Dove Allouche

The Contemporary Art Gallery presents the first solo exhibition in North America of Paris-based artist Dove Allouche. Developed in collaboration with Centre d’art contemporain d’Ivry–le Credac, this exhibition comprises new bodies of work alongside recent ones, with the aim of tracing correlations and connections across the artist’s expansive practice.

Central to the exhibition is an investigation of Allouche’s desire not to produce new things in the world but rather to make visible that which otherwise remains unseen, hidden or buried. Grounded in reprographic processes, his practice is fundamentally concerned with the matter of the earth and the slow passage of time. From the surface of the sun to Parisian sewer networks, stalagmites and the growth of spores, these subjects all demonstrate the effects of natural events, which both shape their structures and, in most cases, obscure them from human view.

In Allouche’s work the medium itself becomes the subject and the process of fabrication generates the imagery. The *Pétrographie* series (2015), for example, employs a technique invented in 1828 by a Scottish physicist who used crystal cut from calcite to dramatically improve a microscope’s power. From the Terre et Histoire de la Vie laboratory at the Institut Royal des Sciences Naturelles de Belgique, Allouche loaned a 117,000 year old length of stalagmite from Belgium’s Remouchamps caves. Thin slices were cut through the calcite and then each layer — holding a latent image much like a strip of unexposed film — was treated as a photographic negative. In each unique silver gelatin print produced, the stalagmite’s rings appear like those of a tree, revealing the material’s expression of time passing and the environmental forces that impacted its growth.

For the suite of ambrotypes *Les petrifiantes II* (2014), Allouche looked to natural cave structures, approaching them as dark rooms. The images — taken with long exposures inside the caves and developed in complete darkness — capture the slow process of petrification that produced the pictured stalactites and stalagmites. The ambrotype (or collodion positive process) was invented in the mid-nineteenth century and briefly replaced the daguerreotype in popularity until the tintype, involving a similar process, was introduced. Each ambrotype is a unique original, created by exposing a plate coated in iodized collodion and dipped in silver nitrate. The resulting negative appears as a positive when viewed against a dark background, so the back of the plates are coated with black varnish. For Allouche that process echoed the subject matter necessary to bring the image into visibility, the black background returning the images to the shadowy darkness of the caves themselves. 

*Deversoirs d’orage* (2009), a series of fourteen heliogravures on paper taken in the gloom of the Paris sewer system, follow a similar process. Revealing a man-made subterranean world that slowly evolved through two centuries of mineral deposits, they offer a nod to Felix Nadar, who was the first to photograph there between 1861 and 1865. Allouche, however, refused to use artificial light that made Nadar’s images possible, instead making the work through the heliogravure, the oldest procedure for producing photographic images. Involving a photochemical process to etch an image into a copper plate which is then heated to fuse resin dust to the metal, this creates a surface that when hand-printed, captures an exceptional range of tonal variation. Far from being motivated by nostalgia, Allouche’s interest in such photographic processes is driven by attentiveness to the matter that surrounds us and through uniquely intertwined poetics and pragmatism, a set of decisions that allow his artistic process itself to reveal the nature of the subject brought into visibility.

With *Fungi* (2016), Allouche focuses on another aspect of the living world: a species of spores that predate human presence on earth (and known for eating away at works of art), collected from the Center for Research on the Preservation of Collections at the Museum of Natural History in Paris. Blowing them through a pipette onto plates, the artist fostered their growth and at a particular point in their development, photographed them. Similarly, the newest body of work in the exhibition, *Perle* (2017), required the patient growth of organic forms, this time the small, spherical concretions of calcite formed and found in shallow cave pools. Like the *Pétrographie* works, Allouche’s “cave pearls” were sliced into thin films, polished and used as photographic negatives, their mineral cross sections revealing the process of their own creation. Both series of works were printed as photolithographs, which Allouche fitted into frames carved from a singular block of wood and set behind hand-blown crown glass. The act of glassblowing mirrors that of blowing the spores into the petri dish while the organically formed glass, varying in opacity, colour and surface depth, echoes the delicate rondelles of the fungi and the pearls themselves. “The transparency of the glass,” as curator Maria Stavrinaki has suggested, “is also an expression of the intermediary ontology of the images: they were always there, but they had to be seen.”

