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|November 22 to December 20, 2014
Beyond the Tangible Universe As You Understand It
Beyond the Tangible Universe As You Understand It is a four-channel video installation that explores the topic of sending and receiving transmissions beyond the physical universe as we understand or seemingly experience it. It is 33 minutes in length, looping and consists of audio in thirteen different alternating and often-simultaneous languages.
The work combines video and digitally manipulated images that were gathered in Jordan, with field interviews that were conducted throughout the Levant, Spain and the United States. Inspired in equal parts by quantum physics, religious devotion and atheism, the work serves as an investigation into the nature and diversity of belief, hope and skepticism within human beings.
Adam Davis is a multidisciplinary artist whose practice encompasses but is not limited to sculpture, video and photography.
Davis’ work has been featured in numerous solo and group exhibitions, and he has participated in Artist-In-Residence programs at the Kathmandu Contemporary Arts Center in Patan, Nepal; Bait Makan in Amman, Jordan; Homesession in Barcelona, Spain; Sculpture Space in Utica, New York; Svenska Konstskolans Vänner in Nykarleby, Finland; Lademoen Kunstnerverksteder in Trondheim, Norway; The Clay Studio in Philadelphia, Pennsylvania and The Archie Bray Foundation for the Ceramic Arts in Helena, Montana.
In addition, Davis has had his work published in three books: We Can’t Wait for Better Times: Five Years of Art Projects at Homesession, Barcelona by Olivier Collet & Jerome Lefaure, Queer Retrosexualities: The Politics of Reparative Return by Nishant Shahani and Confrontational Clay by Judith Schwartz.
Davis received his BS from the University of Wisconsin-Madison in 1995, and his MFA in 1999 from the University of Arizona. He currently resides in Los Angeles, California, where in addition to his professional studio practice he is an Associate Professor of Art at Scripps College.
|October 18 to November 1, 2014
five states of freedom
Christina Battle & Adán De La Garza
multiple video installation, 2014
five states of freedom operates both as documentation of performative actions and as a critique of larger political issues. By drawing attention to our distancing of military actions from our own geographical landscape, the work increases conversations about the physical byproducts our military engagements have on domestic spaces. With a high percentage of land contaminated by military development, five states of freedom draws attention to the mainly invisible residues that still preside over the land. Fireworks have a direct tie to the history of artillery and in turn to notions of perceived American freedom. As we continually distance ourselves from directly engaging in battles at home, the celebratory acceptance of fireworks seems almost a disengagement with the physicality of war.
Shot at various active and abandoned military installations in the United States, the work consists of a series of videos actively seeking out landscapes with histories of missile-based military presence. Focusing on visualizations of the residue of the military industrial complex upon the environment, five states of freedom is an ongoing project.
Originally from Edmonton, Alberta (Canada), Christina Battle is currently based in Denver, Colorado. Her works are often inspired by the role of nonofficial archives and our notions of evidence and explore themes of history and counter-memory, political mythology and environmental catastrophe. She has exhibited internationally in festivals and galleries including: The Images Festival (Toronto), The London Film Festival (London, England); The Toronto International Film Festival (wavelengths); the Festival du Nouveau Cinema (Montreal); The International Film Festival Rotterdam (The Netherlands); the Jihlava Documentary Festival (Czech Republic); the 2006 Whitney Biennial: “Day for Night” (New York); YYZ Artists’ Outlet (Toronto); White Box (New York); Deluge Contemporary Art (Victoria, BC),The Foreman Art Gallery (Sherbrooke, QC); MCA Denver; the Aspen Art Museum; Gallery 44 (Toronto); and the Ryerson Image Centre (Toronto). Christina is a contributing editor to INCITE Journal of Experimental Media and a co-curator and organizer of the media arts exhibition series Nothing To See Here in Denver.
