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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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James Harry

In some ways, this piece is inspired by my father Xwalaktun’s carvings and how the thunderbird and bear are relational to his work.  I created the thunderbird and bear as the centre of  my piece with an angled perspective, as if you are looking up at them. This piece is about my identity and how I have been affected by the people in my life and who I look up to.
Closer to the ground, the piece becomes more obscure and abstract; a spirit representation. These abstractions are influenced by my lifelong interest in formline and Coast Salish artwork, as well as observation of organic landscapes and ecosystems. Although we never had a written language I view carving these abstractions as if writing poetry; obscuring and abstracting visual language and ideas to alter and create a different meaning.

I spent most of my childhood and early adolescence learning First Nations form and design from my father, Xwalacktun, a master carver of the Squamish Nation. I developed my own techniques and artistic methodology after fully understanding the traditional foundation of his work. Materials I turn to are metal, red and yellow cedar, lighting, paint, fabrics and found objects to create installations, sculptures, paintings, and film.
 
I have been given the unique opportunity to approach my art from the different perspectives provided by my complex ethnic background: Euro-Canadian, Coast Salish and Kwakwaka‘wakw, ethically I am responsible for representing the intrinsic values of my First Nations culture. My goal is to continually challenge non-Native and Native definitions and assumptions of what is traditional, spiritual and environmentally ethical. Drawing influence from urban and rural, and by Native and non-Native cultures. I explore concepts of community and identity, reflecting in the study of cultural theory. Through the combination of familiar symbolism of West Coast form-line, modern media and techniques, my work pushes the boundaries of First Nations cultural traditions and the way the world functions around the confines of these understandings. I want to broaden the place held by Native art and culture in the world of contemporary art.

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Xwa Lack Tun

Xwa Lack Tun (Rick Harry), Squamish Nation. Xwa-lack-tun was born and raised in Squamish. His mother is originally from Squamish and Alert Bay (Coast Salish, Kwakiutl) while his father was Coast Salish (Squamish). Xwa-lack-tun was given his indigenous name by his father, Pekultn, who was a hereditary chief, originally from the Seymour Creek area. This artist gained his skills and education from Emily Carr College of Art and Capilano College, but also feels he learned a lot through trial and error.
Xwa-lack-tun is an artist whose works are recognized internationally. In 2005 he received an honorable award from the North Vancouver Arts Council, which acknowledged his contributions both locally and world-wide. Harry’s art focuses on how the traditional stories relate to his life, and how this knowledge can assist us all in healing ourselves. Respect for all people, regardless of race or religion, is a central theme for Xwa-lack-tun.

For more information about please visit his website at:
xwalacktun.ca

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Mark Igloliorte|Diptychs

Newly appointed Assistant Professor Mark Igloliorte is featured in tadalafil online a solo exhibition at lamisil cream canada pharmacy Grunt Gallery. Hailing from Newfoundland, Mark joins us August 1 as an Assistant Professor in the Faculty of Visual Arts and Material Practice, Audain School of Visual Arts.
Diptychs are works of still lifes and studio vignette paintings, a series that has been ongoing since 2010. Painted upon torn phonebook paper, Igloliorte uses this practice to explore ideas of place – both the studio interior and at the city, town or whole region the phonebook paper indexes.
Alla prima paintings of similar size and palette depict commonplace objects and fragments of studio space. These diptychs concentrate on the same subject matter and are hung in pairs throughout the gallery. Through this dual repetition the artist considers observational variance and representation. While subject matter is painted twice over, this repetition is not an effort to replicate. Instead, the shift or fluctuation in perspective rejects an authoritative version, placing a greater emphasis in multitudes over a definitive original.
Mark Igloliorte – Diptychs

Grunt Gallery June 4 – July 18, 2015

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c̓əsnaʔəm, the city before the city

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Musqueam First Nation, the Museum of Anthropology (MOA) at UBC, and the Museum of Vancouver (MOV) partner on a groundbreaking exploration of an ancient landscape and living culture c̓əsnaʔəm, the city before the city — a series of three distinct exhibitions, opening in the third week of January, 2015. The unified exhibits will connect visitors with c̓əsnaʔəm — one of the largest ancient village and burial sites upon which Vancouver was built — sharing its powerful 5,000-year history and continuing significance.

The exhibition at MOA focuses on Musqueam identity and worldview. It highlights language, oral history, and the community’s recent actions to protect c̓əsnaʔəm. Rich in multi-media, it demonstrates Musqueam’s continuous connection to their territory, despite the many changes to the land. Told from the first-person perspectives of Musqueam community members both past and present, it also seeks to replicate aspects of Musqueam ways of educating.  c̓əsnaʔəm, the city before the city at MOA will leave the visitor with a different understanding of the deep history of what is now known as Metro Vancouver.
The exhibition at the Musqueam Cultural Education Resource Centre & Gallery focuses on the sophistication of the Musqueam culture – past and present. It makes connections between the expertise of pre-contact knowledge-holders and contemporary professionals.  The exhibition at the Museum of Vancouver draws connections between c̓əsnaʔəm artifacts, Indigenous ways of knowing, colonialism, heritage politics, cultural resilience, and contemporary Musqueam culture. It includes graphic and 3D modelling of maps and artifacts, original videography, family-friendly interactivity, and soundscapes blending traditional and modern sounds.

http://www.thecitybeforethecity.com/

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Annual Aboriginal Art Exhibition

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We’re so excited about this year’s Aboriginal Student Art Exhibition! On National Aboriginal Day, June 21, 2013, the Mayor of the City of Vancouver took the extraordinary step of declaring a Year of Reconciliation, a year long effort that seeks to heal from the past and build new relationships between Aboriginal peoples and all Vancouverites. A year later, on June 24, 2014, the City of Vancouver formally acknowledged that the city of Vancouver is on the unceded traditional territory of the Musqueam, Squamish and Tsleil-Waututh First Nations. This was an important acknowledgement, as it validates what First Nations have been saying since before confederation.

But what does ‘unceded’ mean? In this year’s exhibition, we will explore the meaning of the term ‘unceded’, and consider how this can be applied in other contexts – art, culture, language, social traditions, traditional economies, and intellectual properties, to name a few. Participating artists will present works that speak to these contexts, and provide personal, familial and/or tribal perspectives on the idea of ‘unceded’.

Participating students will also be taking time during the semester to view another significant and related exhibit series entitled “c̓əsnaʔəm, the city before the city”, which opens in three locations beginning January 21, 2015. Here’s a link for more info on the c̓əsnaʔəm, the city before the city exhibit: http://www.thecitybeforethecity.com/

Written by Lou-ann Neel

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