The title of this exhibition refers to a phrase first used by the poet John Keats to characterize writers’ capacity to pursue an artistic vision despite the fact that it may lead them into intellectual uncertainty and doubt. *Negative Capability* describes a willingness to dwell in a prolonged state of “not knowing.” While an almost impossible state to maintain, especially for humans so quick to jump to reason, this temporality is imperative for Allouche’s practice: it is the one that allows his imaginative inquiry to hover so long at the edge of darkness.

Organized by Claire la Restif with Kimberly Phillips and Nigel Prince

This exhibition is produced in collaboration with the Centre d’art contemporain d’Ivry – le Crédac.

Generously supported by Institut Français and the Consulat général de France à Vancouver.


### Biography

Born in Paris in 1972, Dove Allouche has received international honors including a recent collaboration with the CRCC (the Centre for Research on Collection Conservation) and CIRVA (the International Glass Research Centre, Marseilles), Villa Médicis in Rome (2011-2012) and grants from Villa Médicis-Hors les Murs (to work in Venezuela, 2006) and Programme à la carte (Norway, A.F.A.A, 2002). His work has been the subject of solo exhibitions at venues including gb agency, Paris (2018); Peter Freeman, Inc., New York (2017); Fondation d’entreprise Ricard, Paris (2016); Centre Pompidou, Paris, (2013); and Nomas Foundation, Rome (2012) and has been included in many group exhibitions including *Paysages Cosmorphes*,  IAC, Villeurbanne, France (2017); *The Sun Placed in the Abyss*, Columbus Museum of Art, Ohio, (2016-2017); *Double Take, Drawing Room*, London (2016), *Sublime, les tremblements du monde*, Centre Pompidou Metz (2016); *Réinventons le monde*, Sala Relalde, Bilbao, (2013), *Les détours de l’imaginaire*, Palais de Tokyo, Paris (2012), *La commande contemporaine de la Chalcographie du Louvre*, Musée du Louvre, Paris (2012) and *Estudio Abierto*, Palacio de Correos, Buenos Aires (2006). He is represented by Peter Freeman Inc., New York and gb agency, Paris.



ProgramGuideFall2018.pdf

A black and white photograph made using the cross section of calcite. The image appears abstract and depicts a close up view of the calcite’s striations.

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Four framed photographs hang on the wall of a gallery space. The photographs show fungi at a particular point in their development. Each image varies in hues of green, orange, beige and blue.

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Two framed photographs hang on the wall of a gallery. The black and white images depict cross sections of calcite. Each frame’s glass is hand-blown, creating a ripple effect above the photographs. 

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Five large-scale framed photographic prints hang on the wall of a gallery space. The images are all abstract, three of them are in black and white and one shows hues of yellow.

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Three large-scale framed photographs hang on the wall of a gallery space. Frothing water is visible in the low-contrast, blue-grey toned images. 

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Five framed photographic prints hang on two walls of a gallery space. Two of the images are large-scale, lightly hued and abstract. The remaining three are deep green, smaller scale and abstract. 

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Three framed photographic prints hang on the wall of a gallery space. The images are of the surface of the sun overlaid with the frame’s deep, green glass. 

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Ten photographs are visible on a display vitrine in a gallery. The square, low-exposure images show the inside of caves. The images reveal various stalactites and stalagmites formations.

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Negative Capability

Kameelah Janan Rasheed

The Contemporary Art Gallery presents the first solo exhibition in Canada by Brooklyn-based interdisciplinary artist, writer and educator Kameelah Janan Rasheed. This project brings together two large-scale, text-based public installations: *How To Suffer Politely (And Other Etiquette)* presented offsite at Yaletown-Roundhouse Canada Line Station and *An Alphabetical Accumulation of Approximate Observations* in CAG’s street level window spaces.

