Tag Archives: exhibitions

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Unsettling Colonial Gender Boundaries

Third year ECU Visual Arts student Lacie Kanerahtahsóhon Burning will be co-curating Unsettling Colonial Gender Boundaries with June Scudeler for Queer Arts Festival in partnership with Vancouver Indigenous Media Arts Festival.

Unsettling Colonial Gender Boundaries is the media art component of the festival that will feature commissioned works by Thirza Cuthand (ECU alumna) and Chandra Melting Tallow, as well as past work by Kent Monkman and Raven Davis.

After the show, Lindsay Nixon, Indigenous Editor-at-large for Canadian Art will moderate a panel discussion.

Unsettling Colonial Gender Boundaries
June 23 | 7:00pm | Roundhouse
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Kwèykw`áystway Visual Arts Exhibition

The 2017 Talking Stick Festival theme Kwèykw`áystway serves as inspiration for finding a wide variety of works by a number of artists whose visual practice communicates across media, Nations and generations.

Featuring a collection of artworks from 11 multidisciplinary artists of Indigenous ancestry, the exhibition Kwèykw`áystway: Speaking With One Another attempts to create generative spaces for contemplation and conversation using the variety of expression found in Indigenous art today. The Roundhouse Community Centre serves as the meeting place for you, the audience, to witness some of the voices belonging to the Indigenous arts community.

This exhibition includes a number of artists who come from varying areas of British Columbia or reside here. It seems only fitting to use the festival theme as the title for this show because it is this place – the unceded territory of the Coast Salish Nations – that brings us together today in celebration of art and culture. By using a language belonging to this region we recognize the traditional territory and deepen our relationship to the land around us.

Includes Emily Carr alumni and students:
Bracken Hanuse Corlett, Richard Heikkila-Sawan, Edwin Neel,
Levi Nelson, and Michelle Sound.

Opening & Reception
February 15th, 2017
7:00 PM

Exhibition
February 16-25, 2017
All Day

LOCATION: Roundhouse Exhibition Hall
(181 Roundhouse Mews, Vancouver, BC V6Z 2W3

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Vancouver Special: Ambivalent Pleasures

Vancouver Special: Ambivalent Pleasures
December 3, 2016 to April 17, 2017

The Vancouver Art Gallery is pleased to launch Vancouver Special, a triennial exhibition surveying contemporary art in Vancouver. Co-curated by Daina Augaitis and Jesse McKee, Ambivalent Pleasures, the first iteration within this series, assesses the arts activity and discourse in the city over the last five years. Presenting works by forty artists, the exhibition encompasses a range of approaches and reinvigorated explorations of surrealism, abstraction, atemporality and conceptual practices.

Artists:
Derya Akay | Maya Beaudry | Raymond Boisjoly | Eli Bornowsky | Rebecca Brewer | Colleen Brown | Matt Browning | Mark Delong | Kim Dorland | Barry DoupÉ | Michael Drebert | Julia Feyrer | Jeneen Frei Njootli | Tamara Henderson | Colleen Heslin | Julian Hou | Allison Hrabluik | Gareth James | Garry Neill Kennedy | Tiziana La Melia | Khan Lee | Arvo Leo | Lyse Lemieux | Glenn Lewis | Anne Low | Elizabeth McIntosh | Jordan Milner | Antoni Oko | Ryan Peter | Sylvain Sailly | Rachelle Sawatsky | Walter Scott | Krista Belle Stewart | Angela Teng | Mina Totino | Ron Tran | Tristan Unrau | Charlene Vickers | Brent Wadden | Alison Yip

Cover Image:Accumulation of Moments Spent Underwater With the Sun and Moon by Charlene Vickers is one of the works in Vancouver Special: Ambivalent Pleasures. Trevor Mills, Vancouver Art Gallery

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We Come to Witness: Sonny Assu in Dialogue with Emily Carr

We Come to Witness: Sonny Assu in Dialogue with Emily Carr
December 3, 2016 to April 23, 2017

Artist’s Tour: Sonny Assu
We Come to Witness: Sonny Assu in Dialogue with Emily Carr
Saturday December 3, 1pm & 3pm
In the Gallery, 4th floor

Join interdisciplinary artist Sonny Assu for a tour of his exhibition In Dialogue with Emily Carr: Sonny Assu. Challenging the colonial gaze, Assu merges Indigenous
iconography with a pop art sensibility to intervene into the work of Modernist painter Emily Car and her representations of the landscape and First Nations people. Assu will discuss select sculptural works, his ongoing series Interventions on the
Imaginary, which includes digital tags based on a selection of Carr paintings from the Vancouver Art Gallery’s collection and a new collaboration with ceramic artist
Brendan Tang.

