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|December 8, 2006 to January 13, 2007
Seventh Avenue North
they're out there again I'm sure of it I can't quite see them from here but I know they're there maybe from here I can see them but I know they're there no I still can't see them but I know they're there I'll see if I can see them from here quiet now no I can't see them but I know they're there yes I'll see them from here if I'm quiet I still can't see them but I know they're there they're out there again I know they're there I can't see them from here but I know they're there may be I can see them from here hush I know they're there I just can't quite see them but I know they're there perhaps I can see them from here I can't quite see them but I know they're there from here I'll see them I know they're there they are always there from here I'll see them I'm sure of it I can't quite see them I'll go here then I'll see them I can't see them but I know they're there from here I'll see them just there do you see them no you don't of course not see there there they are I couldn't see them but I know they're there they are out there again I'm sure of it
Tamsin Clark is a Victoria-based visual artist who works primarily with photography and film. Her work is concerned with fear and whether or not there is a metaphysical presence inherent in places and spaces. She has been exhibited at the Art Gallery of Greater Victoria, Open Space and Rogue Art. Clark is an instructor at the University of Victoria in the Department of Visual Arts.
|November 3 to December 2, 2006
Floor Sanding Fantasies
Wise’s first solo exhibition since Dynaflow (AGGV) in 2003, and his second with Deluge/Rogue Art. Wise is known for his sophisticated, often interactive kinetic sculptures, which are always a mechanical testament to his background as a visionary engineer. He is also known for his public art commissions, most recently and notably for the Victoria International Airport.
In Floor Sanding Fantasies, Wise takes on, takes apart and cross-wires the visual semiotics of perception and consciousness. Viewers are coaxed into a gentle but undeniable recognition of their own complex cognitive functions as they interact with the work. The majority of the pieces in the exhibitionGödel-Gödel, Lacuna and Blinkissue ongoing challenges to the theoretical primacy of man and machine, simultaneously demanding technology serve our needs while tacitly acknowledging our concession to its limitations and demands. Wise ultimately puts these privileged conundrums in perspective with Ratgnaw, the bronzed remains of a potato consumed over time by an ambitious rodent, designed to be handled by viewers; the “haptic shock” of its weight a reminder of the rat’s struggle.
The artistic practice of sculptor Robert Wise comprises gallery works, unsanctioned street interventions and public art, and often underscores our uneasy relationship with modern technology. His work attempts to narrow the gap between the act of being and the task of being; using approaches that range from the oblique to the obvious: often employing humour and bathos to that end.
|September 22 to October 21, 2006
We Make Our Own Television
Jennet Thomas / Paul Tarragó
Because of the War and The Badger Series are projected moving image installations by, respectively, Jennet Thomas and Paul Tarragó. Together they form the basis of the two person exhibition We Make Our Own Television.
Because of the War is a single screen installation, continuing thedevelopments in Thomas’ expanded narrative work seen in such recent pieces as her installation On the Shape of the Scab (2004: Courthouse Gallery, Anthology Film Archives, New York) and Double Dummy (2005: MOMA NY, ICA London, European Media Arts Festival Tour).
The Badger Series consists of four episodes of a simulated television programmescreened from DVD with a choice of episodesand pushes Tarragó’s performative meta-narratives seen in Making Things Meaningful (2003: Kunstfilmbiennale Köln, ICA London, NYUFF) and Resident of Earth (2005: Rotterdam International Film Festival, ICA London, Commonwealth Film Festival) into new, inviting territories.
Like broadcasts from another timeand certainly another placethese works wrestle with sense-making through the forms we encountered of oldthe authority voices that used to reassure us that everything was all right. Enunciating from the nice glowing box that sat in the corner, experts in ties explained order and glove puppets gave us moral guidance. These were our instructors in storytellingor at least this is how we learnt to be toldand so now Thomas and Tarragó have picked up the dusty baton and are running their leg of the storytelling race. They are, however, ignoring the lane markings.
Jennet Thomas’ work grew out of the lively artist-run underground media scene in London of the 1990s. A founding member of the London-based collective Exploding Cinema, she’s been screening and touring film, video and installation work on the international experimental media festival circuit for the past nine years. She lives in South London and is a senior lecturer at The University of the Arts, London. Thomas recently had solo retrospectives of her work at Anthology Film Archives, New York, the Centre d’art Contemporain de Basse-Normandie, France and The Gene Siskel Film Center, Chicago, and toured work to the National Review of Live Art, Glasgow.
Paul Tarragó is an artist film and video maker based in South London. His work is a mix of underground experimentation and metafiction, tugging at the leash of film language but with narrative often held close at hand. Recent screenings include the Rotterdam International Film Festival, New York Underground Film Festival, National Review of Live Art, Cinematexas, Antimatter and Chicago Underground Film Festival. For the past 12 years Tarragó has been involved with Exploding Cinema, a film and video collective dedicated to originating alternative methods of exhibition. He has also curated a number of film programs for festivals and galleries in Europe and North America.
For more information please visit www.wemakeourowntv.com
|September 22 to 30, 2006
Underground Film Festival
The ninth annual Antimatter Underground Film Festival kicks off with simultaneous gallery openings and a multi-media extravaganza.
UK-based artists Jennet Thomas and Paul Tarragó will be on hand at Deluge Contemporary Art for the opening of their exhibition We Make Our Own Television, comprising the installations Because of the War and The Badger Series.
Rick Raxlen rear-projects a rotoscoped reworking of his 1992 film Leaving Montreal Behind onto the display windows of CineVic from 7 - 8:30 nightly. The piece, entitled Posterity, playfully questions our ideas of the familiar, and moving on from a known, proscribed and recognized past into an unknowable future.