Language is the material through which Rasheed’s artistic practice takes shape and it does so across a variety of public environments: publications, performative lectures, gallery installations and large-scale outdoor works. Within these modes, she uses expressions of everyday vernaculars and experimental poetics to consider Black subjectivity and the relationships we craft between disputed pasts, a set of sprawling present conditions and contingent futures. Core to Rasheed’s work is a direct address and openness to exchange with her audiences: as an educator, she understands her installations as educational experiments where collaboration rather than spectatorship is the desired mode of engagement. She aims to interrupt the speed and care with which we normally encounter language in the context of the city street, an essay, a gallery exhibition or in other environments, encouraging us to actively make meaning alongside, through and with the works.

*How To Suffer Politely (And Other Etiquette)* at Yaletown-Roundhouse Canada Line Station is a series of safety-yellow vinyl prints that both invoke and satirize traditional etiquette guides. Created in direct response to the escalating visibility of violence against Black people across the United States, the work examines the resulting expectations placed on these communities to find ways to police their rage and pain and to maintain restraint and civility so as to ensure others are not made uncomfortable. More broadly, the work asks its viewers to consider how such self-monitoring of everything from emotional expression to physical movement is used as a tool to perpetuate the social order of oppressive systems. Previously exhibited across the USA, in the UK and in Zimbabwe, each time it is presented the project resonates with the specific social, political and economic conditions of Black communities in those particular locales. In Vancouver, *How To Suffer Politely…* asks viewers to scrutinize our own city’s history of racialized violence towards its Black communities, the willful erasures of Black visibility and over-simplified narratives rehearsed about such displacement that continues to this day.

Extending across CAG’s window spaces, *An Alphabetical Accumulation of Approximate Observations* is an evolving collection of succinct poetic gestures developed over a multi-year writing process. Comprising over one hundred alliterative pairings, a fraction of which are presented in this second large-scale iteration, *An Alphabetical Accumulation of Approximate Observations* maps Rasheed’s considerations of comfort, apathy and premature celebration. The seemingly absurd word pairings — such as *lethargic / legislations, delicate / drone and uppity / uterus* — are at once provocative and elliptical. These humorous and dystopic adages ask us to consider both routine abuses of power as well as the responses to said abuses.

The printed panels of poetry appear to punctuate the windows at intervals across the building’s facade behind which glows ‘Baker-Miller Pink,’ a paint colour applied in numerous penitentiaries, asylums and public schools in the 1970s with claims to notionally reduce hostile or aggressive behaviour. In this context, the colour might signal a contemporary weariness or indifference, but also the obsolescence of certain ways of being in the world, for organizing and articulating realities and for making change. In consideration of the thousands of pedestrians who pass by CAG’s façade day after day, Rasheed has designed these short aphorisms as a pedagogical intervention, as invitations for repeated reads. With each new engagement, she offers each viewer the chance to conjure fresh sets of connections, associations and queries.

Curated by Kimberly Phillips, with assistance from Julia Lamare

Work at Yaletown-Roundhouse Station is presented in partnership with the Canada Line Public Art Program, InTransit BC.


### Biography

Kameelah Janan Rasheed (b.1985) is a Brooklyn-based interdisciplinary artist, writer, and former public high school teacher from East Palo Alto, California. Rasheed’s work has been presented at the 2017 Venice Biennale, New Museum of Contemporary Art, The Kitchen, Portland Institute of Contemporary Art, Institute of Contemporary Art Philadelphia, Printed Matter, Jack Shainman Gallery, Studio Museum in Harlem, Bronx Museum, Queens Museum, Schomburg Center for Research in Black Culture, Brooklyn Academy of Music, Pinchuk Art Centre, and others. Shortlisted for the Future Generation Art Prize in 2017, she is the recipient of several other awards and honors including the Denniston Hill Artist Residency (2017), The Laundromat Project Alumni Award for Art in Community (2017), Harpo Foundation Grant (2016), Magnum Foundation Grant (2016), Creative Exchange Lab at the Portland Institute of Contemporary Art Residency (2016), and Queens Museum Jerome Emerging Artist Fellowship (2015). Rasheed is the founder of *Mapping the Spirit*, a digital archive that documents the textures and nuance of Black religious experience in the United States through long-form interviews, photography, video and ephemera. She is the author of a forthcoming artist book published by Printed Matter as well as *An Alphabetical Accumulation of Approximate Observations* forthcoming from Endless Editions. Rasheed’s other writing has been published in Triple Canopy, Creative Time Reports, The New Inquiry, and Frieze, among others. Rasheed is on the faculty of the MFA Fine Arts program at the School of Visual Arts and also works full-time as a social studies curriculum developer for New York public schools. In 2018 and 2019 she will be an artist-in-residence at Pioneer Works as well as Triangle Arts.