Originally from Tucson, Arizona, Adán De La Garza holds a BFA in Photography from the University of Arizona and an MFA in Interdisciplinary Media Art Practices from the University of Colorado at Boulder. Criticism of authoritative figuresbe it human, institutional, ideological or weapons basedan investment in deconstructing hierarchy, challenging societal expectations, and subversion are the foundation for the terrain De La Garza navigates. His work has been shown both nationally and internationallyincluding exhibitions at the Boulder Museum of Contemporary Art (Boulder, CO), The New School (New York, NY), Deluge (Victoria, Canada), and The Future Gallery (Berlin, Germany). De La Garza is also a founding member of the sound and performance art collective The Flinching Eye, which has toured both the southwest and northeast regions of the United States performing in notable contemporary art venues including: Tucson Museum of Contemporary Art (Tucson, AZ); Vox Populi (Philadelphia, PA); and Silent Barn (NY).
|also at Deluge:
Dana Berman Duff
7:03 | USA | 2014
Catalogue is a silent black-and-white film that considers the time it takes to look at desirable objects, in this case, those presented in a successful furniture company’s catalogue of copied designer pieces photographed in staged rooms. The catalogue’s desaturatedphotographs are shot and printed to look like film noir movie sets. The products are popular designer furniture knock-offs sold at a much-reduced price in several catalogues by different manufacturers, but in these images they are indistinguishable from the originals.
The layering of representation is revealed as the surface quality of the pages becomes noticeable and tiny item identifiers appear (for example: a. sage, b. ochre, c. fig). Hence the film represents already-photographed objects, which are themselves representations of high-quality objects of original design. The film gazes at page after page of objects, each one exquisite and exquisitely photographed, aware of the time it takes for the rise of desire and its dissolution.
Dana Berman Duff lives and works primarily in Los Angeles and Mexico. Her object works are included in the collections of the Museum of Modern Art (NYC), the New Museum of Contemporary Art (NYC), the Phillips Collection (DC), Brooklyn Museum (NYC), The Carnegie Museum (Pittsburg), and a number of private collections. Her works in small-format film and video have been screened at the Toronto International Film Festival, the International Film Festival Rotterdam, the Edinburgh International Film Festival, the Biennale de l’Image en Mouvement (Geneva), EXiS Experimental Film Festival (Seoul), South London Gallery, Northwest Film Forum, (Seattle), and other programs. Duff is a professor at Otis College of Art and Design in Los Angeles.
2:30 | USA | 2012
This sculpture uses the digital picture frame as subject matter and as an animated video format. Photos of the frame itself are displayed on the frame and repeat until a tunnel is formed. Then the temporary wormhole recedes back to blackness.
Ryan Schmal Murray creates conceptually-driven artwork that combines media such as video, painting and sculpture. His work uses the aesthetics of psychedelia, fantasy and pop-culture to address the connections and disconnections between rationality and mysticism in the search for meaning. Murray was born in Pittsburgh, PA. He received his BFA from Carnegie Mellon University and his MFA from the University of Illinois at Chicago. He has exhibited in galleries, museums, and film festivals across North America and in Europe. Murray currently lives in Baltimore, MD and serves as an Assistant Professor of Electronic Media and Film at Towson University.
|in the Deluge transom window, dusk to 10pm:
humming, fast and slow
9:00 | Austria/Germany | 2013
humming, fast and slow is an interference between the analogue and the digital. It operates on the line that was defined as the absolute threshold of visual perception. 60 hertz, 24bit colours and a few million pixels should suffice to create the illusion of a continuous event. Kohlberger employs a buzzing, both visual and acoustic, that fills the whole range of this definition in order to make the threshold itself disappear. Analogue disparity and digital continuum merge. Eno Henze
Rainer Kohlberger was born in Austria and works in Berlin. His work is primarily based on algorithmically generated graphics seen during live performances, as parts of installations and as mobile apps. His work field won the ZKM App Art Award for artistic innovation and humming, fast and slow received the Crossing Europe Local Artist Award in 2013.
