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Exhibitions

CAG Window Spaces and off-site at Yaletown-Roundhouse Station, Canada Line and Fieldhouse Studio Residency Program.

In partnership with the City of Vancouver Fieldhouse Studio Residency Program, the Contemporary Art Gallery presents Canadian artist Raymond Boisjoly as our inaugural resident artist. For six months he will occupy the Burrard Marina Field House, using it as a studio and a place for community engagement, coinciding with the launch of As It Comes, two new interrelated public works. The title appears at the Yaletown-Roundhouse Station as a discrete piece, humorously foreboding, and more comic than terrifying, presented in brightly coloured vinyl like a credit from a B-list horror film. Linked to the text in the gallery windows, Boisjoly removes all suggestions of the past, not to deny what has become history, but with the intent to restore belief systems that are still intact.

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Raymond Boisjoly - As It Comes - Yaletown-Roundhouse Station


The Contemporary Art Gallery presents the first solo institutional exhibition in North America for Romanian artist Ciprian Muresan.

Artistic and literary works are the starting point for Muresan who appropriates them in a reflective project that intersects with the recent history of Romania and other Eastern European countries
and, more generally, ponders the realities of the contemporary world. Included in the show are two newly commissioned pieces by the Contemporary Art Gallery with our partners FRAC Champagne-Ardenne and Centre d’Art Contemporain, Geneva: an installation, Recycled Playground, which gives the exhibition its title and overarching tone, and a companion video Protesting Against Myself. A selection of other significant works is also presented. Juggling humour and critique, the artist highlights the structures and processes of all forms of power.

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Ciprian Muresan - Recycled Playground


Based on ideas suggested in a visit to the Dr. Sun Yat-Sen Classical Chinese garden in Vancouver, for their first commissioned performance in Canada, French artists Hervé and Maillet brought a humble object into the gallery — a gongshi — a form redolent of or somehow manifest as a ‘scholar’s stone’, a repository of information and knowledge. Traditionally gongshi are not very big, you can transport them easily. They are not made by man, but by natural elements, yet they can appear artificial, and at the same time sum up the passing of time and the actions of nature. They could be considered to resemble the wandering of the mind.

The performance was generated through an intensive few days of rehearsals leading up to the actual event with Hervé and Maillet working closely with a team of CAG volunteers and local participants who performed and assisted in presenting the work to the visitors and audience.

Generously supported by Institut Français and the Consulat général de France à Vancouve, and presented with PuSh International Performing Arts Festival.

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Louise Hervé and Chloé Maillet - Scholar's Rock


What stories simmer just beneath the surface of the public spaces that we dwell in? What characters are the strangers we
brush shoulders with? What characters are we? Argentinean artist Mariano Pensotti’s ingeniously voyeuristic work Sometimes I think, I can see you places writers in public spaces and uses them as literary surveillance cameras. Over the three weekends of the 2013 PuSh Festival, a group of Vancouver writers including Michael Turner, Lisa C. Ravensbergen, Adrienne Wong, Kay Slater, Charles Demers, Anakana Schofield, OZ and Caitlin Chaisson, were stationed in the lobby of the Vancouver Art Gallery and the atrium of the Vancouver Public Library Central Branch equipped with laptops connected to projection screens. Their directive? To write a live account of whatever it is they saw — or imagine they saw — in these urban surroundings. Through the eyes and minds of these various writers, speculations unfolded, narratives were woven, and the anonymous individuals around us became implicated in a series of beautifully spontaneous fictions.

Mariano Pensotti is known internationally as one of the foremost directors in contemporary theatre. His work El pasado es un animal grotesco was presented on a revolving stage in the Fei and Milton Wong Experimental Theatre at PuSh, and his work La Marea presented outdoors in the streets of Gastown at PuSh 2011.

Presented with PuSh International Performing Arts Festival, The Playwrights Theatre Centre and Vancouver Art Gallery, and supported by Vancouver Public Library.

Produced with Ciudades Paralelas, a co-production between HAU Berlin and Schauspielhaus Zürich, in collaboration with Goethe-Institute Warschau and Teatr Nowy.

January 18-20, January 25-27 and February 1-3, 12-4 pm.

Located at the Vancouver Public Library, Central Branch Atrium and Vancouver Art Gallery, Lobby.

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Mariano Pensotti - Sometimes I think, I can see you


The screenings of work by Smith and Robakowski brought together two filmmakers who interrogate the language and mechanics of film itself. They share an interest in the world unfolding around them and in front of the camera, examining occasions and incidents with a humour which undercuts the rigorous nature of their work. Both reveal the narrative potential within the everyday while simultaneously making us aware of the actual and constructed nature of the images we are viewing.

British filmmaker Smith’s work is associated with ‘structural film’, an experimental and analytical approach focused on the illusionary nature of the media itself, specifically looking at its ‘material’ qualities such as the projected light, the film strip and the projection apparatus. The series of films shown here from the 1970œs and 1980œs including his iconic The Girl Chewing Gum (œ1975), demonstrate how Smith expands on the concerns of structuralist practice through new means, including the use of narrative structure, the relationship between sound and image, humour and a close engagement with popular culture.

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John Smith - Shorts


The screenings of work by Smith and Robakowski brought together two filmmakers who interrogate the language and mechanics of film itself. They share an interest in the world unfolding around them and in front of the camera, examining occasions and incidents with a humour which undercuts the rigorous nature of their work. Both reveal the narrative potential within the everyday while simultaneously making us aware of the actual and constructed nature of the images we are viewing.

Józef Robakowski is a pioneer of independent Polish film. From the early 1970œs he interrogated the language, material and mechanics of film, combined with a long-standing interest in conceptualist avant-garde traditions filtered through an insistence on authenticity and personal identity. Presented were a series of pieces produced between 1970 and 2009œ including From My Window, 1978 ˆŠŸ‰– 1999ˆŠŠŠ (2000) shot from Robakowski’s apartment. By filming the world around him and narrating everyday events in his own, often wryly humorous voice, he deployed a kind of personal resistance to the political situation imposed upon him.

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Józef Robakowski - My Own Cinema


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