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|November 10 to December 9, 2017
In Remnant, Victoria-based sculptor Grant Watson explores the causal relationships between the objectness of toys, the adoption of devices into childhood playtimes and the evolution and reinvention of the role of maker as new technologies like 3D printing inevitably reposition the status of the handmade much like photography influenced painting and then digital technologies impacted photography. Comprising 16 life-size articulated dogs cast in cement, plaster and other nontoxic additives laboriously created over 18 months and modelled from plastic toys that are now obsolete, Remnant harnesses the dichotomies inherent in symbolism and metaphor to create malleable narratives between the popular and arcane; declining inventories indexed to resurgent obsolescencethe shifting and relative value of loss and gain.
In addition to making work which has appeared in numerous group and solo exhibitions, Grant Watson is a shipwright and pattern maker who has fabricated work for a number of artists and replicated artifacts for the Royal BC Museum. He graduated from the University of Victoria with honours in 1993.
|October 14 to 28, 2017
two channel video installation | 11:00 | USA | 2017
In this contrast of natural and artificial portals, Morales considers the question “Are we food for the moon?” How much control do we, as individuals or as a collective, have over the mechanical forces of nature? Can we program ourselves to be free from lunacy?
The natural portal shows the otherworldly landscape of Glass Mountain, a pile of sharp black obsidian rocks, and the volcanic Lava Beds National Monument in Northern California, site of the Modoc War. In the other, a man opens a Pandora’s box which leads to dreams with buggy underworlds of taxidermied insects including the mighty dung beetle. Shot on Super 16mm film, with digital SLR stop-motion animation and found footage. Additional sounds provided by Kwisp.
Mirka Morales is a San Francisco-based artist originally from Puerto Rico. Her work is driven by a fiercely anti-colonial spirit, although it could also be described as personal and only indirectly political. Working in 16mm film and digital formats, she uses a variety of cinematic techniques including animation and live action to explore lucid dreams through reality and humour from an intimate, poetic, DIY perspective. Morales received an AB in Visual and Environmental Studies from Harvard and an MFA from CalArts. Her work has been screened and exhibited at Anthology Film Archives, Deluge Contemporary Art, Sundance Film Forward at the Museo de Puerto Rico, Museum of Contemporary Art Detroit, the Chicago, Boston, Oakland and Portugal Underground Film Festivals and at Burning Man.
Meet Morales for an introduction to Glass Mountain and other works at 3pm Saturday, October 14. Refreshments served.
|October 13 to 28, 2017
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.
|in the Deluge transom window | WedSun, dusk10pm:
Some of the Sensations
single channel video installation | 4:00 | Hungary | 2017
Some of the Sensations examines the relationship between 1950s movie gimmicks and contemporary blockbusters through the synaesthesia of classical abstract cinema.
Péter Lichter is a Hungarian experimental filmmaker. He studied film history and theory at ELTE University, Budapest. Lichter has made found footage abstract films and lyrical documentaries since 2002. His films have been screened internationally at festivals and venues including Tribeca Film Festival, Rotterdam IFF, Jihlava IDFF, goEastWiesbaden, Cinema 16 (NY), EXiS (Seoul), CROSSROADS (San Francisco), VideoEX (Zurich), Festival of (In)appropriation (LA), Klex (Kuala Lumpur), Flex (Florida) and Antimatter. He is co-editor of the film journal Prizma and his first book on experimental cinema, A láthatatlan birodalom (The Invisible Impire), was published in 2016. Peter frequently collaborates with composer Ádám Márton Horváth, sound designer Péter Benjámin Lukács and artists like Loránd Szécsény-Nagy and Bori Máté. His first feature length horror film, Frozen May, will be released in 2017.
|in the Deluge entrance foyer | Gallery + Festival Hours:
Day and Night
single channel video installation | 5:10 | USA/South Korea | 2016
The film is the visual meditation of landscapes.
