source materials, be it photographs, poems or found objects, whereby she attempts to draw out humour and pathos through a combination of intuitive experimentation and study.

Using the space as a site to examine open learning and discussion, and as a means to foster her own artistic development, Carranza’s programming extends the use of the field house to the immediate members within her artistic community alongside bi-monthly studio visits with both CAG staff and other artists working with the gallery. Events have seen invitations made to a series of artists, poets and musicians, including for example, poetry workshops for visual artists led by local writer Marguerite Pigeon, and a stream of music/art events coordinated by Sydney Hermant.

Events have included:

Ceramics Workshop with Nathalee Paleonelli.
Thursday, November 26, 2015

Turkish Coffee Readings with Dilara Akay: poster commission by Derya Akay.
Saturday, November 28, 2015

Cochineal Dye Vat Workshop and Napkin Sewing. Cochineal Vat Workshop led by Sydney Hermant.
Thursday, December 17, 2015

Epic Dresses: Where Poetry and Women’s Work interweave.
Seminar with Marguerite Pigeon
Wednesday January 27, 2016

J’ai Faim, J’ai Froid (I’m Hungry, I’m Cold) – Sing for Your Supper  
Open Mic with  MC Casey Wei and special guests Monique Levesque and Nikki Never.
Organised by Sydney Hermant.
Thursday, March 3, 2016

 

 

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Burrard Marina Field House Residency: Fabiola Carranza


Scott is an interdisciplinary artist working across writing, illustration, performance and sculpture. In , he began a comic book series, Wendy, the story of a fictional young woman living in an urban centre, who aspires to global success and art stardom but whose dreams are perpetually derailed. The position of the underdog, outsider and shape shifter is central to this body of work and the influence of feminist icons such as Elle Woods in Legally Blonde or artist, punk poet, experimental novelist and filmmaker Kathy Acker lingers.

Scott’s two panel installation at Yaletown-Roundhouse Station, A Home Underground (Excerpt II) (2015) evolves from a new Wendy volume in which the eponymous character moves to Vancouver. Evoking the malaise of urban life, we see Wendy pictured moving through the city, a foil or reflection of the daily commuter passing through the station. Considering the two possible viewing positions for the work, inside the station descending the stairs or outside walking by, Scott has developed a recto-verso installation referencing the alter-ego/duality Wendy embodies, and the antagonism between mind and body. In this case, Wendy navigates Yaletown on her smart phone, juxtaposed with her inner self drilling head first into Vancouver’s sub terrain — a representation of existential frustration.

Presented in partnership with the Canada Line Public Art Program — Intransit BC.

Scott currently lives and works in Montréal. For the Images Festival 2015, Scott produced Wendy Live! where a cast of English, Japanese and Mohawk-speaking performers enacted the newest Wendy book before its 2016 North American English-language release. Alongside his comic work, Scott produces work involving printmaking and sculpture and is represented by Macaulay & Co. Fine Art, Vancouver. He recently completed a residency at the Koganecho Bazaar, Yokohama, Japan.

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Off-site: Walter K. Scott - A Home Underground (Excerpt II)


Saturday, April 9, 2016, 7pm
Off-site: Pyatt Hall at VSO School of Music, Vancouver

Ticket available at: www.picatic.com/CAGglass

The Contemporary Art Gallery presents a new performative sound work with Norwegian/US artist/musician Camille Norment in collaboration with Victoria’s Experimental Music Unit: Tina Pearson, George Tzanetakis, and Paul Walde.

Norment performs with a glass armonica, a legendary eighteenth century instrument that creates ethereal music from glass and water. Combined with EMU’s reputation for sonic investigations of relationships between the natural world, sound and music, and between notation, improvisation and attention states in music making, Norment and EMU will develop a work that resonates with local history.

