Category | 313 ProgramsExhibition
- July 11, 2003 to August 2, 2003
Works on paper including found images, photos and drawings from Occupied Palestine. The International Solidarity Movement is a Palestinian-led movement of Palestinian and International activists who utilize nonviolent direct action to support the Palestinian struggle for freedom and an end to Israeli occupation. Carel Moiseiwitch produced these new works while in Palestine with ISM in February and March 2003.
By Carel Moiseiwitsch
- Curated by Glenn Alteen
- June 13, 2003 to July 5, 2003
"Drawings in Space" consists of architectonic structures integrated within the gallery walls. The structures emerge from and seem to escape the material of which they are built (gypsum wallboard and dry wall compound). They overhang, make ridges, dig crevices or reveal themselves by simply a trace of the intervention, suggesting a surface invasion by the surface itself, a concentration of substance and energy. The origins of this installation are the artist's spontaneous sketches and drawings.
By Francine LaLonde
- May 9, 2003 to May 31, 2003
German painter Jochen Twelker will travel from Berlin to work on what he calls "an anthology of pattern and ornament". Short Cuts will be painted directly on the walls of the gallery, transforming it into an ephemeral canvas whose images must be painted over when the exhibition ends. At first glance his painted installations appear as pure abstraction, but closer examination reveals multi-coloured fabrics and clothes - fashions of countless times, cultures, and tastes. Languages of painting, image, and associative meaning are spoken in a riot of colour and shape, a feast for the senses.
By Jochen Twelker
- April 4, 2003 to April 26, 2003
Marlene Madison's new works Audition Tapes and Open Call explore notions of "Celebrity". Audition Tapes, a single screen video installation, consists of three "cold" readings of a prepared text in a format that closely resembles a screen test. Open Call is the reading by 15 actors and non-actors of texts they receive when they arrive at the event.
By Marlene Madison
- Curated by Glenn Alteen
- March 7, 2003 to March 29, 2003
Converging in the space of a gallery, the proposed exhibition, Anatomica Nervosa, will unify a synthesis of two project series, Project Series: Preserves and What She Saw. Installed concurrently, a body of work will surface, each project[ion] intent on informing an independent yet synchronous discourse of bodily disclosure, a narrative set in reference to a visual and textual process coherent within interdisciplinary practices. Realized on site, the work will reflect an atmosphere of archive, multiple sites constructed of multiple mediums performing multiple readings, a visual shifting of textual boundaries between the mediums and the exhibition state. The exhibition will unfold, collecting, compiling, and housing images, the objects of photographic image and the specimens of anatomical waxes. Over the months, the proposed work will continue to actualize, substantially increasing in collection and size, image and text yet; the premise and [psycho] analysis will remain unaltered. Accompanying the exhibition is further support material, in particular, a text entitled Lapsus Lingae: [Slip of the Tongue], a narrative of fact/fiction/friction that informed and initiated the beginnings of this project, and photographic images wherein the sites were of chance and circumstance, the collection only a construct in assemblage.
By Sue Camm
- January 10, 2003 to February 1, 2003
Fragar and MacNeil will have corresponded from mid-June until the time of their Vancouver exhibition via a series of small painting with letters written postcard-style on the back. The paintings are derived from snapshots of their respective immediate surroundings and have been sent as both common mail and scanned attachments. Shaan Syed will be showing a selection from the "Some People I Know" series, begun in 2000 and ending in 2002. In this series of small portraits, Syed paints from memory and strives to capture that particular nuance of face or gesture that best identifies his subject. All three artists are bound together by the intimacy and immediacy of their paintings. As either postcard or portrait, they make art of the ordinary and out of their own life. This art works as diary, journal, or log reflecting day to day impressions of people, places, and events.
By Jessica MacNeil, Julie Fragar, Shaan Syed
- November 8, 2002 to December 1, 2002
With Indian Act, the horizontal line is used as a method of erasing and abstracting parts of Canada's Federal Legislation pertaining to its 'Indians'. Monumental in scale, it consists of sewing over each of the 56 pages of the annotated Indian Act with red and white glass trade beads. The white beads replace the words and the red beads, the space between them. The overall effect of the beaded page resembles a visual and tactile language, something akin to Morse code or Braille. However, beading the Act also speaks of a sociopolitical activity; each page is pierced by a needle and like a scar bears the stitch, a reminder of its path across the page, and generations of conditioned and controlled Indian lives.
By Nadia Myre
- October 4, 2002 to October 26, 2002
The human nude, central to Clement's work, is reinterpreted through numerous small drawings. The drawings are gathered into long strips and folded into large accordion shapes which are hung nearly to ceiling height. Created with mixed techniques and media, and done primarily in luminous blues, the resulting installation generates an impression of movement and enclosure within a sequence of instantaneous emotion.
By Jacques Clement