The film tries to capture the interaction between me and landscapes before this interaction becomes the language.
The film visually represents phenomena that surge up between me and landscapes.
This visual representation is the research about things before language.
Mooyoung Kim was born in Seoul, South Korea. He received his BFA and MFA in Film/Video from CalArts in California. His work has screened and exhibited in festival and galleries in Frankfurt, Los Angeles, Barcelona, Seoul, Kathmandu and Athens. Kim lives and works in Seoul.
|at Legacy Art Gallery, 630 Yates St | WedSun, dusk10pm
single channel video installation | 5:15 | Canada/Senegal | 2016
Saint-Louis (Ndar in Wolof) is a city of contrasts with its complex history, colonial past and swelling youth population desiring to create their own stories. Framed by the Senegalese river, the narrow island (just two kilometers long and four hundred meters wide) is connected to the mainland by a single bridge. The defined perimeter of the city and its architecturefrozen in timeis both comforting and claustrophobic, enclosing and encircling those that live there.
The Warriors explores globalized youth culture as it plays out in the streets of the island of Saint-Louis, Senegal. Focusing on the in-line skate group KRONIC Roller Family, the work, choreographed by KRONIC members, records Abrame, Abou, Theirno and their peers as they perform against the backdrop of the city. In the video, the teens circle the island, looping through the streets as they mark out their territory while sounds of the city mix with the strikes of their wheels cutting against the road. In their performance, the group blends elements of local and imported culture to perform their hybrid identity and sub-culture that is uniquely Saint-Louisienne.
Kathleen Hearn is a Toronto-based artist working in video, installation, photography and performance. She received a BA from the University of Guelph and an MFA from Concordia University. Her practice involves spending time in communities and rethinking ethnographic curiosity as a culture of exchange. She often works with teens to give voice to their own unique perspectives and explores the individual in relation to universal themes of entering adulthood that dominate popular culture. Hearn’s work has shown across Canada and in Argentina, Iceland, Senegal, Benin and Nigeria. Hearn is a professor in Digital Media in the CCIT collaborative program at Sheridan College and the University of Toronto Mississauga.
|at Ministry of Casual Living Window Gallery, 764 Yates St
single channel video installation | 14:10 | Canada | 2017
In Palmerston Blvd. Dan Browne invites the audience into the intimate space of his living room in this portrait of a bay window recorded over the course of a year. Gradual shifts in the interior and exterior environments mark the passing of the seasons, a slow dance of objects and light juxtaposed by the rapid speeds of bodies and the urban landscape, revealing the processes inherent in all things.
Dan Browne is a filmmaker and multimedia artist whose works explore patterns, nature and sensory perception. His films and videos have been presented at over 100 festivals and venues internationally, and have received multiple awards. Browne’s practices includes live performances in collaboration with musicians and publicly commissioned media installations in Toronto and Vancouver. Browne has collaborated with Peter Mettler, Michael Snow, Carl Brown and R. Bruce Elder, as well as members of the Loop Collective. He lives and works in Toronto, Canada.
|at the fifty fifty arts collective, 2516 Douglas St
Oct 13 to Nov 5 | hours: thefiftyfifty.net
matters of duration
matters of duration is a video installation exploring the materiality of trauma and the simultaneity of joy expressed through images of everyday life. Gathered from analogue film and mobile devices, the images are projected onto storefront windows. One window features a Super 8 film of a dancer; the film is repeatedly run through a projector, begging the question, how long can the material body survive the markings, scratches and cuts wrought by the machine before breaking? In the second window a loop of digital images is superimposed by a soundscape featuring interviews navigating ways of looking and seeing that call upon themes of afrofuturism and hauntology. Together these works elicit a figuration for raced and gendered experiences through analogue and digital technologies.
A crucial element of matters of duration is an exercise in collaborative destabilization and restructuring of images and narratives that populate dominate culture. As a part of this work, Craig will host a DIY mini-projector workshop culminating in a participatory screening of video image collages created by attendants. See thefiftyfifty.net for more details.
