by Shaina Marie
Grace Schwindt, untitled (2014)
I stepped into the Contemporary Art Gallery and peered through hundreds of ceiling-to-floor silk ribbons that partitioned the gallery space, separating the cinematic and sculptural components of the exhibition. On one half, you are confronted with a feature-length film installation, Only A Free Individual Can Create A Free Society (2014), in which artist Grace Schwindt reflects on her childhood in leftist Germany by interviewing a leftwing activist shaped by 1960s and ’70s politics. Alongside the film installation stands a sculptural piece created from salt crystals, bronze and ceramic, reminiscent of images within the film. Continue reading
by Ellie Chung
Mail Art Response to Satellite Gallery’s MAINSTREETERS Exhibition
Every once in a while, three galleries in Vancouver’s downtown, Audain Gallery, SFU, Satellite Gallery and Contemporary Art Gallery host a series of afternoon guided tour. Today, we met at Audain Gallery at 1 pm for a tour of Geometry of Knowing Part 2 led by curator Amy Kazymerchyk, 2 pm at Satellite Gallery for a tour of Mainstreeters: Taking Advantage, 1972–1982 led by curators Allison Collins and Michael Turner, and 3pm at Contemporary Art Gallery for a tour of exhibitions by Grace Schwindt and Krista Belle Stewart led by CAG Director, Nigel Prince.
Usually the tour ends at the CAG. But why not a little more? Continue reading
What is this, 20 questions?
We caught Germaine Koh at her studio in Elm Park to ask her a few questions, well, 20 to be exact. This is the inaugural video of a new series by Satellite Gallery: 20 Questions! Continue reading
by Irene Lin
It started on Monday and went till Friday. According to my calculations, the program lasted five days. My math is correct, right? Then why is it that I feel as if I’ve just survived a month-long boot camp? In the greatest way possible, GO8 will exhaust your soul along with your soles. I think I got more exercise last week than I have in the last year, and simultaneously I also think I’ve eaten more doughnuts last week than I have in my entire life. I’m not promising that if you join GO8 next year you will consume your body weight in fried dough, but that’s more or less what happened for me.
by Jason Smythe
Photo by Tim Matheson
I hate clichés, and the one about “stopping to smell the roses” is particularly annoying. But behind every annoying cliché is a kernel of truth, and it wasn’t until I experienced the Sometimes I Think I Can See You exhibit at the Vancouver Art Gallery that I realized this, for the exhibit (which is happening at multiple venues across the city) proves that there is brilliance and art all around us—we just need to take the time to have a look around every now and then.
by Jen Huang
Matthew Monahan, Installation view, (2012), Contemporary Art Gallery, photo: Scott Massey (http://www.contemporaryartgallery.ca/#exhibitions)
Matthew Monahan’s solo show at the Contemporary Art Gallery is an accumulation of his past eight years of work. Upon entering one of the galleries, I approached Datong (2005-2007): a large, rough, wooden figure covered by a glass sheet. Its facial features and use of glitter are an example of Monahan’s attempt at taking an abstract concept and “gradually layering it with skins, stuffing it with organs, [and] sprinkling magic powders on it to make it come alive.” It can be assumed that in Monahan’s art the “magic powders” at work are the occasional appearance of glitter: the magic powder giving life. Matthew Monahan’s works feel like a balancing act between two mediums, with the incorporation of image into sculpture-like forms. Surrounding Datong (2005-2007) are pieces made with materials such as polyurethane foam, glass, and bronze. Pairing materials seen as “constantly permeable” with hardened surfaces like glass was an effort, Monahan explains, of exploring the reversal from figuration, abstraction, and conceptualism within the walls of an exhibition.