Satellite Gallery runs an internship program that often enlist students from Emily Carr University of Art and Design (ECU). Their enthusiasm and interest in taking on different roles in the field of art not only amaze us but also bring a source of energy that stimulates the gallery. Jane So-Jin Kim and Emile Rubino are two of our current interns who have adopted the multidisciplinary approach to art. The followings are their reviews of each other’s work as artist and curator at ECU.

Emile Rubino’s Photography Books Index
By Jane Sojin Kim

Fall is here. Trees begin to shed thousands of leaves, which fall to the ground by a swift gesture of wind. Such a poetic death of one season moving into the next reminds me of the eternal cycle of life. This graceful rupture is also evident in Emile Rubino’s installation, Photography Books Index (2012). The first time I saw this artwork in the library at Emily Carr University, I was mesmerised by the movement of the dangling papers.

Emile Rubino, Photography Books Index (2012)Emile Rubino’s installation, Photography Books Index (2012) on the second floor of Emily Carr University Library.

Emile Rubino, Photography Books Index (2012)Centre detail of Photography Books Index (2012)

Composed of pages from discarded photography book indexes produced in the 80s, Rubino’s installation acts as a collage of past voices echoing the muffled sound of the space. The image of falling papers remind me of the autumn trees. A closer look at the art reveals ambiguous texts: names, dates, and stories hint out a narrative ready to be told.

Emile Rubino, Photography Books Index (2012)Detail of the installation

Rubino’s installation also makes me rethink the nature of photography itself. The blunt image I recall when I think of the word “photography” is somehow always entwined with the idea of death, ghosts, and the past. Once the shutter is pressed, everything remains in the past without any further progression. However, my presence in Photography Books Index is all about movement, progress and flux. I’m immediately located in the past (perhaps in the 80s) yet I’m present in the very moment. Within a work of photography that is forever progressing, I’m in the past that is eternally present. The synesthetic experience of being one with Rubino’s piece is dream-like, where an imaginary landscape translates into a new visual paradigm. I walk around the piece. It follows me as I walk though it; it remembers my movement, trace, and memory. I become a part of the landscape Rubino has created.

Photography Books Index is on view at the Emily Carr University Library until Friday, November 30, 2012.

Particle Collision: A Scientific Poetry
by Emile Rubino

Each of the artworks in Particle Collision is part of a larger dialogue; each and every one of them appears to operate like the atom of a molecule.

Particle Collision at ECU’s Concourse Gallery

Through a red string that crosses the gallery space in multiple directions, linking all of the works together, this exhibition makes us reflect upon the singularity of the gallery space and its intrinsic qualities and effects. With a selection of artists working across different mediums such as painting, drawing, installation and video we are provided with a wide range of expression that both confronts the viewer, and yet forms a kind of visual symphony. The repeated use of patterns present in all the works succeeds in activating the space in an unforeseen manner. The different pieces start to function like a ball bouncing around the space, which would hit one wall and rebound on the next one without interruption. Whether we look at the patches of colour on the paintings by Anson Firth or the less traditional animated video by Conrad Sly, there is always the sense of an uninterrupted flow, a constant fluctuation of all things.

There is an inherent contradiction between the literal stillness of the artworks presented and the way they manage to create a simulacra of movement. In a second viewing this contradiction generates a tension, tightening the space all together. Works like the installation by Haide James, which plays with the boundary between the visible, and the unseen, also creates a sensible poetry within the general restlessness among the artworks in the exhibition. Between art and science, poetry and spirituality, conscious and unconscious, this exhibition could be looked at as a contemporary manifestation of surrealism.

Particle Collision was curated by Jane Sojin Kim in the Concourse gallery at Emily Carr University.

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