Kemi Craig is a contemporary analogue artist living and working in the traditional territories of the Lekwungen and WSÁNEC peoples. A sixth-generation American of African ancestry raised in the Appalachian mountains of North Carolina, her work explores the contingencies of identity through raced and gendered bodies. Working through projections of Super 8 film, 16mm handmade animation and cellphone video, she interrogates agency from the positionality of looking as well as being looked at.
matters of duration is a co-presentation with the fifty fifty arts collective.
|at Audain Gallery, UVic Visual Arts Bldg | MonFri, 10am4pm
single channel video installation | 7:00 | Austria | 2016
A mountain range on the horizon separates the cloudy sky from the dusty desert soil of El Mirage Dry Lake. In the long shot, the gaze shows a detail of the Californian Mojave landscape, whose static panorama forms the referential and also material background for Circular Inscription. In a performative tracing of a vehicle’s path, Lukas Marxt initiates and documents in this cinematic work, the process of inscription that gives the film its title: a seemingly unmanned white car rolls into the image and begins to spin in eccentric rounds in the middle of the dried out lake. The vehicle draws its circles uniformly, from inside to outside, the squealing of the tires continuously rising. In doing so, the tire tracks furrow spiral-shaped in the desert surface, leaving behind marks in the soil of this culturally imbued landscapea favourite shooting site for Hollywood films and advertisements, a popular venue for car races and their media exploitation, a site tightly bound to the art-historical movement of Land Art.
Lukas Marxt lives and works in Cologne, Germany and Graz, Austria. Marxt studied geography and environmental science before switching to audio visual studies at the Art University in Linz. He also attended the Faculdade de Belas Artes de Lisboa at the Institut Arte Multimédia before post graduate studies at the Art University in Cologne and HGB Leipzig. Marxt is the recipient of several fellowships and artist grants, including START Stipendium for Video und Media Art from the BKA, Vienna; Forum Stipendium, Linz; Diagonale Preis Innovatives Kino for his work High Tide; LENTOS Kunstpreis, Linz; Medienkunstpreis Marl, Germany. Marxt’s work has been exhibited in numerous group and solo shows worldwide.
|September 8 to October 7, 2017
ruins and reclamation
Daniel Laskarin is a sculptor and educator working out of Victoria BC. After a career as a helicopter pilot/engineer, Laskarin turned to fine art, completing an MFA at UCLA in 1991. His work reflects his experiences in the aviation industry: combining industrial forms with elements of minimalist sculpture, material exploration and the lyrical sensibility of visual metaphor. Laskarin describes his work as means for thinking through the world, a process by which he might give sensory experience to consciousness. Objects and materials, combined and manipulated, form things that find their own order in a condition of disorder and yet refuse that which orders everything. Independent materials congeal to create an interdependent network, resulting in unique forms that generate a complex and shifting subjective experience.
His diverse media incorporates photography and video, optics, robotics systems, installation and sound. He has been involved with set design, public image projections and large-scale public commissions in Vancouver and Seattle. He has exhibited in Canada and internationally, and teaches at the Department of Visual Arts at the University of Victoria in Western Canada.
|July 28 to August 26, 2017
Dark Sand Asks Why You Talk So Fast
When you ask the painting “What do you want?” you are not asking, “What colour do you want right now, next to this one?” (Although you might think you are.) I asked this question, and this is what the paintings answered:
We want to tell you about a dream where we can lie on the rocks, in a place where there may be ravens, and a sailboat. We might be in the rain in a boat, or a bathtub in the ocean. We want to be a lighthouse in the storm, to ride the waves, and to send signals to the circle. We may keep fires burning so you know there are others out there. We will protect what is dormant, let it fallow, germinate and rest. We want to talk to Picasso in Morocco, to feel the sun, to speak in french with the other dancers and not have any worries. To be mad. To transcend time.
