- January 11, 2008 to February 16, 2008
The works in this exhibition reflect Harold Coego's rediscovery of himself as a visual artist after a long engagement in the worlds of stage and screen. This series of drawings and collage-derived monetary currency bridges the artist's two home countries-Cuba, where historical and cultural heroes (perfect human beings trapped in their own historical circumstances) surrounded him, and Canada where new characters and new human interactions shape a different life. Most of the currency "characters" came to the artist in a "pure" way, as a child growing up in Cuba. Now, thirty years later, Coego gives those characters the chance to break through their own historical frame and wander free in an abstract world of ink and irony where they have become a commodity. The resulting images are representations of the artist's imagination through an abstract cinematographic kaleidoscope-a twisted photocopy of reality, or perhaps more like a dream where something is always out of place
By Harold Coego
Category | 288 ProgramsExhibition
- October 12, 2007 to December 1, 2007
This show will be a suite of mono prints which deal with Heap of Birds' vision of the Mayan Tree of Life as witnessed in Chiapas last year. The prints investigate a personal and tribal stance involving political and ceremonial values in Mexico and how this relates to his Cheyenne world view. The Mayan Tree of Life relates to the Standing House Poles at MOA-UBC, his 50 foot outdoor sculpture of 10 standing trees at the Denver Art Museum and the earth renewal ceremony of the North American Plains. All of these issues are examined with a personal poetics of text in his prints.
By Edgar Heap of Birds
- September 7, 2007 to October 13, 2007
Children's Tears Laid Out to Dry continues Naufús Figueroa's exploration into the troubled history of his birthplace, translated through the poetry of Québécois author Anne Hébert. In her work Hébert often describes terror stricken and unhappy children. For Figueroa her poetry reflects the mournfulness of children during the Guatemalan Civil War, where the children of activists and guerrillas would be kidnapped to be killed or adopted out to military families in an attempt to destroy the "bad seed". Vancouver based artist, Barry Doupe collaborates in this installation with a series of animations.
By Naufus Ramirez Figueroa
- June 29, 2007 to August 4, 2007
Spectacles of Intimacy explores the role of artist as social spectator, one who witnesses intimate (private) spaces and moments and translates them into the public sphere for debate and discussion. This exhibition showcases the work of six Vancouver Island artists, each of whom rigorously engages with contemporary definitions of spectacle. Guest curated by Lora Carroll.
By Megan Dickie
- Curated by Lora Carroll
- June 14, 2007 to June 23, 2007
Tipi-Aalaya is a task-oriented performance incorporating elements of ritual and repetition set within a spoken-word soundscape. Drawing on her experience as a child of Fijian Indian and European parents growing up in New Zealand, and mistaken for a North American Indian, Singh addresses issues of identity, culture, otherness, and fusion. Her performance is followed by an installation that remains as a visual metaphor for her performative contemplations.
By Victoria Singh
- May 22, 2007 to June 23, 2007
Multi-disciplinary Cree-Métis artist, Jude Norris, employs idiosyncratic combinations of 'Native' material, language, traditional creative practice, and iconography with elements of western technology, art practice, theory, and language. Grounded by a strong aesthetic sensibility, and often a subtle humour, her work is an exploration and expression of the oddness and challenges of contemporary colonized reality.
By Jude Norris
- January 5, 2007 to February 10, 2007
The performance iwll be about 30 to 40 minutes, part of the opening night and includes the video screening of The Fish Film, centered between the silver cloth panels. An important part are two slide projectors mounted at a 45 degree angle to the 'screen', containing specific slides (stills0 from the moving image. The video is projected not onto a screen, per se, but into wide sheets of quality drawing paper. My own actions consist of entering into the freeze-framed image of the film at which point the two projectors replicate the same image.
By Carole Itter