Graphic black and white text-based prints scattered across a pink backdrop. The texts are short statements such as “PUDGY POWER,” “TEMPORAL TWERK,” “ANACHRONISTIC ANGER”  and “QUARANTINED QUESTION.” 

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An exterior image of CAG’s façade with the work of Kameelah Janan Rasheed installed on the windows. Each window has a pink backdrop with black and white text-based vinyl prints scattered across. 

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Four ground level façade windows at CAG installed with the work of Kameelah Janan Rasheed. Each window has a pink backdrop with black and white text-based vinyl prints scattered across.

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Two ground level façade windows at CAG. They each have a pink backdrop and black and white text-based vinyl prints that read “Kind Killings,” “Regressive Rights” and “Homicidal Hemiline.”

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The exterior of Yaletown-Roundhouse Station with the work of Kameelah Janan Rasheed installed on the facade. There are large, safety-yellow vinyl prints with large black text on five window panels.

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An Alphabetical Accumulation of Approximate Observations | How To Suffer Politely (And Other Etiquette)

Myfanwy Macleod

This year we celebrate the 100th anniversary of the Migratory Bird Treaty Act. Although one of the most successful conservation laws in North American history, it is now currently under threat by American Congress. Coinciding with this anniversary is the re-installation of Macleod’s seminal public work The Birds at Southeast False Creek Olympic Plaza. CAG has developed an associated work with MacLeod that is timely within this context.

*Neighbours* is a series of twenty posters displayed at various transit shelters throughout the city of Vancouver and will occur alongside the International Ornithological Congress which takes place in the city from August 19 to 26, 2018. Incorporating drawn images of birds of different species gathered together into one flock as notional surrogates for the varied population of peoples that make up the city, this assemblage of birds will be made up of a diverse, polyglot group. Not unlike the “impossible bouquet” — a concept that emerged in Dutch still life painting in the seventeenth century, which was an artificial fantasy of flowers that could never bloom naturally in the same season and geographic region— the birds depicted at once mirror the cultural identities of the inhabitants of this city of Vancouver from different parts of the world while speaking to the democratic nature of the public transit system which brings together people from all walks of life.

Curated by Nigel Prince

This project is produced by the Contemporary Art Gallery in partnership with the City of Vancouver Public Art Program. 

### Biography 

Myfanwy MacLeod (b. 1961, London, Canada) is best known for her irreverent artworks that draw upon conceptual and minimalist themes, often exploring the overlapping and intersecting of pop culture, art history and folk traditions. Articulated through themes of fantasy, humour and allusions to forbidden desires, MacLeod draws parallels between how art and mass media are created, circulated and consumed. Her works, which range from photography and painting to large-scale installations and sculpture, examine how perceptions of “high” and “low” culture are interpreted through themes of gender, privilege and value. MacLeod was a recipient of the VIVA Award (1999) presented by the Jack and Doris Shadbolt Foundation for the Visual Arts, Vancouver. She has had solo exhibitions at Or Gallery, Vancouver (2015); Vancouver Art Gallery (2014); Museum London, Ontario (2013); Presentation House: Gallery, North Vancouver (2012); Contemporary Art Gallery, Vancouver (2006). Selected group exhibitions include Polygon Gallery, North Vancouver (2017); Royal Ontario Museum, Toronto (2013); National Gallery of Canada, Ottawa (2012); MASS MoCA, North Adams (2012); Justina M. Barnicke Gallery, Toronto (2008); Agnes Etherington Art Centre, Kingston (2006); Kunstverein Wolfsburg, Germany (2004); The Power Plant, Toronto (2002); Fruitmarket Gallery, Edinburgh (2002); Gasworks, London (2002); Canadian Pavilion, Melbourne International Biennial (1999); Morris and Helen Belkin Art Gallery, Vancouver (1998). She is represented by Catriona Jeffries, Vancouver.