In this work I am exploring a conception of meaning that ties back to Matisse, and the disconnection of meaning inherent in materials or concepts. He said, “In my way of painting, yellow does not mean sun, and blue does not mean sky.” This is obvious and very simple, but it describes a separation from representational thinkingeven in its early modern stages where painters are still ultimately painting tableaux. I'm trying to pull this all apart, I want to be able to move on from Matisse, but I'm finding it hard. One hundred years is in fact not that long. I'm still questioning how paintings currently relate to any systems of meaning at all, aside from the economic ones. The ways they make meaning are multiple, and not only circumstantial.
The paintings in Dark Sand Asks Why You Talk So Fast are an ungainly choir, all with distinct parts. I have been interested in using brushes that are too small for the amount of canvas they are meant to cover (at least in modern terms). This constraint allows for little dexterity and detail, or any ease of action or gesture. Using too-small brushes feels more like scribbling or drawing than painting. It's the exact wrong amount of detail orientation, like reading the news on your phone. The choir sings from across a gulf. Some of them mumble, some hum. Their voices vary from soft and low to hysterical. Speaking isn't easy for them. Listening comes naturally.
Megan Hepburn, July 2017
Megan Hepburn received her MFA from Concordia University in 2010 and BFA from Emily Carr University in 2005. She was shortlisted for the RBC Painting Competition in 2015 and 2010 and won the Joseph Plaskett Award in Painting in 2010. Hepburn's work has been exhibited across Canada and in Europe since 2006, and published in journals including The Capilano Review, AAB and The Benefit of Friends Collected. Recent exhibitions include A Terrible Signal at Access Gallery in Vancouver and Painting Enquiry at the Salzburg International Summer Academy of Fine Arts, Austria. She is currently based in Vancouver, Canada.
|People People, Megan Hepburn, 2017, oil on canvas, 20x26".
|June 24 to July 22, 2017
Dana Berman Duff
Janis Crystal Lipzin
A media installation comprising five pieces that investigate concepts of environmental psychology and socio-architecture, Unmade Spaces uses a variety of media, techniques and scales to refute determinism and reclaim bodily experience in the built environment.
Thomas Draschan studied at the Academie of Fine Arts in Frankfurt and at Cooper Union in New York. He works with video, film and collage. The re-combination of existing images into a new, condensed and enriched form is one of his main concerns. Draschan has exhibited widely in Europe and USA since 1998, and has been the recipient of numerous awards for his films, which include documentaries on Viennese Actionist Herman Nitsch and music videos for New Order.
Dana Berman Duff lives and works 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 numerous private collections. Her works in small-format film and video have been screened at Toronto International Film Festival, International Film Festival Rotterdam, Edinburgh International Film Festival, 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.
Zachary Epcar is a film and video maker based in Oakland, California. His work has shown at the New York Film Festival Projections, Ann Arbor Film Festival, San Francisco Cinematheque’s Crossroads, Les Rencontres Internationales Paris/ Berlin, Images Festival and Rotterdam, Edinburgh and San Francisco International Film Festivals. Epcar is co-organizer/co-programmer of Light Field.
Janis Crystal Lipzin studied painting and photography at Ohio and New York Universities and received her MFA in Film from the San Francisco Art Institute. She taught Film and Interdisciplinary studies at the San Francisco Art Institute from 1978 to 2009, where she served as Chair of the Film Department, and before that directed the Film/Photo Program at Antioch College. Lipzin's film and photo works have been featured in exhibitions at the Whitney Museum, Museum of Modern Art, the New Museum, Institute of Contemporary Arts in London, Centre Pompidou, Berkeley Art Museum, Corcoran Gallery of Art, Neuberger Museum of Art and Kunstmuseum Bern. She has been the receipient of three Fellowships from the National Endowment for the Arts, purchase awards from the Carnegie Museum of Art, Rene di Rosa Foundation and Kramlich Collection.
