Stamps Gallery, University of Michigan
September 8 - October 14, 2017
Exhibition information here.
Stamps Gallery, University of Michigan
September 8 - October 14, 2017
Exhibition information here.
August 1, 2017
Julia Feyrer/Tamara Henderson, Shelagh Keeley, and Germaine Koh
June 24–October 1, 2017
Vancouver Art Gallery
750 Hornby Street
Vancouver BC V6Z 2H7
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Persistence draws together three recent installations to explore the surprising and creative ways that technologies, physical objects and natural processes endure and transform. The exhibition’s premise is inspired by media critic Marshall McLuhan’s ideas concerning “the role of obsolescence in sparking creativity and the invention of new order.” In his short text “A Note on Obsolescence,” he poses questions about how and why some objects and concepts are renewed and kept alive. In light of this idea, each of these works offers viewers insightful propositions about perseverance, especially during this time of social and political upheavals.
The discerning note by McLuhan is referenced in Toronto-based artist Shelagh Keeley’s installation, Notes on Obsolescence (2014). In this work she features photographs of textile looms in a German factory that was relocated to Asia, prompting references to technological and capitalist cycles. Overlaying these industrial images with drawings that trace the threads of the everyday, the artist in effect interrupts these cycles and marks other temporalities.
Exploring different forms of human perception, Vancouver-based artists Julia Feyrer and Tamara Henderson’s collaborations often tap into the unconscious. Their work in this exhibition comprises a group of found tables brimming with a myriad of salvaged and fabricated objects that summon different characters. Variously invoking theatre, play, myth and ritual, this installation recycles and animates mundane objects in a capricious, sometimes disorienting, response to materials.
Vancouver artist Germaine Koh’s Fair-weather forces (water level) (2008) also recasts the familiar in unpredictable ways. The work is a series of velvet ropes, hanging between a row of stanchions, which rise and fall in response to tidal levels recorded at a nearby dock. Echoing natural systems in a gallery environment, Koh’s work dramatizes the persistence of nature’s processes and their profound ability to shape and regulate our lives, even in the face of human efforts to control them.
Exhibiting these pieces from the collection provides the museum with an important opportunity to work directly with the artists in order to develop installation plans and care strategies for preserving these complex works into the future. We thank them for their generous involvement in this process.
Organized by the Vancouver Art Gallery and curated by Daina Augaitis, Chief Curator/Associate Director
Julia Feyrer / Tamara Henderson
Canadian artists Julia Feyrer and Tamara Henderson began working together in 2009 when they were both students at the Städelschule in Frankfurt, Germany. While maintaining active solo practices, these emerging artists have produced a series of interconnected installations, films and performances through their collaborations. In their artworks, things continually shift in form and meaning, lending themselves to exploring the channels between the unconscious and the everyday.
Julia Feyrer was born in Victoria, British Columbia. She completed a Bachelor of Media Arts from Emily Carr University of Art + Design, Vancouver, after which she continued her studies at the Städelschule, Frankfurt. Her work has been presented in numerous solo and group exhibitions, primarily in Western Canada and in New York.
Tamara Henderson was born in Sackville, New Brunswick. She studied at the Nova Scotia College of Art and Design, Halifax; the Städelschule, Frankfurt; and the Royal Institute of Art, Stockholm. Her work has been included in exhibitions throughout North America and Europe, including documenta 13 and Glasgow International.
Shelagh Keeley is an established Canadian artist whose interdisciplinary approach promotes a sensory awareness of lived experience and layered, cultural histories. Shelagh Keeley was born in Oakville, Ontario and graduated in 1977 from York University, Toronto, where she now resides. Having lived in New York and Paris for 22 years in the 1980s and '90s, she has exhibited throughout North America, Europe and Asia. Her artworks are held in prominent public and private collections in North America and Europe. In 2017 Keeley was recognized with the Governor General’s Award in Visual Art.
