My name is Rachel Buchholtzer and I’m thrilled to be joining the CAG team as Marketing and Event Assistant this summer, made possible through the Department of Canadian Heritage, Young Canada Works program.
My background is in art history – I’m currently finishing my BA in art history at UBC, with a focus on photography and architecture. I’m coming to the CAG after a year at the Belkin Gallery, as well as marketing work at Ballet BC and the Dr. Sun Yat-Sen Garden. I also created and work collaboratively on an interview collective called Searching For (http://searchingforcollective.com/). Merging art and marketing is of great interest to me -I’m fascinated by how artists work, and understanding more of the intricacies of the creative process (from studio to finished work), but also by how this content is communicated to an audience.
I’m very excited to be part of planning this year’s gala and auction, and to be working with such an impressive group of artists and staff. I will be posting throughout the process – expect updates, interviews, and images.
Night School is a program for new collectors and contemporary art enthusiasts, an introductory contemporary art survey that is intentionally accessible, intelligent and engaging. Through a curriculum built from the history of exhibitions at the CAG, participants will learn about common themes in recent visual arts and ways in which they are interpreted and discussed. Lectures by instructor Lee Plested will introduce work by important artists from Vancouver and around the world. A suggested reading list will complement the discussion program. Along with the lectures, the participants will also engage in three studio visits with internationally recognized local artists including: Vikky Alexander, Gareth Moore, Elizabeth McIntosh, and tours of exhibitions by Lawrence Paul Yuxweluptun – Unceded Territories at the Museum of Anthropology and upcoming exhibition, MashUp: The Birth of Modern Culture at the Vancouver Art Gallery.
Wednesday March 16, 7:30-9:00 pm
Lecture 1 – The French Salon
Sunday March 20, 3:30-5:00 pm
Studio Visit 1 with Vikky Alexander
Wednesday March 23, 7:30-9:00 pm
Lecture 2 – Matter Is Meaning
March 23 – April 2
Easter Reading Week Break (no session)
Sunday April 3, 3:00-4:00 pm
Exhibition Visit – MashUp: The Birth of Modern Culture
Vancouver Art Gallery
Sunday April 10, 3:30-5:00 pm
Studio Visit 2 with Elizabeth McIntosh
Wednesday April 13, 7:30-9:00 pm
Lecture 3 – Absorbing Abstractions
Sunday April 24, 3:30-5:00 pm
Studio Visit 3 with Gareth Moore
Wednesday April 27, 7:30-9:00 pm
Lecture 4 – Surrealism and Other Truths
Friday May 6, 6:00-7:00 pm
Exhibition preview for Jochen Lempert
Sunday May 15, 12:30
Curator’s Tour – Lawrence Paul Yuxweluptun
Museum of Anthropology
Cost: $375, includes a complimentary CAG membership.
Payments can also be made by monthly installments.
Space is limited – 20 seats – filling up fast!
Bo Ha, Chris Mills, Diego Romero, Elizabeth Ellis, Megan Low, Natalie Murao, Robert Psutka, Sophia Wolfe
Re-visions brought together eight emerging artists from diverse backgrounds in visual, performing and literary arts. Unique perspectives combined into a larger collaborative multi-screen piece, the shared objective being to highlight the dynamism inherent in the processes of rapid (re)building as Vancouver evolves, remembering a recent past while gesturing towards an imagined future.
Read on for a report by emerging artist and Re-visions participant Elizabeth Ellis:
“In November 2014, a group of artists met at the CAG to begin an intensive learning program to produce a new media installation for TELUS Garden with the guidance of mentors Josh Hite, Brian Lye, and Jem Noble.
We spent a couple of months researching through studio and gallery visits, workshops, and artist talks. After generating some ideas, we set out as a group and began experimenting with different documentation tactics throughout the city. We walked through urban spaces and improvised along the way. We tried same-space shooting, giving each other instructions, and exploring methods rooted in psychogeography. We continually revised our ideas but were overwhelmed with the amount that we had, as a group of eight. It felt like there were unlimited directions to pursue.
We also had lectures given by artists in the city and during a final talk at the CAG, artist Laiwan reminded us to deeply listen: to be in-tune with the phenomena that’s personally interesting, and to expand our visual and emotional vocabulary—linking metaphors and creating language. This advice motivated the group to share what we were each invested in. Artists with dance and performance backgrounds approached the project focusing on movement, through the choreography of the camera body and the collection of images. Others considered integrating city archives and found footage, while some explored concepts around urban space and telecommunications. The challenge then became how to weave seemingly disparate ideas together into a collective piece. How did we experience the city space as individuals and yet also as a collective?
As we looked through each contribution in the editing stage, patterns emerged and a new language started to collectively form. We realized that what we initially thought were disconnected ideas actually echoed our diverse experiences of the city. Our process and works entangled with one another, and for me, this was one of the most rewarding aspects about the collaboration.
Thanks to our mentors, Cineworks, and the Contemporary Art Gallery for your generosity of time, dialogue, and support throughout this valuable learning opportunity.”
