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Exhibitions

Sikarnt Skoolisariyaporn
July 31 to September 10, 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


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


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)


Gordon Bennett
Be Polite
June 30 to September 24, 2017
Alvin Balkind Gallery and Events Room

The Contemporary Art Gallery is pleased to present an exhibition of largely unseen works on paper by one of Australia’s most visionary and critical artists, Gordon Bennett (1955–2014).

Working closely with the Estate of Gordon Bennett and IMA Brisbane the show will comprise a selection of works on paper including drawing, painting, watercolour, poetry, and essays from the early 1990s through to the early 2000s. Though rarely seen in exhibition contexts, Bennett’s drawing and script form the foundation of his practice. Paper is the site where imagery, words and ideas often found their first expression before being combined into the large-scale conceptual paintings for which Bennett is known. Despite their relatively small scale, works in Be Polite embrace rich layers of Western and Australian Indigenous art history and contemporary politics, a direction Bennett played a leading role in developing throughout the 1980s and continued to explore in his successful career. As such the shared colonial histories with Canada and in particular the plight of local First Nations are set in dialogue across continents. Issues, events and histories are given compelling voice in these provocative and often disturbing images.

Accompanying the exhibition is a publication featuring contributions by Helen Hughes, Julie Nagam and Ian McLean is published with Sternberg Press.

First presented at IMA, Brisbane and subsequently at Perth Institute of Contemporary Arts in 2016, the exhibition will evolve and be reconfigured with a new selection of works at the Contemporary Art Gallery in Vancouver. This version will then travel to McMaster Museum of Art, Hamilton in 2018.

Be Polite is supported by the Queensland Government through Arts Queensland, Australia Council for the Arts, Ministry of Communications and the Arts through Visions of Australia, The Estate of Gordon Bennett, Milani Gallery, and Sutton Gallery.

Bennett has been the subject of major solo presentations and retrospectives at Ikon Gallery, Birmingham, (touring, Europe), 1999–2000, Griffith University, Brisbane, (touring, Australia), 2004–2005, and the National Gallery of Victoria, Melbourne, (touring, Australia), 2007–2009. International recognition and attention for Bennett’s work has been growing with his inclusion in the acclaimed dOCUMENTA (13), in Kassel in 2012, and in the 8th Berlin Biennale in 2014.

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Gordon Bennett - Be Polite


Levine Flexhaug
A Sublime Vernacular: The Landscape Paintings
June 30 to September 24, 2017
B.C. Binning Gallery

A Sublime Vernacular: The Landscape Paintings of Levine Flexhaug offers the first overview of the extraordinary career of Levine Flexhaug (1918 – 1974), born in the Treelon area near Climax, Saskatchewan. It brings together approximately 450 of the artist’s paintings as well as several of his mural-sized works. An itinerant painter, he sold thousands of variations of essentially the same landscape painting in national parks, resorts, department stores and bars across western Canada from the late 1930s through the early 1960s. Whatever its variation, a Flexhaug image represents a Western icon, a silent unspoiled Eden that encapsulates the conventions of sublime landscape painting in a kind of painter’s shorthand. For the Contemporary Art Gallery it continues a strand in our programming where we present work by artists who for a variety of reasons, operated outside of the strict mainstream of the art world.

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Levine Flexhaug - A Sublime Vernacular: The Landscape Paintings


Derya Akay
Manti, Börek, Baklava
Burrard Marina Field House Residency
Until April 2017

The Contemporary Art Gallery welcomes Vancouver-based artist Derya Akay as the Burrard Marina Field House artist-in-residence this spring.

Akay is collaborating with women elders from a range of cultural backgrounds to explore and share local and diasporic culinary traditions. This convivial preparing and partaking of food is a gateway to oral history, which Akay understands as both storytelling and the sensations and memories summoned through communal eating.

“For my residency, I have developed the project working with five elder women who will work with me to give workshops to ten to fifteen people, as a social exercise that revolves around food, time and the labour of kitchen” – Derya Akay

Over the course of March, April and May, Derya Akay will co-host a series of workshops and meals where the public is invited to gather for cooking and conversation with the women elders.

Image: Derya Akay and women elders cook at the Burrard Marina Field House. Photograph Michelle Martin.

Upcoming events:

Saturday, March 18, 12-3pm, free
Cooking with Maria Dyulgerova and her granddaughter Biliana Velkova

AT: Burrard Marina Field House, 1655 Whyte Avenue, Vancouver.
Tickets and information (currently a wait list)

Sunday, April 2, 5-8pm, $40 includes full meal and workshop.
Shabbat Dinner and Fresh Challah presented in partnership with The Jewish Museum and Archives of BC. 

Dinner will be prepared by artist Derya Akay, Sara Ciacci, Leonor Etkin, Claire Hammer and Debbie Kafka.
AT: The Jewish Museum and Archives of BC, 6184 Ash Street (2nd floor), Vancouver.
Tickets and information

More events to be announced in April and May, please check www.contemporaryartgallery.ca for details.

Derya Akay (b, 1988, Turkey) is an artist living in Vancouver.  He received the 2016 Portfolio Prize Emerging Artist Award in Vancouver. Recent solo exhibitions include with bread, Campbell River Art Gallery, 2017; Pumice, Del Vaz Projects, Los Angeles, California, 2017; Painting with Light, Kunstverein Toronto, 2015; Breakfast, Lunch, Dinner & Supper, Centre A, Vancouver, 2014. Group exhibitions include Aga Khan Museum, Toronto, 2017; Unit 17, Vancouver, 2017; Ambivalent Pleasures, Vancouver Art Gallery, 2016; The Gardener Museum, Toronto, 2015; Geometry of Knowing Part I, Simon Fraser University Gallery, Burnaby, 2015.

About the Burrard Marina Field House
Throughout 2017 CAG is hosting a series of artists-in-residence, each working toward participatory projects to be realized throughout 2017–2019. The Field House Studio is an off-site artist residency space and community hub organized by CAG. This program moves beyond conventional exhibition making, echoing the founding origins of the gallery where artists were offered support toward the production of new work while reaching out to communities and offering new ways for individuals to encounter, participate and connect with art and artists.

The Burrard Marina Field House Studio Residency Program is generously supported by Vancouver Park Board and the City of Vancouver, along with many private and individual donors. Please visit our website for a full list of supporters. For further details about the program, all forthcoming residencies and associated events visit our website at www.contemporaryartgallery.ca
and the Field House blog at www.burrardmarinafieldhouse.blog

For 2016–2019 we acknowledge the generous support of the Burrard Marina Field House Studio Residency Program by the Vancouver Foundation.

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Burrard Marina Field House Studio - Derya Akay: Mantı, Börek, Baklava


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