ProgramGuideSummer2018.pdf

A watercolour print of the head of an ocellated turkey on a plain oof-white coloured paper. Below the image is text reading “OCELLATED TURKEY (Meleagris ocellata).”

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An image of a bus shelter with a person biking past and another sitting in the shelter. A large-scale watercolour print of a Scarlet Ibis is installed in the shelter, in place of an advertisement. 

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An image of a bus shelter with a large-scale watercolour print of a Blue Footed Booby. The print is installed where an advertisement would normally be displayed. 

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An image of a bus shelter with a large-scale watercolour print of a Red Footed Booby. The print is installed where an advertisement would normally be displayed.

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A detail image of a bus shelter with a large-scale watercolour print of a Common Nightingale. The print is installed where an advertisement would normally be displayed. 

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An image of a bus shelter with a large-scale watercolour print of a Northern Goshawk. The print is installed where an advertisement would normally be displayed.  

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An image of a bus shelter with a large-scale watercolour print of a Calliope Hummingbird. The print is installed where an advertisement would normally be displayed.

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Neighbours

Myfanwy MacLeod

Channa Horwitz

The Contemporary Art Gallery presents the first exhibition in Canada of work by Channa Horwitz (1932 – 2013). Comprising an overview of the artist’s practice, the exhibition includes drawings, artist’s books and archival materials selected from the major bodies of work produced since 1964.

Based in Los Angeles, Horwitz sought to direct her practice through the consideration of limitation and rules as a means to experience greater freedom and depth of exploration within her work. Fundamental to the artist’s thinking is a relationship of numerical sequence, line and systems developed through intensive and exhaustive drawings that characteristically operated within the boundaries of the grid and evolved to be structured on the number eight.

Presented in the North Gallery is a selection of works from Horwitz’ “Language Series.” In a vitrine, a collection of index cards are displayed, involving the various permutations or combinations of eight pictograms composed of squares and rectangles. These pictograms comprise an alphabet of sorts, grouping these images in twos and threes to create repetitive patterns determined by sequential numbering such as 1-2, 1-3, through to 1-8. As Horwitz stated at the time, “… I came to realize that if I wanted to experience freedom, I needed to reduce all of my choices down to the least amount. I chose a circle and a square to represent all shapes, and black and white to represent all colours.” Horwitz never took this further at the time, as was characteristic of moments throughout her career, until 2004 when she returned to produce several versions of her “Language Series” in drawn form and as ever more complex wall and room-scaled installations expanding two dimensions into three and four.

Developed on from this during the late 1960s, Horwitz quickly arrived upon a notation system to track movement and time visually which she termed “Sonakinatography” meaning sound – motion – notation. As seen in *Sonakinatography Comp. 2* (1969), number sequences define structures which emerge diagrammatically and into colour with *Sonakinatography Comp. 12* (2011, started 1980) and *Sonakinatography Comp. 17* (2004, started 1987), through different permutations of a count of eight where eight colours are assigned to eight “entities” and given a corresponding duration of beats, 1 to 8. Through this system, she created a series of unique compositions, conceptually and visually complex graphic forms that progress linearly, which were also open to performative or installation interpretation. Displayed in vitrines alongside these drawings can be seen is photographic documentation of contemporary events such as *At the Tone the Time will be* (1969) and *Poem/Opera, The Divided Person* (1978) alongside their more recent choreographic iterations that utilize the drawings as scores for systems of movement, sound, light and gesture organized through correspondingly repeated sequences.