Weekend events at CAG as part of ‘For a New Accessibility’ Nov 20 to 22, 2015
When I Walk
Film Screening & Tele-talk with Director: Jason DaSilva
Saturday, November 21: 7-9pm
In 2006, 25-year-old Jason DaSilva was on vacation at the beach with family when, suddenly, he fell down. He couldn’t get back up. His legs had stopped working; his disease could no longer be ignored. Just a few months earlier doctors had told him that he had multiple sclerosis, which could lead to loss of vision and muscle control, as well as a myriad of other complications. Jason tried exercise to help cope, but the problem only worsened. After his dispiriting fall on the beach, he turned to his Mom, who reminded him that, despite his disease, he was still a fortunate kid who had the opportunity to pursue the things he loved most: art and filmmaking. Jason picked up the camera, turned it on his declining body, and set out on a worldwide journey in search of healing, self-discovery, and love.
An emotional documentary filled with unexpected moments of humor and joy, WHEN I WALK is a life-affirming film driven by a young man’s determination to survive—and to make sense of a devastating disease through the art of cinema.
Read more about the film:MORE
Panel Discussion: Sustenance Festival
With Randy Lee Cutler, Holly Schmidt, Gaye Chan, Derya Akay and Keg de Souza
Saturday, October 17, 3pm
In conjunction with the Sustenance Festival: a city-wide festival with local food-focused workshops, exhibitions and talks, CAG has organized a panel examining artistic practices that consider food security, sovereignty and knowledge sharing. www.sustenancefestival.caMORE
A CAG video featuring Keg de Souza, Burrard Marina Field House artist-in-residence, she discusses her projects made during her residency earlier this year. Watch out for Keg’s return for a follow up project in July.
Keg de Souza
July 20 to August 3, 2015
Australian artist de Souza continues work towards a series of public events in 2016 exploring food culture as a metaphor for urban displacement. In April, de Souza’s handmade inflatable dome became a temporary space at the Burrard Marina Field House for a public picnic engaging Canadian colonial narratives via a consideration of national food traditions. Meeting with local chefs, food activists and residents de Souza prepared a truly Canadian feast as a source for an afternoon of unfolding dialogue that the artist mapped directly onto the inflatable’s flooring. A starting point for the discussion was the ephemerality of the event itself — the only remnant left behind an intertwining of disconnected dialogues, mapped together with dirty dishes, crumbs and more questions posed. After the meal was eaten the structure deflated, the temporary community dispersed. De Souza will be hosting a second event in July, continuing to use food as an avenue to discuss local spatial politics.
Jeremy Shaw: I think the way that I am amplifying these manipulative possibilities is quite pronounced in the work – my use of devices and clichés is very apparent. This isn’t to say that that makes them obvious to the viewer, as they’re proven manipulative by design, so may be working in a way that people don’t recognize immediately. If I was truly creating work that’s in keeping with this potential, they may never be picked up on, but I don’t mind either way. I have always loved walking away from an art work or film with the feeling that I’ve been had a little bit – like I’ve been tricked or lead some way or other unknowingly and possibly even against my own usual judgement.
In what way do you think this understanding, or awareness, might affect the reading of the themes within each film?
This use of techniques are an amplification of the things I love about cinema, music video, documentary, etc – so I see them as a way to push the themes even harder, but to do it in a way that’s moving, alluring, entertaining, repelling, whatever – it’s amplified. I tend to celebrate things in my works – even things I may not fully agree with, but that I find a beauty in the core of. I often ride a line between this celebration and critique via this use cinematic device, but essentially, I leave things nebulous. I don’t attempt to force a certain reading – only possibilities.MORE
This is the second installment in a series of three parts of a Q&A that Patrick O’Neill conducted with Jeremy Shaw. Part 1 can be found here.
Patrick O’Neill: The soundtrack seems to occupy a pivotal role in both films in this exhibition. To what extent has your artistic practice been informed by your experiences with Circlesquare and vice versa?
Jeremy Shaw: As far as my skill sets go, [sound design] has been a massive influence. I spent countless hours/days/months working on Circlesquare music – experimenting with production, writing and recording, learning programs, samplers, instruments, etc. All of this is all very useful in technical ways with how I am working now. I used to really try and keep these two practices separate, but since disbanding Circlesquare I’ve felt a real freedom to use music in a much more present way in my art works. I brainstorm in both a visual and musical way – rarely do I think of one without the other.
PO: You seem to be quite conscious of the power of technology to inscribe or convey belief structures to the viewers or users of those technologies. Is this idea simply of personal interest, or is it something you try to explicitly acknowledge in your works?
JS: It’s a device I use as a way to lure a viewer into something via an assumed awareness. Their personal understanding of/relationship to the technology puts them somewhat at my disposal to subvert that familiarity; to propose something new via this comfort. It is definitely acknowledged in the works – for example, in Variation FQ, the first 3 minutes are mono sound and the antiquated 16mm image authentically mimics a 1960’s aesthetic. If one was not to know of contemporary voguing, they could believe this was an archival work. But at 3 minutes in when Leiomy takes her hair out, the audio switches dramatically to surround sound and an MP3 quality digital sound is introduced while she shakes her head in a way that would be difficult to believe was shot anytime before the late 1980’s. So here the projector and media and music all come into question as no longer endorsing the initial set-up. I like the idea of collapsing time this way.MORE