Songs for Glass Island will use US visual artist Robert Smithson’s failed 1969 proposal for the Strait of Georgia, Glass Island (or Island of Broken Glass) as point of departure. Granted permission by the Canadian Government, Smithson planned encrusting Miami Islet west of Fraser Point in 100 tons of broken glass. However, as public pressure against the idea mounted from environmentalists and anti-Americanists, it was suspended by a governmental telegram. Aside from drawings, letters, and plans, the only physical artifacts which remain are studies which Smithson called “maps.” What would have been Smithson’s first “permanent” earthwork morphed via the idea’s failure into the famous Spiral Jetty made the following year.

Throughout March and April, Norment will be in residence at the University of Victoria where she will be writing and rehearsing with EMU members. Using glass in various forms as their primary instruments, they will prepare a set of inter-related works including newly developed instrumentation, that imagine the possible sounds, stories, textures and ecologies of Smithson’s fabled island. Reflecting the themes in structure and content, sound will weave viscerally through this glass world, the project residing in realistic and fantasy scenarios provoked by Smithson’s proposal: glass as a material; glass in acoustic and marine ecology; inevitable mounds of post-catastrophe glass shards; and metaphors associated with glass, such as glass ceilings, broken barriers, reflection, transparency and invisibility.

Through the creative process, the juxtaposition of the practices of sound and experimental music performance in glass will create a visually stunning and sonically captivating audiovisual concert-length program that will debut in progress at the Art Gallery of Greater Victoria and be followed by its premiere performance in Vancouver presented by CAG at Pyatt Hall. Recordings of these works and performances will be subject to a subsequent audio publication.
CAG will also partner later this year with Norment and the Montreal Biennale.

Camille Norment is a multidisciplinary American artist living in Oslo, Norway. Her work has been the subject of numerous international exhibitions and performances including the Museum of Modern Art, New York (2013) and a commissioned artwork and performance for the Museum of Contemporary Art, Oslo (2012). In 2015 she presented Rapture, a site-specific, sculptural and sonic installation in the Nordic Pavilion for the Venice Biennale. She regularly performs and records with the Camille Norment Trio in which she plays the glass armonica.

EMU is a sound ensemble of LaSaM Music from Victoria, British Columbia featuring performer/composers Tina Pearson, George Tzanetakis, Paul Walde and producer Kirk McNally. During the past four years EMU has developed a reputation for sonic investigations of relationships between the natural world, sound and music, and between notation, improvisation and attention states in music making.

Songs for Glass Island is presented in partnership with LaSaM Music, Victoria and is supported by the Office for Contemporary Art Norway through its program for International Support, The Canada Council for the Arts, The University of Victoria through its Distinguished Women Scholars Fund, the Orion Fund in Fine Arts and the Department of Visual Arts.

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Camille Norment and Experimental Music Unit - Songs for Glass Island


Hazel Meyer
Muscle Panic
Sunday, January 31, 2016; 2pm
B.C. Binning Gallery

Hazel Meyer’s projects explore seemingly disparate yet overlapping preoccupations — intestines and athletics, feminism and the absurd, anxiety and textiles — using scale, language, repetition, gentle confrontation and ecstatic immersion. Recent projects include solo exhibitions at MacLaren Art Centre, Barrie and Art Metropole, Toronto; group exhibitions at Doris McCarthy Gallery, Scarborough and Trifecta Gallery, Las Vegas; publications with Little Joe (UK) and Idea Exchange, Cambridge and residencies at Embassy of Foreign Artists, Geneva and Scrap Metal Gallery, Toronto.

Hazel Meyer’s mutable body of work, Muscle Panic, considers the performance of the athletic. Evoking the imagery of momentous sports history, the bodily gestures and actions of a drill or warmup and the aesthetics of the gymnasium, Meyer instigates an arena of sweat and queer desire. Multiple iterations of Muscle Panic have taken the project from a rogue basketball gym built in an abandoned barn to a clandestine locker room to a warehouse-like gymnastics studio. Simultaneously an installation and a performance, Muscle Panic transforms the banal and austere white cube into a hot physically charged site for emotional and physical exchange. For CAG, Meyer has developed an installation of imagery and objects evoking the potentially queer sensibilities of the athletic. The installation will become the set for an afternoon event in which performers animate the set through a series of drills exploring endurance as gendered phenomena within sport.