Free for Members or with Gallery Admission.
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Sonny Assu
Spaced Invaders, 2014
digital intervention on an Emily Carr Painting (Heina, 1928)
Courtesy of the Artist

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Boarder X

Boarder X
November 19, 2016 to April 23, 2017
Winnipeg Art Gallery

Boarder X features new work by Indigenous artists that use snowboarding, skateboarding, and surfing to demonstrate knowledge and relationships to the land. The artwork reflects cultural, political, environmental, and social perspectives related to the landscapes and territories we occupy. These boarding lifestyles share synergies with Indigeneity, connected by an appreciation for the land and water. The exhibit reveals how culture, art, and board intersect. In this context, board culture works to examine contested spaces, political borders, hybrid identities, and traditional territories.

Artists: Jordan Bennett, Roger Crait, Steven Davies, Mark Igloliorte, Mason Mashon, Meghann O’Brien, and Les Ramsay

Curated by Jaimie Isaac, WAG Curatorial Resident of Indigenous & Contemporary Art

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Screens and Thresholds

October 7 – December 4, 2016
Screens and Thresholds
Curated by Raymond Boisjoly

Friday, October 7, 7 PM:  Introduction with Raymond Boisjoly, Tricia Livingston, and Krista Belle Stewart, followed by opening reception

Thursday, October 13, 8 PM: Sound performance by Postcommodity

“Screens and Thresholds” considers the impact of mediation on our understanding of history and experience. Diverse works in photography, video, and installation are brought together to examine the anxieties and possibilities in visualizing cultural knowledge—from the limits of scientific objectivity, to the ways knowledge is transferred from one person to another, to the persistence of certain practices in changing circumstances. The exhibition highlights the processes of transformation, not simply their results; in this way, the works may be framed as “medial,” situated somewhere between a beginning and an end. “Screens and Thresholds” features the work of Scott Benesiinaabandan, Tricia Livingston, Mike MacDonald, Karthik Pandian, Krista Belle Stewart, and the art collective Postcommodity.

Raymond Boisjoly has exhibited widely across Canada and internationally. He received the 2016 VIVA Award and was also shortlisted for this year’s Sobey Art Prize. He is an Assistant Professor at Emily Carr University of Art and Design.

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Karthik Pandian, Oversight, (2011)

Cover Image, Scott Benesiinaabandan: little resistances: marylezin, 2015, digital media

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Raymond Boisjoly Exhibition

Raymond Boisjoly
Catriona Jeffries
16 September – 29 October, 2016
Opening reception: Thursday, 15 September, 7-9pm

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Matter out of place and out of time. Raymond Boisjoly’s most recent body of work, Discrepants, circulates around textual figures of temporal and spatial displacements. It is presented together with the correlating series “From age to age, as its shape slowly unraveled…” and a related exterior artwork on the side of the gallery itself. This constellation of works considers Sculptures Also Die, a 1953 anti-colonial film by Chris Marker, Alain Resnais, and Ghislain Cloquet, which poetically articulates what occurs when we come to look at African statuary as simply aesthetic objects. Art is presented as a category convenient to western thinking through which immense things can be reduced to manageable dimensions.

Boisjoly’s interest in the film Sculptures Also Die is in the way it mediates objects and focuses on how works by non-western peoples come to be understood as art. The work in the exhibition suggests the importance of looking at how this historical trajectory can be considered more broadly. From this general situation, and from his own specific position as an indigenous person, the artist considers that these same processes and transformations occur to the material of his own people. For historical example, totem poles of the Northwest Coast were cut down like trees and shipped to institutions all over the world, into a museological state they were never meant to be seen in.

Materially, all of the works in the exhibition use commercial consumer printing services rather than art printing. From inkjet ink on adhesive backed vinyl, to UV ink on flat vinyl with grommets, to exterior vinyl on aluminum frame. In order to foreground the existence of images culturally outside the bounded, if expanding realm of art, these printing methods concern the contingent character of art and its attendant practices.

For the project of “From age to age, as its shape slowly unraveled…”, Boisjoly began with a technique he has used previously, playing a video of the film on an iPhone, placing it on a scanner, which attempts to capture the image as it is moving, which of course is futile. This strategy creates strange, distorted, partial images that are outputted to large, adhesive inkjet on vinyl murals that are applied directly to the gallery walls. These create an alternate relationship to the exhibition space, in that they cannot be taken off the wall and moved around. To take them off the wall is to ultimately change them permanently. Instead of simply re-presenting historical images, this work draws attention to the method and time of its own altered transmission, implicating us in the creation of meaning in the present.

In this, there is an anxiety of the visual, the “thing” is never presented to you fully. While there are things that can be named in terms of recognizable imagery, there is obviously missing information. The text in the Discrepants series functions as a kind of withholding, manifesting a differing anxiety about imagery. It uses ambiguous statements that are in effect reflections on the general premise of the printed images. They are an attempt to discuss, as opposed to leaving them as images or simply as pictures. They reflect the discursive aspect of the image, where the images cannot speak in that way, offering a different entry point to a shared concern. Surrounding the text, Boisjoly has incorporated images of clouds and television noise. As a complex aggregate, a clouds existence and form is determined as multiple parts coalesce, water droplets combining to form vapor, similar in structure to complex social and cultural phenomena. The artist asks us to consider the film as a model for discrepancy, how we can imagine the possibilities of difference, and the future of the discrepant.

