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flesh and blood packed in crates

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flesh and blood packed in crates

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Flesh and Blood, Shary Boyle’s solo exhibition closed yesterday. It was a busy weekend with nearly 100 visitors. Today Phil Dion is fastidiously packing it up and preparing to ship the works back to Toronto. The gallery will be closed for the next two weeks. We will reopen on the  September 8, from 6-9pm with three new exhibitions To create is to relate by Corita Kent, Tale-pieces by Thomas Bewick, and Vibrantes by Federico Herrero, regular gallery hours are Wednesday to Sunday, 12-6 pm. Hope to see you soon!

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Related Exhibitions

The Contemporary Art Gallery welcomes the Feminist Land Art Retreat (FLAR) for a summer residency. FLAR was born in 2010 with a rock-concert style poster depicting mirrored images of Robert Smithson’s
Spiral Jetty, FLAR transformed this seminal work of land art into something resembling fallopian tubes, while inviting the viewer to a fantasy event. This began FLAR’s conceptual and humorous
subversion of familiar visual forms, including fashion, spa advertising, commemorative architecture, and aerial imagery. FLAR has continued appropriating commercial and art-historical
images with irony, challenging commonly held notions of how feminism is embodied and expressed.

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Residency | Feminist Land Art Retreat


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Related Exhibitions

Andrew Dadson
October 13 – December 31 2017
B.C. Binning and Alvin Balkind Galleries

 

The Contemporary Art Gallery will present the most comprehensive solo exhibition in a public gallery to date of work by Vancouver-based artist Andrew Dadson.

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Andrew Dadson


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Related Exhibitions

Andrew Dadson
July 11 to 20, 2017
Off-site: 524 West 26th Street Gallery, Chelsea, New York

By appointment only.

The Contemporary Art Gallery will present a private exhibition in New York by Vancouver-based artist, Andrew Dadson. Comprising a new commission supported by Vancouver contemporary menswear label wings+horns, the exhibition space will be transformed into a large-scale installation.

Dadson has consistently engaged with the notion of boundaries in relation to space and time in his work, primarily through investigations with materiality, process and abstraction. Through different mediums – painting, film, and photography – Dadson explores the possibility to cross the perceptual boundaries of space, both physical and natural, and is thus reflected in his work in an attempt to subvert our perception and usual ways of looking at things.

The installation will use plant forms and objects sprayed a single colour lit by intense daylight grow lamps. Each light is of a slightly different hue creating multiple shadows on the wall behind and introducing a further dimension to the overall composition. Combined with the large leafy plants, light, shadow and coloured forms produce a painting that evolves and shifts over time. As the organic matter is nurtured over the duration of the exhibition, the unifying painted colour begins to crack and splinter to reveal the fresh natural colours of the leaves beneath.

In partnership with wings+horns.

Since his first solo exhibition at the Helen Pitt Gallery, Vancouver, in 2003, Andrew Dadson has exhibited in solo and group exhibitions in Canada and internationally, in France, Germany, Italy, Belgium, Switzerland and the United States. Dadson was the 2011 recipient of The Brink Award held at the Henry Art Gallery, Seattle.

Dadson is represented by Galleria Franco Noero, Turin, Italy and David Kordansky Gallery, Los Angeles, USA.

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Off-site: Andrew Dadson


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Sikarnt Skoolisariyaporn
July 31 to September 3, 2017

Produced in partnership with the Contemporary Art Gallery, Access Gallery and Burrard Arts Foundation, Sikarnt Skoolisariyaporn, currently based between Bangkok and Düsseldorf, is the eighth and final artist to participate in Twenty-Three Days at Sea, the travelling artist residency originated by Access.

Through moving image, performance, text and installation, Skoolisariyaporn’s practice embraces perpetual complexity of space and time. She is interested in contingency of the seascape, a landscape which only reveals itself in the fourth dimension of time, in its constant shifting through wave and wind. The seascape not only suggests an alternative approach to our perception of spatiality, but to the way our formless reality operates. There is perhaps no image that better describes our neoliberal present than a mass of alienated consumer products–at once material and monetary–floating precariously in the middle of the sea. Skoolisariyaporn imagines that as sea levels rise with climate change, the ground of modern reason “floods,” and a new “superstitious liquid state” pours in to take its place.