|October 17 to November 1, 2014
Antimatter [media art]
Screenings | Installations | Performances
Dedicated to the exhibition and nurturing of diverse forms of media art, Antimatter is one of the premier showcases of experimentation in film, video, audio and emerging timebased forms. Encompassing screenings, installations, performances and media hybrids, Antimatter provides a noncompetitive setting in Victoria, British Columbia, free from commercial and industry agendas.
|September 5 to October 4, 2014
Jess Willa Wheaton
As first defined by American geologist George P. Merrill in 1897: “This entire mantle of unconsolidated material, whatever its nature or origin, it is proposed to call the regolith.” (Merrill, G.P., Rocks, rock-weathering and soils. New York: MacMillan Company, 1897, 411p)
Named for the Greek words rhegos (blanket) and lithos (rock), Earth’s regolith can be nearly absent or hundreds of meters in thickness. It may be initially produced by processes nearby, or far away, or both, and its age can range from instantaneous to hundreds of millions of years old. The presence of this unconsolidated topcoat is an important factor for most life.
With Regolith, Wheaton continues to plumb the possibilities of pictorial surface tension, while considering the mobility of the veneer of the Earth. In her latest collages, found images are re-inscribed with meaning by the context of their composition. Implicit to these works’ surfaces are strenuous compressions, tight fits orchestrated over eons, quick breaks, slowly drifting layers and sudden suspensions. Also employing these processes are paintings, many of them the largest she has exhibited to date. While continuing to enfold found images, here the process of painting generates the forces and content of earthly activity. History, tumult, growth and light spread, contract and transform each surface into a new spatial state, depending on location.
Jess Willa Wheaton grew up in California and lives and works in New York City. She received a Certificate in Visual Arts from Camosun College, a BFA from the California College of the Arts and an MFA from Hunter College in 2013. In the past year her work has been exhibited at Zusi Graham, Cologne, Germany and in several group exhibitions in New York. Wheaton gratefully acknowledges the support of Camosun College, where she was the Artist in Residence for 2014.
|Hot Tears, Jess Willa Wheaton, 2014, found images, glue, 19 x 25 cm|
|July 25 to August 23, 2014
If I Wore a Hat I'd Hang it Here
"These Polaroids are the places and spaces I have lived over the last few years, indexes if you like, and like the writer William Faulkner in his novel Absalom Absalom they are reiterated over and over, windows, mirrors, bedrooms, gardens, landscapes. They are conversations I’ve had with these spaces and places. Because they are photographs they are also about light: the light and viewpoint can hide the flaws in the mundane and turn it into a thing of beauty, or at least a curiosity."
Tamsin Clark is an Anglo Canadian photographer and educator interested in the still and moving image. She received her BFA from the University of Saskatchewan and MFA from the University of Victoria. Clark has exhibited widely in Canada, Mexico and Europe and her work is held in various collections nationally. She currently resides in the Annapolis Valley, Nova Scotia.
|June 21 to July 19, 2014
"By using underprivileged materials to create elaborate hand sewn constructions, this work comments on issues of high and low class societal patterns, production and consumption. Specifically, by referencing the tense and at times incongruous relationships that exist between classes, my work often takes an ironically romantic look at societal excess as seen through consumer product and environmental disasters. Drawing from a range of disparate resources, this work also focuses on how social divisions operate both in tandem and at odds with one other.
Issues of labor are an underlying and important component in my work. Appropriating tools associated with menial labor, repetitive drawing, pinning or sewing points to labor as a critical yet arbitrarily valued element within capitalist modes of production. Labor is the force that cleans up large spills to give order to the unmanageable. And labor is what drives and forms high end couture garments only accessible to very few.
Excess within society manifests in different ways and offers inspiration for creative work. Current work offers an opportunity to engage in contemporary consumer culture by researching specific grooves within societysystems of control meet unrestrained excess. Polluted waterways and beaded crystal garments find their way into and clash together in recent work. Uncontained oil spills show this excess of society and labor force (in this case the cleanup crews) work as a way to contain something that is often unmanageable. This work borrows from these moments when society shows its fullnessits unbridled opulence and its exaggerated overabundance then refashions these developments into concrete visual forms that morph between cultured sophistication, industrial work and gaudily dressed up camp."
