Terada created a catalogue for his exhibition, which extends the artist’s elaboration of his practice as an investigation into the mechanism of exhibition architecture and artifice. Terada’s work for this show used the exhibition as medium, and employed promotional and didactic material—things that might normally be thought of as ancillary to the art itself—as raw material. In Catalogue, Terada occupied and exaggerated the mandate of a public institution by making public patronage the content and means of the artwork. In the Contemporary Art Gallery’s exhibition space as well as within its street front window vitrines, vinyl signage acknowledged the support of those who contributed to the project. The names and company logos (or both) comprised the visual component, the ‘art’ as it were, of the gallery’s display.
Another, principal component took the form of an accompanying exhibition publication. Rather than assume an explanatory or documentary role to work displayed in the gallery, the production of this catalogue became an artwork. The catalogue looked and functioned like any other publication would within the typical institutional frame of an exhibition. But by highlighting the patronage of those who collaborated with the artist in support of the show, the catalogue aimed to re-align conventions which presuppose such contextualizing and legitimating vehicles as supplementary. In so doing Terada raised questions about the relationships between artist, institution and patron.
This publication accompanies the exhibition Catalogue by Ron Terada, curated by Reid Shier and presented at the Contemporary Art Gallery, Vancouver, November 20, 2003 to January 3, 2004. The publication includes texts by Michael Darling, Jens Hoffmann, Reid Shier and Kelly Wood, design and drawings by Julian Gosper.MORE