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|November 27 to December 19, 2009
Suzanne Bean | Ali Bosworth | Megan Dickie
Jim Gaines | Chris Gillespie | Brian Grison | Daniel Laskarin
John Luna | J McLaughlin | Mary-Lynn Ogilvie
Robert Randall | Shawn Shepherd | Caleb Speller
Nathan Veldhoen | Robert Wise | The Woodpile Collective
Curated by Collective
In the exhibition [re]Gifted, the curatorial collective little rubber duck has asked participating artists to reconsider and repackage the seasonal art object. Using as a point of departure the diseconomies of scale inherent in art production in relation to this season of über-consumption, [re]Gifted is a response to the culture of excess and redundancy in the midst of the collapse of dwindling resources and collapsing financial institutions.
|October 30 to November 21, 2009
Dan Bernyk | Dickson Bou | Thomas Chisholm
Lindsay Delaronde | Laura Dutton | Rebekah Johnson
Kyle Miller | Megan Press | Andrew Silk | Emilio Williams-Portal
Curated by Collective
A showcase of raw talent, this exhibit brings together a group of artists, who despite their varying skills and interests are united in their obsession with material and process. Each artist chose to work with a specific medium -- paint, photography, wood, glass, metal -- approaching it in a strategic and systematic fashion. As a result, they have succeeded in creating new forms that force the viewer to look at the familiar in fresh and unexpected ways: raw reveals a transformation of substances from our quotidian lives into objects of beauty and value.
|October 10 to 17, 2009
Cloud Cuckoo Land
Erik Moskowitz & Amanda Trager
Video Installation as part of the Antimatter Film Festival
A collaboration between Erik Moskowitz and Amanda Trager, the title of this piece is taken from Aristophanes’ play The Birds. In the 4th Century BC, the notion of utopia was already in playand already in doubt. The film’s narrative encompasses a family’s move to a contemporary commune. Although these “intentional communities” are usually progressive in outlook, they are in other ways disturbingly like gated ones. The central character, after years of fantasizing about the ideal way to raise her child, with fixed, romantic notions of the “best” way to live, is confronted by her own intolerance and inability to integrate into the community.
Cloud Cuckoo Land explores the limits of the utopian ideal of a Lacanian, pre-mirror identitywhere a fluidity of boundaries proposes a “You” that cannot easily be distinguished from an “I.” The prescribed boundary between art space and cinema space functions as a model of the larger issue whereby artificial and arbitrary boundaries are used to define conventions of personal and societal comfort and safety.
Erik Moskowitz utilizes the relationship between cinema space and gallery space as a point of departure for gallery works and films. His work has been shown at Goethe Institute, Mumbai; Carnegie Melon University, PA; Momenta Art; Sara Meltzer Gallery, Freight and Volume Gallery, Holiday, NYC; Impakt Festival and Kurzfilmtage Oberhausen.
Amanda Trager explores narrative in different visual media, including painting, sculpture, video and installation. Her work has been shown at The Brooklyn Museum; The Brooklyn Academy of Music; Momenta Art; Feature Gallery; K.S. Art, White Box Gallery, NYC; The Prague Contemporary Art Festival.
Both live and work in New York City. Artists' website.
|Also at Deluge (stairwell video installation)
A single channel video installation that appropriates and reworks William Shatner’s iconic scream from Star Trek II: Wrath of Khan. Martinico’s KHAN playfully transforms a four second clip into an oscillating series of hypnotic loops, constructing an extended and tensely focused meditation on filmic performance and digital gesture.