Germaine Koh’s conceptually driven practice often challenges the boundaries between art and everyday life by linking the interior spaces of the art world—the gallery, the museum, the studio—to larger social and environmental contexts. Germaine Koh was born in Malaysia and currently lives in Vancouver, working in a variety of media including installation, sculpture and performance. She studied fine art and art history at the University of Ottawa and received her MFA from Hunter College in New York. She has exhibited her work in numerous exhibitions since the early 1990s across Canada, in Europe and Asia. She was the 2010 recipient of the Jack and Doris Shadbolt Foundation VIVA Award.
About the Vancouver Art Gallery
Founded in 1931, the Vancouver Art Gallery is recognized as one of North America’s most respected and innovative visual arts institutions. The Gallery’s innovative ground-breaking exhibitions, extensive public programs and emphasis on advancing scholarship all focus on the historical and contemporary art of British Columbia and international centres, with special attention to the accomplishments of Indigenous artists and the art of the Asia Pacific region—through the Institute of Asian Art founded in 2014. The Gallery’s programs also explore the impacts of images in the larger sphere of visual culture, design and architecture.
The Vancouver Art Gallery is a not-for-profit organization supported by its members, individual donors, corporate funders, foundations, the City of Vancouver, the Province of British Columbia through the BC Arts Council, and the Canada Council for the Arts.
*Left: Julia Feyrer and Tamara Henderson, Newspaper/Boiler Room Table (detail), 2013–16, fromThe Last Waves: Laboratory, 2015–16. Bar coasters (2013), brick press, glassblower's newspaper paddle, indigo, Night Times offset plates, Night Times Press Newspaper Bottle extras (2013), paper bricks. Collection of the Vancouver Art Gallery, gift of the artists. Center: Germaine Koh, Fair-weather forces (water level), 2008. Stainless steel, A/V components, textile. Collection of the Vancouver Art Gallery, Purchased with the support of the Canada Council for the Arts Acquisition Grants program and the Vancouver Art Gallery Acquisition Fund. Right: Shelagh Keeley, Notes on Obsolescence (detail), 2014. Acrylic paint, collage elements, crayon, graphite, oil stick, photograph on paper and plastic film. Collection of the Vancouver Art Gallery, anonymous gift. Photos: Rachel Topham, Vancouver Art Gallery.
April 8 - September 4, 2017
Celebrating the best and brightest in Canadian contemporary art and craft, this year’s Governor General’s Awards in Visual and Media Arts exhibition will showcase the work of eight outstanding laureates: Michèle Cournoyer, Mike Hoolboom, Shelagh Keeley, Glenn Lewis, Landon Mackenzie, Philip Monk, Shelley Niro, and Pamela Ritchie. Created in 1999 by the Governor General and the Canada Council for the Arts — which also administers the Awards — they are among Canada’s most coveted art awards for career achievement.
Vernissage: April 7, 2017
More information here.
Join us at the National Gallery of Canada on February 28th from 6 - 8 pm for a conversation between 2017 GGArts winners and Rhiannon Vogl, Associate Curator of Contemporary Art, followed by a meet-the-artist reception in the Gallery’s Watercourt Foyer from 8 - 9 pm.
IMAGE: John Akomfrah, The Unfinished Conversation (video still), 2012. Installation view, The Power Plant, Toronto, 2015, in partnership with Autograph ABP, London. Courtesy the artist; Smoking Dogs Films; Lisson Gallery. Photo: Toni Hafkenscheid.
Artists: Terry Adkins, John Akomfrah, Sven Augustijnen, Shelagh Keeley, Steve McQueen, Zineb Sedira
The curatorial premise of this exhibition is grounded in the work of cultural theorist Stuart Hall (1932–2014), who devoted his life to studying the interweaving threads of culture, power, politics and history.
Taking Hall’s essay Encoding and Decoding in the Television Discourse as a point of departure, viewers will be invited to think about how meaning is constructed; how it is systematically distorted by audience reception and how it can be detached and drained of its original intent to produce specific or slanted narratives. Hall's interdisciplinary approach drew on literary theory, linguistics, and cultural anthropology in order to analyse and articulate the relationship between history, culture, popular media, cold war politics, gender and ethnicity. By presenting the work of artists who bring into play time, memory and archives so as to construct new readings of the past, the exhibition will lay emphasis on the idea that the "visual" is an assimilatory process continuously at work in the construction of cultural, political, personal and national identities.