Klaus Pamminger is an Austrian artist and film-colourist living in Vienna. His artistic practice includes photography, film and sculpture across different media which often converge in sculptural installations. A key theme of his work is the exploration of space as both architectural and social dimension spatial and temporal reference levels merging into each other.
|Top to bottom:
Wotruba, Thomas Draschan, 2014, 6:00
Catalogue Vol. 2, Dana Berman Duff, 2015, 8:44
Return to Forms, Zachary Epcar, 2016, 10:00
De Luce 2: Architectura, Janis Crystal Lipzin, 2013, 8:30
Notes on Mackey, Klaus Pamminger, 2015, 3:44
|March 24 to April 22, 2017
Birds of Paradise
Birds of Paradise is a video installation that tells the story of a near-future, post-energy crisis world, one in which pole dancers become symbols of the human struggle for resources. Set amidst a series of energetic landscapes, dreamy narration and kinetic props, their performances point to a seductive yet frustrated vision of paradise. This work features performances by Sydney Southam, Jiles Barrett and Leiah Engel, narration by Pia Shandel, costume design by Megan Veaudry and additional aerial footage by Robert Krogh. Co-produced by Sydney Southam and Justin Muir. Directed, filmed and edited by Lauren Marsden.
Lauren Marsden is an artist, teacher and editor based in Vancouver, BC. She produces films, performances and GIFs that are developed collaboratively with a range of professionals and performers. She has recently exhibited her work at CSA Space in Vancouver, The New Media Gallery in New Westminster, Alice Yard in Port-of-Spain and the Trinidad + Tobago Film Festival. In 2015 she was a Visiting Tutor and Artist-in-Residence at Quest University and she currently teaches Video Art at the University of Victoria. She is also the Founder and Editor of Decoy Magazine, a Vancouver-based publication of art and writing.
|Lauren Marsden, Birds of Paradise (production stills), 2017.|
|February 3 to March 4, 2017
Everything is Being Perfected
My current body of paintings explores tensions between utopic and dystopic visions. I inquire into notions of human happiness and perfectibility, the creation of Edenic paradises, disruption and dissolution of society, alienation and consumption, nature and culture, the monstrous and the beautiful, myth-making and storytelling. I am especially drawn to the title of Paul Gauguin’s painting "Where Do We Come From? What Are We? Where Are We Going?" as evoking crucial questions for contemporary examination. I take imagery and inspiration from literature and film, along with art historical, historical, contemporary and personal sources. Drawing on an array of source material, I create combinations and layers of digitally edited compositions that form the basis for beginning a painting in oil. Using the qualities and possibilities of paint, I seek to convey a visceral sense of place and time to suggest what is simultaneously familiar but strange. Fragments of the real and unreal merge to create possible futures that have potential to evoke the dangers inherent in thinking that human ingenuity and technology can create a perfect society, but that might also hint at possibilities of a new beginning. I see my painting process as a form of inquiry in which I am attempting to grasp and create a sense of the utopic and dystopic contradictions that pervade our lives at this time. My narratives are ambiguous and open, leaving the viewer to create their own story and meaning. Merging fragments of the present, the past, and an imagined future I hope to create a fictitious world, a “no place” but one in which we might find something of ourselves and our world.
Neil McClelland is a Canadian artist originally from Quebec and currently located in Victoria, British Columbia. He received his MFA from the University of Victoria in 2014 and is a 2016 Elizabeth Greenshields Foundation grantee. He has exhibited in artist-run, public and commercial galleries across Canada and teaches at Vancouver Island School of Art and sessionally at the University of Victoria. In his paintings, McClelland frequently engages with art historical conventions and traditions, intentionally disrupting their boundaries as he seeks to understand their meaning in an increasingly mediated and troubled world.
Neil McClelland wishes to thank The Elizabeth Greenshields Foundation for its financial support.
Times Colonist Article