Daniel Martinico is an artist and filmmaker living in Los Angeles, CA. His videos have exhibited widely, including at venues such as Machine Project, the Los Angeles County Museum of Art, MOCA’s Geffen Contemporary, Art in General (New York), VideoEx (Switzerland), Vidarte (Mexico City), and the Rotterdam and Oberhausen International Film Festivals, among many others. He currently serves as visiting faculty in the Communication Department at the University of California, San Diego.
|September 4 to October 3, 2009
sticks and stones
The works that comprise sticks and stones are a result of the artist's ongoing exploration of the formal and psychological properties of objects. Laskarin's sculptural practice is notable for his instinctual need to construct things as perfectly as possible with a constant consideration for their mutable states. In this exhibition, sculptures exist alongside images -- all retaining a profound autonomy -- while Laskarin fuses the work's aesthetic range and diversity into a continuum of narratives, both fractured and related.
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.
|Friday, September 11, 2009
Hands & Knees Art Crawl
Deluge will be open 6 to 10pm the evening of Friday, September 11 for the Hands & Knees Art Crawl. Other participating galleries and organizations include Vancouver Island School of Art, Victoria College of Art, the Fifty Fifty Arts Collective, Ministry of Casual Living and Community Arts Council of Greater Victoria.
|July 3 to August 1, 2009
Last Drop First Flame
Wozny exhibits a series of site-specific drawings and sculptural installations which reference the gallery's history as Victoria's first firehall. The artist's work harnesses and considers the contradictory and ambiguous nature of fire and water to create an elemental metaphor for creation itself where the idea of the "Prozesshaftigkeit" of natureas something from which arises a constant state of becomingallows for an adaptive mutability of the mediums themselves.
Jessica Wozny is a German-born artist who has been living and working in Mexico for the last 13 years. She has exhibited extensively internationally and throughout Mexico, most recently as part of Paréntesis: 17 años de trabajo, Museo de Arte Contemporáneo de Oaxaca, (MACO), and NOW. Transformation. Spaces at Casa de Lago in Mexico City. With Luis Hampshire, she is the cofounder of Ediciones Plan B, a curatorial collective based in Oaxaca, Mexico.
Wozny is represented by Manuel Garcia Arte Contemporaneo, Oaxaca, Mexico.
|May 15 to June 13, 2009
These sculptures, composed of pre-fabricated clothing morphed with nylon spandex forms, hover between the poles of human regeneration and dissolution, suggesting working organs and growing malignancies co-existing in the realm of fashion and embellishment. Sensual and chromatically intense, Doore's work aims to explore the mania of consumption as it relates to the creation of the selfexternal forces that conspire to make us both more, and less, human.
Sandra Doore received her BFA from the University of Victoria and an MFA from San Diego State University in 2007. For the past few years her interest in consumer culture and how it affects our sense of self has influenced her art making. Doore has exhibited her sculptures nationally and in the US, most recently at Comox Valley Art Gallery, Open Space in Victoria (2008) and Art Produce in San Diego. Doore has also undertaken curatorial initiatives in the form of exhibition exchanges between Victoria and San Diego. Currently she is an instructor in the Department of Visual Arts at the University of Victoria and at the Vancouver Island School of Art.
|May 1 to 9, 2009
Katie Lyle’s exhibition is a focused study of the female figure, an unsettling combination of the individual and the stereotype. Her figures both indulge and make strange the assumptions and narratives they incite.
The artworks are not objective representations of specific people, but rather a way of seeing that combines subjectivity, role playing, chance and imperfections. Her deliberately feminine portraits are detailed studies of makeup, hairstyles, pose, clothing and gaze.
Lyle’s work is built up of disjointed figures and sources that she smooths together in order to construct composite portraits. The paint blurs and botches the real with images of celebrity, Internet, film and art history.