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Hazel Meyer - Muscle Panic


Cindy Mochizuki
Paper

Saturday, January 30 and Sunday, January 31, 2016; 10am and 3:30pm daily

Off-site: Embark from Yaletown Ferry Dock, Quayside Marina, 1088 Marinaside Crescent and disembark at Burrard Marina Field House, 1655 Whyte Avenue

www.cagpaper.eventzilla.net

Paper introduces us to K, a woman who runs a small, family restaurant off a mysterious island along the shores of Japan. One evening, just before closing, a man appears at the door for a meal. What follows is a series of strange events that allows K to peer into a portal created by a tiny hole in her paper menu. A second chapter of Rock, Paper, Scissor an ongoing trilogy of multi-media experiences set in the time frame of 1900–2100, Paper bridges Canada and Japan through migration, water and the natural resources of coal, lumber and iron. The original Japanese version of Paper was completed in 2013 through AIR 475 artist-in-residence program in Yonago, Tottori, Japan.

For the CAG, Mochizuki has produced the English version of the audio narrative experienced on a boat ride across False Creek. The journey will culminate in a traditional chagayu (tea porridge that integrates salmon and rice) often consumed by Japanese Canadian fishermen on lengthy fishing trips out at sea.

Cindy Mochizuki creates multi-media installation, performance, animation, drawings and interdisciplinary collaborations that integrate historic ephemera and stories present within public and private archives. Interested in the methodologies of memory work and experimental narratives, her projects invoke a timeless space of both fiction and documentary. Recent exhibitions and projects include Shako Club, grunt gallery (2015), AIR 475, Yonago, Japan (2014), Fictive Communities Asia, Koganecho Bazaar, Koganecho, Japan (2014), and On the Subject of Ghosts, Hamilton Artists Inc. (2013).

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Cindy Mochizuki - Paper


Margaret Dragu
The Library Project: Interdisciplinarity as the Catalyst of Knowledge

Saturday, January 30, 2016; 11am–2pm
B.C. Binning Gallery and Reading Room

The Library Project is an ongoing series of participatory events exploring the body as a source and site of knowledge. Interrogating the strategies of contemporary academic and corporate forms of group knowledge exchange and skill building such as the TED Talk, conference, workshop and lecture, each performance playfully explores personal history, archive and pedagogy. Inspired by the Pakistani activist for female education and the youngest-ever Nobel Prize laureate, Malala Yousafzai’s

call to action at the UN, “Let us pick up our books and our pens. They are our most powerful weapons. One child, one teacher, one book, and one pen can change the world. Education is the only solution.” The Library Project seeks to develop a space and platform for knowledge sharing through performative acts. For CAG, Dragu will host a daytime intensive workshop considering the idea of trans-interdisciplinarity. Alongside this in our reading room we present the video archive of the five previous iterations at the Bickersteth Library, Hart House, University of Toronto; Richmond Public Library; Kamloops Art Gallery; Your Kontinent: Richmond International Film & Media Arts Festival and Month of Performance Art, Berlin.

Margaret Dragu works in video, installation, web-based/book-publication and performance. Spanning relational, durational, interventionist and community-based practices, her performances have been presented in galleries, museums, theatres, nightclubs, libraries, universities and sitespecific venues including parks, botanical

gardens, and public parade routes across Canada, the United States and Europe. An innovator and pioneer in Canadian art, Dragu was the recipient of the Governor General’s Award for Visual and Media Arts in 2012.

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Margaret Dragu - The Library Project: Interdisciplinarity as the Catalyst of Knowledge


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