Local cult heroes Hank Pine and Lily Fawn unveil their brand new Snake Oil Showcase & Sideshow, a multi-media extravaganza promising three stages of nouveau burlesque entertainments, music and audiovisual mayhem MCed by J McLaughlin, featuring the Hank & Lily Choir and a multitude of special guests.
Antimatter will present its largest line-up ever. The festival will screen 204 short films from 26 countries, including special Foreign Matter programs Light as Flesh, a collection of new work from experimental French celluloid artists and Cold Hearts, a glimpse into the fantastical cultural landscape and otherworldly aesthetic of contemporary Iceland. The Psychoacoustic Geographers, Ben Russell and Jonathan Schwartz, present the Canadian Premiere of their unforgettable kino-cartography and Atelier National du Manitoba excavate a televisual treasure-trove of vintage Winnipeg weirdness with Kubasa In a Glass.
Closing night celebrations at Open Space include a multimedia film and music performance by Vancouver’s film-jam connoisseurs The Truth Channel. Combining moving collage, video, film, and original live mix sound, The Truth Channel’s surrealistic and ironically rearranged media will enthrall fans of experimental film and ass-shaking electronic beats alike.
|July 7 to August 12, 2006
Come and Go
Gillespie draws on the influences of 80s and 90s fashion and design, advertising, black and white comic book illustrations, signage and cultural markings to comment on durational trends in general, and the hybridisation/democratization of current aesthetics in particular.
Playing with our innate tendencies for pattern recognition and visual perception amidst media saturation, as well as notions of what constitutes a part or a whole, Gillespie has produced upwards of 100 small to medium sized square paintings for this exhibition, grouped together in clusters in which these referents have been excerpted, abstracted and repeated.
In Come and Go, Gillespie has produced a body of work which requires no translationwhere meaning has become unmoored from source material and is no longer crucial to the viewer’s engagement with it.
Chris Gillespie was born in 1972 and lives in Victoria, BC. He received his BFA from the University of British Columbia and his MFA from the University of Victoria in 2000. He has exhibited in Canada and the United States at galleries including Access Art (Vancouver), the MacLaren Art Centre (Barrie), Mercer Union (Toronto), Modest Contemporary Art Projects and The Pond (Chicago). He is the recipient of a recent VADA Award, administered through the Contemporary Art Gallery in Vancouver.
May 12 to June 17, 2006
Titled with a line of narrative from a BC Government travel film from the 1940sYesterday, Indian land of taboo; Today, a matchless paleface paradisethis exhibition consists of photomontaged imagery in unique hand-tinted silver gelatin prints which explore mid-20th century non-native appropriation of indigenous iconography.
Superimposed on utopian paint-by-number backgrounds, featuring subjects and motifs culled from a variety of historical sources (knitting patterns, catalogues, postcards), these works take aim at consumerism in the (re)construction of a national and personal identity. Ultimately, Paleface Paradise transcends the allure of both nostalgia and propaganda through Blair’s incisive and adept handling of cultural appropriation, tourism and the souvenir trade, colonialism and ownership.
Blair lives and works in Victoria, BC. Over the past two decades he has exhibited his photo-based work in numerous group and solo shows regionally and internationally, most recently at Galeria La Mano Magica in Oaxaca, Mexico in December of 2005.
|March 17 to April 22, 2006
Packing the Fleece and Other Things
Song for My Father, a performative sound-based installation: Saturday, March 18.
New sculptural work situated at the juncture of language and non-language, formal balance and non-balance, Packing the Fleece and Other Things reflects the artist’s “insistence on inconsistency.” Laskarin creates a series of provocative and mutable sculptural possibilities by conceptually reconstituting utilitarian objects in metaphorical space, conspiring with their ultimate destabilization while freeing them from their contextual surroundings and quotidian readings.
Born in Southern Ontario, but a long-time BC resident, Daniel Laskarin turned to visual art after a career in aviation and completed his MFA at UCLA in 1991. His artistic production is object-based, and uses a diverse range of media including photography and video, optics, robotics systems, installation and sound works, set design and public projections. Laskarin has been awarded large-scale public commissions in Vancouver and Seattle and he has exhibited in Canada, the United States, Europe and Brazil. He currently teaches sculpture at the University of Victoria, where he is Chair of the Department of Visual Arts.
January 27 to March 4, 2006
In Mary, a series of 13 painted diptychs, Meigs covers the emotional and literal landscape of lost love, mutable narratives, general and specific longing, using as her point of departure the lyrics to "Sad Waters" by Nick Cave. On the left side of each painting Meigs abstracts source material inspired by the landscape around Drumheller and the Red Deer River while on the right she presents a distillation of the female portrait form. The canvases in their material presence act as a revelatory continuum-placid and undisturbed ground gives way to a gestural frenzy of surface concerns: a shift in the gaze from yearning to dejection and back again.
Sandra Meigs artistic career has spanned three decades and encompassed performance, writing and filmmaking while her recent work has marked her as one of Canada’s most important contemporary painters. Her work has been exhibited nationally and internationally at the Ydessa Hendeles Foundation, the Contemporary Art Gallery of Vancouver, the Art Gallery of Ontario, the Power Plant, the Saidye Bronfman Centre, the Montreal Museum of Fine Arts and the Fodor Museum in Amsterdam, and included in the Bologna and Sydney Biennales. Meigs’ work is in the collections of the National Gallery of Canada, the Art Gallery of Ontario, and the Ydessa Hendeles Collection, as well as in many private collections. Her upcoming exhibitions include The Ontology of the Imaginative Realm at the Susan Hobbs Gallery in Toronto in February 2006 and The McIntyre Ranch Project at the Illlingworth Kerr Gallery in Calgary in March, 2006. Meigs lives in Victoria, BC, where she is a professor in the Visual Arts Department at the University of Victoria.