Katie Lyle is from Kingston, Ontario and received her BFA from Concordia University in 2005. This exhibition is the result of two years of study in the MFA program at the University of Victoria.
|Thursday, April 16, 9pm
Parallel Paradises / Everyday Discrepancies
Market Square Courtyard, 560 Johnson St | FREE
Film screening as part of Assume Nothing: New Social Practice
Antimatter Film Festival and Deluge Contemporary Art present a screening of international artists' films in conjunction with the Art Gallery of Greater Victoria's Assume Nothing exhibition, focusing on relationalism and public/private interaction in contemporary media arts. These two programs (total 95 minutes) feature recent work by artists from Portugal (Edgar Pêra), Spain (Manuel Saiz), the UK (Roderick Coover, Tim Shore, Gary Thomas, Anaîs Bouts), Germany (Karl Tebbe), Mexico (Roberto López Flores), the United States (Arielle Falk, Erik Moskowitz, Yoshie Sakai) and Canada (Nelson Henricks, Sepideh Saii, Maya Seuss, Deco Dawson). Curated by Deborah de Boer and Todd Eacrett.
Parallel Paradises: Japan, Manuel Saiz, 2006
The Theory of Time Here, Roderick Coover, 2007
|April 10 to 25, 2009
RPM: The Lost Art of LP Covers
A Fundraising Show & Sale
The art of the record sleeve, remixed and remastered by more than 70 artists.
Grand Funk Railroad, Steven Rayner, polaroid photogram, 2008
|March 7 to April 4, 2009
For Aurora Textualis Hiebert has electrocuted pages from books about werewolves, speaking in tongues and Atlantis, as well as philosophy texts by Roland Barthes, Alfred Jarry, Antonin Artaud and Julian Jaynes. In this body of work, the artist has used Kirlian photography, a process that involves exposing objects to a high-voltage, low-current electrical charge. This amplified voltage results in a coronal electric discharge (also called “bio-field” or “aura”) from the object, which is documented on large format colour film. Rejected by the scientific community because of unpredictable and unverifiable results, Kirlian photography is often culturally romanticised as visual proof of inner energy. And, while there is basis for this interpretation, the process itself is also fundamentally violentelectrocuting objects for the sake of image generation. In this, Aurora Textualis explores the complexities and paradoxes of this process as both representation of spiritual life and token of electrified death.
Ted Hiebert is a Canadian visual artist and theorist. His artworks have been shown across Canada in public galleries and artist-run centres, and in group exhibitions internationally. Recent exhibitions include Mediated Selves (Two Rivers Gallery, Prince George, BC), Erosions 2008 (Siauliaia Art Gallery, Lithuania) and Chroniques de l’autoportrait (La Salle Augustin-Chénier, Ville-Marie, QC). Recent collaborative projects include Dowsing for Failure (with Doug Jarvis, Open Space, Victoria, BC) and the 2008 World Telekinesis Competition (Deluge Contemporary Art, Victoria, BC). His theoretical writings have appeared in The Psychoanalytic Review, Technoetic Arts, Performance Research and CTheory as well as in invited book chapters, catalogues and exhibition monographs. Hiebert is a Postdoctoral Research Fellow at the Pacific Centre for Technology and Culture at the University of Victoria.
|January 23 to February 21, 2009
Lovely To Look At
Beauty secrets of long-dead starlets. Your Poems Set to Music. Suddenly Something Lovely. Drink me. Exquisite. Only the Best. Everything you ever wanted. For Your Pleasure. There is no such thing as a happy accident.
Lovely to Look At marks McLaughlin’s return to the medium of painting after a five-year hiatus, exposing the artist’s ongoing obsessions privileging message over medium. A self-described “Font Queen,” McLaughlin is compelled by the abstract and occult qualities and the fading power of nostalgia to be found in the castoff pseudo-functional signage of consumer society.
Literally and figuratively scraping away surface information to reveal the layers of meaning underneath, McLaughlin pushes her aesthetic source materials to reposition their textual content (“All we need is Love,” “Don’t Be Normal”) and short-circuit their “power” as aphorisms.
Employing a wide range of mediums within an interdisciplinary practice, McLaughlin is known primarily for her collaborative and performance work. She received her BFA from the Emily Carr Institute of Art and Design in 1997. This is McLaughlin’s third solo exhibition with Deluge Contemporary Art, following Three Nails and a Hammer (1994) and A Prize in Every Package (1997).