The Unfinished Conversation: Encoding/Decoding will examine the physical manifestations and the mind-set of specific visual dynamics of the post-WWII era and it will address itself to the ways in which the image and the archive, whether personal or national, have influenced the way the subaltern perceive themselves socially and historically. It is our curatorial intention to build a multiple moving/still/audio archive, an image map, a visual vehicle that will ferry the audience across the choppy waters of memory, images and politics to an undeterminable, obscure and un-chartable destination, where people often meet with a fatal end. The exhibition aims to take viewers on a journey in time, to bring them to encounter images, which act as both objects of art and ideas in flux, circulating in and out of the archive through the corridors of cultural re-construction. This image map will be drawn by the work of Terry Adkins, John Akomfrah, Sven Augustijnen, Steve McQueen, Shelagh Keeley and Zineb Sedira, six artists whose practice is devoted primarily to commenting on recent socio-political events and situations and relating them to the not so distant past in order to help us understand the world we live in.
By stimulating our personal and collective memory, these works will show us how history agitates and causes anxiety in our personal lives and in the political realm as they will reveal the fact that national identity is not an essence or a state of being, but a "becoming," a process whereby subjectivities are formed in the interstices between such binary oppositions as us/them, black/white, or native/foreigner, and that it is in those in-between spaces that marginalized people are the agents and subjects of many possible futures, imagined or real.
The thread that connects all these art works is the artists’ involvement with the significant social issues confronting humanity today and their profound desire to push formal boundaries in order to tackle them.
Exhibition organized and circulated by The Power Plant Contemporary Art Gallery, Toronto, in partnership with Autograph ABP, London. Co-curated by Gaëtane Verna, Director, The Power Plant, and Mark Sealy, Director, Autograph ABP.
Terry Adkins, John Akomfrah, Sven Augustijnen, Shelagh Keeley, Steve McQueen, Zineb Sedira
Curated by Gaetane Verna and Mark Sealy
Museu Colecao Berardo, Lisboa, Portugal
At the Table, performance with Lin Snelling, MoMA Library / Archives. NYC
Prefix Institute of Contemporary Art, Toronto, Canada
Poetics of Space, Vancouver Art Gallery, Vancouver, B.C.
Border Cultures: Part Three /security, surveillance, Art Gallery of Windsor, Canada
The Unfinished Conversation: Encoding / Decoding, The Power Plant ,Toronto, Canada
In Order to Join, Goethe Institut Mumbai and the Prince of Wales Museum, Mumbai, India
Opening September 19, 2014 at The Power Plant, Toronto.
The Power Plant is pleased to present a commissioned project by Toronto-based artist Shelagh Keeley. Keeley will create a new wall drawing that will envelop the gallery's clerestory walls.
For her installation at The Power Plant, Keeley will create a new wall drawing that will envelop the clerestory walls. Her drawings on these grand canvases are the remnants of her corporeal action and articulate the moment and gestures of her body. Keeley’s drawings act as performative objects. They emerge from choreographed gestures as they relate to the limits and conditions of a bound space.
Opening Party, Friday, January 23, 2015, 8pm
The Unfinished Conversation: Encoding/Decoding is a group exhibition of work that will examine the physical manifestations and the mind-set of specific visual dynamics of the post-WW II era.
Artists: Terry Adkins, John Akomfrah, Sven Augustijnen, Steve McQueen, Shelagh Keeley, and Zineb Sedira.
Curators: Mark Sealy and Gaetane Verna
Sarai Reader 09:The Exhibition, curated by Raqs Media Collective, Devi Art Foundation, Gurgaon, India
May 1 - August 25, 2013
Here and There: Photography and Video Works on Immigration, curated by Gaëlle Morel. Ryerson Image Centre, Toronto
December 1, 2013 - March 9, 2014
In Order to Join, curated by Swapnaa Tamhane and Susanne Titz, Director, Museum Abteiberg, Monchengladbach, Germany