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Lawrence Paul Yuxweluptun: Unceded Territories

Vancouver artist Lawrence Paul Yuxweluptun, of Coast Salish and Okanagan descent, is showcased in this provocative exhibition of works that confront the colonialist suppression of First Nations peoples and the ongoing struggle for Indigenous rights to lands, resources, and sovereignty.

Twenty years since his last major Canadian solo show, Unceded Territories will demonstrate the progression of Yuxweluptun’s artistry and ideas through hard-hitting, polemical, but also playful artworks that span his remarkable 30- year career, featuring a selection of brand-new works exhibited publicly for the first time.

Co-curated by Karen Duffek (MOA Curator, Contemporary Visual Arts & Pacific Northwest) and Tania Willard (artist and independent curator, Secwepemc Nation), Unceded Territories promises colour and controversy through this display of over 60 of Yuxweluptun’s most significant paintings, drawings, and works in other media – a critical and impassioned melding of modernism, history, and Indigenous perspectives that records what the artist feels are the major issues facing Indigenous people today.

This exhibition will undoubtedly fuel dialogue, indignation, and even spiritual awareness as it tackles land rights, environmental destruction, and changing ideas about what we can expect of Indigenous art from the Northwest Coast. The issues Yuxweluptun addresses are impossible to ignore.

Yuxweluptun, an artist of Coast Salish and Okanagan descent, graduated from the Emily Carr College of Art and Design in BC. Influential as both artist and activist, Yuxweluptun merges traditional iconography with representations of the environment and the history of colonization, resulting in his powerful, contemporary imagery; his work is replete with masked fish farmers, super-predator oil barons, abstracted ovoids, and unforgettable depictions of a spirit-filled, but now toxic, natural world.

Highly respected locally, Yuxweluptun’s work has also been displayed in numerous international group and solo exhibitions, including the National Gallery of Canada’s special exhibition, Sakahàn: International Indigenous Art. In 1998, Yuxweluptun was the recipient of the Vancouver Institute for the Visual Arts (VIVA) Award. He was also honoured in 2013 with a prestigious Fellowship at the Eitelijorg Musem of American Indians and Western Art in Indianapolis, where his art was featured in an exhibition and book, and was acquired for the museum’s permanent collection.

http://moa.ubc.ca/portfolio_page/lawrence-paul

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FNA Aboriginal Student Exhibition

Annual Aboriginal Student Exhibition
April 4-11, 2016
Concourse Gallery
Emily Carr University Art+Design

Opening Reception
Monday, April 4, 2016
4:30-6:30pm

FNA
FNA an acronym for First Nations Art is a title that brings forward a certain slang statement saying F’n eh; First Nations Art is still here. Through centuries of turmoil from foreign dictatorships amidst what is now called the Americas, First Nations Art has survived, it is still here, we are still here, practicing our cultural heritages. With technological advancements and new and old practices of art combined, First Nations Art can be constructed to satisfy the needs of the artist’s vision for completion in whatever medium they so choose. Adaptation has happened and the spirit of First Nations Art and it’s practitioners are regenerated to fulfill the symbolic entities of their people’s creative rights. So to that we say FNA.

This year’s curatorial team:
Derian Blake(Gwichin) William Callaghan(Tlingit) Chloe Mustooch(Nakoda Sioux & Cree) Edwin Neel(Ahoushat & Kwagul)

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Poster design: Chloe Mustooch

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Brain Jungen Exhibition

Brian Jungen
22 January – 27 February, 2016

Catriona Jeffries is pleased to announce a solo exhibition by Brian Jungen featuring his most recent sculptural work. Using new Air Jordan trainers, which recently celebrated its 30th anniversary in 2015, Jungen returns to a material he is both familiar with and continues to experiment through. Adopting an alternative approach to dissecting and rearranging the material that was developed in earlier work, these new sculptures are produced using the same tools that were utilized to manufacture them: band saw, punches, rivets, drills and an industrial sewing machine, personalizing their industrial production.
As the shoes themselves have changed in terms of design and colour schemes over time, so has the artist’s strategy of using them as representational objects of colonial and First Nation art histories merging with contemporary collective imagery. These new works become more abstract and colorful, continuing to allow the material of the shoe itself to guide his decision about their form and assembly while pushing the possibilities of material depiction. Utilizing as much of the shoe as possible in their production, these objects minimize extraneous material and armatures and act as free standing sculptures.
The resulting works are less a direct representation and contain more a suggestion of animal and human faces, taking advantage of how we innately search for and recognize these particular patterns. This phenomena, oscillating between representation and abstraction, has historically been used in the visual representation of diverse mythologies. It could be argued that myths are always born from trauma and intertwine with the uncanny and supernatural, itself by definition unknown and indescribable. Considering our continued abstraction of faces and bodies through masks and dress, these works can be considered in direct relation to the diverse but unified aesthetics of contemporary global economic, political and cultural conflict.

http://catrionajeffries.com/exhibitions/current/

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