Io Palmer was born in Hydraa motor-less Greek island off the coast of the Peleponesse. She grew up amongst the donkeys, the fishes, the clear blue Mediterranean sea and the jazz music her parents listened to.
Through depictions of cleaning products, laborers' garments, and various other industrial and domestic forms, Palmer explores complex issues of class, race and identity, in particular the impact of society on the individual. Trained originally as a ceramicist, she uses a variety of processes and materials including fabric, steel and sound.
Palmer has been featured in several national and international exhibitions including Working History at Reed College in Portland; Hair Follies at Concordia University in Montreal; Inside Out at the Baltimore Clayworks and a solo exhibition at The Art Gym at Marylhurst University in Oregon. She has participated in several residencies including the Sanskriti Foundation, New Delhi; the Santa Fe Art Institute; Art Channel in Beijing and the Ucross Foundation in Clermont, Wyoming. Io recently received an Idaho Commission on the Arts Grant (2013) and was selected to participate in the upcoming Dak'Art 2014, the 11th Biennale de l'Art African Contemporain.
She holds a BFA from the Tyler School of Art in Philadelphia and an MFA from the University of Arizona in Tucson. Io is currently an associate professor at Washington State University, Pullman, WA.
|March 28 to May 24, 2014
In his first exhibition in Canada, Ley Fuga introduces the video work of Mexican artist Edgardo Aragón. A native of the southern state of Oaxaca, Aragón uses three generations of his own family as well as the landscape itself as protagonists in poetic reenactments of rural life under narco rule. Oblique yet harrowing in their elegance and restraint, these videos function as microhistories encapsulating familial narratives and oral histories situated in the spartan aesthetics of the countryside while eschewing the stereotypical visual violence of necropolitics.
In Efectos de Familia, Aragón's younger male family members perform a series of actions that quickly and cumulatively reveal themselves to be re-enactments of traumatic historical events"a series of small exercises exploring masculinity and the power relationships that exist in Mexican society"boys miming chicinarcos emulating the infinitely expanding vocabulary of death in the cartels' perverse lexicon of crime and punishment. The dislocative properties of power imposed on a powerless landscape frame La Trampa, a three-channel installation that features a split focus rural vista, overlaid with the performance of a lost but resurrected corrido commemorating the 1979 massacre by Mexican federales of peasants caught harvesting marijuana. In the video, Aragón sends a small airplane over these locations like a ghost, while the camera lingers on the remains of another that never made it out. Matamoros feels like a road moviea picturesque travelogue, punctuated by security checkpoints, from the tiny town of Otumba to the Texas border. The narrator, Pedro Vasquez Reyes, gradually reveals his story as a drug mule hauling marijuana and cash in his VW, and his subsequent arrest and lengthy incarnation in Tamaulipas. That Reyes has undertaken this criminal enterprise as a means to support his family becomes particularly resonant when we learn he is a pseudonym for the artist's father.
Ley Fuga ("the law of flight" or simply "vanishing act") is an archaic term for a type of extrajudicial execution commonly used during the Mexican Revolution, wherein a prisoner is shot in the back while his captors simulate his "escape." In this eponymous work, Aragón constructs a symbolic suicide as a man removes his shirt, drapes it on the mast of a small raft in a stream and, as it begins to drift out beyond his reach, fires on it. Describing his output as "the dismembering of my own history, my family, my village, my origins which lead to a deeply pessimistic vision that is borderline nihilistic despite the visual poetics of the work," Aragón nonetheless reveals political and economic realities: occult unsung histories which the power elitepoliticians and narcotraficantes alikewould prefer moulder, unremembered and undisturbed.