Following her time aboard a container ship to Shanghai in Twenty-Three Days at Sea, Skoolisariyaporn will take up residence at the Burrard Marina Field House Studio, and through a number of programmed events, will explore the state of flux of the sea and transnational mode of production in relation to ‘Cargo Cult’, a cultural phenomenon practiced by indigenous peoples in Melanesia in the wake of their contact with the colonialist West. The work will be presented in an exhibition at Access Gallery opening September 8, 2017.

Sikarnt Skoolisariyaporn’s practice involves moving image, performance, text, and installation, and examines notions of human and non-human history embedded in geological spacetime: the history of mankind as remembered by the earth and its landscape. She is particularly interested in the landscape of the sea, because a “seascape” offers the potential to imagine a perpetual landscape that transcends the concept of “space” into “time.” In this way, she suggests, the landscape of the sea suggests a new way to understand and approach history and spatiality. Recent exhibitions and performances include Chongqing Changjiang Contemporary Museum, Chongqing, China; Biquini Wax, Mexico City; Deptford Lounge, London, UK; Kunstakademie Dusseldorf; Gruentaler 9, Berlin; and Five Years Project, London, UK. Skoolisariyaporn lives and works in London and Bangkok.

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Residency | Burrard Marina Field House Studio | Sikarnt Skoolisariyaporn


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Related Exhibitions

Kelly Jazvac
Ambient Advertising
Until September 10, 2017

Window spaces

Ambient Advertising (2016), installed across the CAG’s windows, is a reconfigured work by Toronto-based Kelly Jazvac. Salvaged billboard images are reframed, manipulated and cut through, seemingly in reference to a quintessential Canadian landscape, and visually envelop the gallery at street level. Taken from contemporary advertising, the imagery appeals to our collective sense of identity through reference to the romantic and awesome natural world that surrounds us while questioning the feeding of desire as driven by contemporary consumer culture.

Presented with Capture Photography Festival

Kelly Jazvac is an artist based in London, Ontario. Recent exhibitions include Rocks Stones and Dust, Art Museum at the University of Toronto; Organic Situation, Koenig and Clinton; An other land, and in the other our own, Prosjekstrom Normann’s, Norway; Human Nature, Carleton University Gallery, Ottawa (2015); Recent Landscapes, Louis B. James Gallery, New York City; Anthropophotogenic, The University of Waterloo Art Gallery (2014); PARK, Oakville Galleries; Impel With Puffs, Diaz Contemporary, Toronto; and More Than Two, The Power Plant, Toronto (2013). She is represented by Louis B. James Gallery, New York.

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Window spaces: Kelly Jazvac - Ambient Advertising


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Vikky Alexander
Model Suite [Sliding Door] (2015-17)
Until September 24, 2017

Off-site: Yaletown-Roundhouse Station, Canada Line

As a contemporary of artists such as Richard Prince, James Welling and Sherrie Levine who were active in New York in the early 1980s, Vikky Alexander is often associated with the Pictures Generation. She is best known for work that foregrounds a strong interest in the histories of architecture, design and fashion, often focusing on locations such as shopping malls, showrooms, and show apartments — sites of desire, aspirations and ideas of home. The images are often complicated through light, reflections and refractions and speak of a set of conditions and values embedded in appearances as seen through furnishings and the notional view from the window (here, a large-scale photo mural). Shown outdoors at Yaletown-Roundhouse Station, Model Suite (Sliding Door) (2005/17) interplays with its architectural surroundings; the station’s glass pavilion lends a further physical and visual layer as we see the daily activity on the street through the work itself.

Presented with Capture Photography Festival

Vikky Alexander is one of Vancouver’s most acclaimed artists. Her work has been recognized within Canada and internationally in New Zealand, Japan, Korea, Europe and in the United States. Working as a photographer, sculptor, collagist and installation artist, Alexander is a leading practitioner in the field of photo-conceptualism. Her work is at once both seductive and disruptive; she likes to situate the viewer within idealized spaces that reflect our aspirations and frames our desires within the dynamics of consumption and utopian ideals.

Alexander lives in Montreal and is represented by the Trepanier Baer Gallery in Calgary, Alberta, Wilding Cran, Los Angeles and Cooper Cole, Toronto.

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Off-site: Vikky Alexander - Model Suite (Sliding Door)


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555 Nelson Street
Vancouver, British Columbia
Canada V6B 6R5

T 00 1 604 681 2700
F 00 1 604 683 2710

Gallery Hours
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  • Closed on British Columbia statutory holidays
  • The galleries are wheelchair accessible
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