Edgardo Aragón (born 1985) received his B.A. in Fine Arts from ENPEG la Esmeralda, Mexico City. His work has been featured in solo exhibitions at institutions including Museo Universitario de Arte Contemporaneo (Mexico City), MoMA P.S.1 (New York) and Luckman Gallery (Los Angeles), as well as group exhibitions including Resisting the Present, Musee d’Art Moderne de la Ville de Paris, Disponible: A Kind of Mexican Show, San Francisco Art Institute, Historias Fugaces, Laboral Centro de Arte Gijon and El horizonte del topo, Palais des Beaux Arts, Brussels. Aragón's work was included in the 3rd Moscow Biennial of Young Artists, the 12th Istanbul Biennial, and the 8th Mercosur Biennial. His films have been screened at festivals in Werkletiz, Marseille and Mexico City. He lives and works in Oaxaca and Mexico City.
Deluge gratefully acknowledges the support of the British Columbia Arts Council and Proyectos Monclova, Mexico City. Ley Fuga is co-presented by Diluvio Arte e Ideas, Mexico City.
|January 31 to March 8, 2014
fallen and found
"I remember a time when an exhibition was being discussed with Ad Reinhardt, the wonderful American abstract painter of what ultimately were almost completely black paintings. And Ad Reinhardt wanted to put a white wooden stanchion in front of his painting, because it was subject to a lot of public abuse, fingerprints and stuff like that. And the other nine artists in the show were sculptors, and we were joking with Ad Reinhardt, saying he was trying to become a sculptor, with his protective stanchion, and Ad said 'Sculpture is what you trip over when you back away from a painting to look at it.' And I immediately 'Well, when you turn the lights out, Ad, the painting disappears, but you still trip over the sculpture!' Well, you could almost say everything's made of light. But all the materials in the world have different colours, and different chromaticisms, and it has many other properties, too. Just as we say that a painter is a 'colourist', I think of myself as a 'matterist.' I try to deal with the varieties of matter in the way that a good painter deals with varieties of colour." Carl Andre (interview by William Furlong, recorded May 1995, from Audio Arts Magazine, Volume 16 Number 1, 1996)
In fallen and found, his fourth exhibition with Deluge Contemporary Art, Daniel Laskarin returns to a decades-old preoccupation with the role of the sculptor as matterist. In the eponymous works which comprise the show's title and stack, as well as newer works from an ongoing narrative of small wall pieces, Laskarin seems to have reached the apotheosis of the considered haptic possibilities contained in the materiality of his artistic output. In fallen, a 7' rectangular log of steel has been aerated by double-ought buckshot to perform a kind of gaseous release of ineffable matter -- whateveritis bubbling forth from its metallic containment, perhaps lighter than air. Although suggestive, from a distance, of something ancient and built up from accretion, fallen defies this assumption through the discreet feet which raise it slightly off the ground: resting on the opposite of its laurels for a current appraisal of its formal properties.
In awkward yet symbiotic relationship to each other, the twin effigies of welded and folded aluminum that comprise found are described by Laskarin as "odd things, neither resolvedly volume nor surface." Despite the unpretentious surfaces -- sandblasted on the interior, random orbital sanded on the exterior -- their situationally compromised but materially uncompromising planes allow for a languid and alluring consideration of inside-ness and outside-ness, equally seductive possibilities in Laskarin's hands.
Playing off the opacity and immateriality of photographic images, Laskarin has created a device for viewing them. The photographs themselves reside inside stack, but the sculpture is neither archival nor strictly speaking, storage. Above a low metal plinth, a small tower of openings hold the photos (which are happy to be disordered). Atop stack, the "roof" of this structure operates as a photographic viewing platform. The action of removing an image and placing it on the sculpture to inspect is instinctive. Through this simple intuitive gesture, the sculptural object passes the test of value, requisite but naturally integrated into the bodily experience of looking and conceptually capacious enough to contain worlds of permutable experience.
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. He has exhibited extensively in Canada and the United States, as well as in the UK, France, Algeria and Brazil. He currently teaches sculpture at the University of Victoria, where he is Chair of the Department of Visual Arts.