Often made using eight-to-the-inch graph paper for the “Sonakinatography” works, Horwitz subsequently used the number eight consistently, as she expanded and varied her original systems into new sequences and logically derived series’. Each new body of work evolved as a deepening inquiry and outgrowths of the prior series, while often returning to earlier thoughts to deliberate upon their development, resulting in works such as “To the Top,” “Variations and Inversion on a Rhythm,” “Eight,” “Canon Series,” “Moiré,” “Rhythm of Lines,” “Subliminal” and “Design” series, amongst others.

In the Balkind Gallery, *To the Top Large to Small #1 (Variation #1)* (1980) progresses the compositional structure of “Sonakinatography” from a line that grows into a square, to a point and then back down to a square, moving along the page while each in the sequence of eight play their part. Similarly, *Variation and Inversion on a Rhythm 2-4* (1975) is one version from the sequence of this play between line and square. From the same year, the grid of large-scale drawings, Slices Top to Bottom, re-imagines the forms in To the Top as a three dimensional object that can be sliced through like a loaf of bread to reveal fragile cross-sections of the linear points that dictate its form.

The modestly scaled drawing, *Color Angle Sequential Progressions* (2005 – 2006) provides the key to further works in this room, where eight different angles are each assigned a specific colour, borrowed from the color and number vernacular of “Sonakinatography.” *Rhythm of Lines 3-5* (1988) is one of many individual works that explores eight different angles of two different intersecting lines each assigned a specific color for the angle. The variance of intersecting angles determines what is being plotted, resulting in the subtle diversity of moiré patterns and compositions. *Sampler* (c. 1990) takes this further in diagrammatically describing one set of possible permutations from within the larger body of work.

Also presented is a small selection from the many works that make up the “Canon,” “Moiré" and “Design” series. Individual pieces such as *Canon 10, 12345678 45678123* (1983), *#1-#8* (circa 1983) and *Triangle/Color* (1982), expanding on this relationship of numerical sequence, line and system that was core to Horwitz’ practice. Works from these series are densely patterned, luminously colourful, exuding an exuberant playfulness that belies the meticulous control of their conception and making. Collectively they demonstrate a lifetime’s devotion to visually arresting and systematic, elaborate works that reveal the freedom present through supposed constraint and multiple levels of consciousness achieved through methodical and logical patterning.

Curated by Nigel Prince

### Biography 

Horwitz’s work was most recently included in Thinking Machines: Art and Design in the Computer Age, 1959-1989 on view at The Museum of Modern Art, New York in 2018 and in 2013 a performance of Poem/Opera, The Divided Person took place on the High Line Park, New York. In 2016, The Museum of Modern Art, New York organized a solo presentation of acquired works, as part of the museum’s ongoing series titled “Inbox.” Horwitz’s work has been the subject of solo exhibitions at Lisson Gallery, New York and Ghebaly Gallery, Los Angeles (2018); Raven Row, London (2016); Kunst-Werke Institute for Contemporary Art, Berlin and Air de Paris, Paris (2015); Brandenburgischer Kunstverein, Potsdam (2009); among others. Her work has been included in major group exhibitions at Kunsthalle Wien, Vienna (2016); Itaú Cultural, São Paulo (2015); Museum Tinguely, Basel (2015); Los Angeles County Museum of Art (2015); 2014 Whitney Biennial, Whitney Museum of American Art, New York (2014); the 55th Venice Biennale (2013); Kunsthalle Düsseldorf (2013); Hammer Museum of Art, Los Angeles (2012); Kunsthaus Dresden (2012); among others. Her work is included in the collections of the Museum of Modern Art, New York; Hammer Museum of Art, Los Angeles; Getty Research Institute, Los Angeles; Los Angeles County Museum of Art; and the National Gallery of Art, Washington, D.C.; among others. Horwitz received an Artist Fellowship from the National Endowment for the Arts in 1978, and was awarded a prestigious Guggenheim Fellowship Grant in 2013, just before her death at the age of eighty.




An abstract drawing on graph paper made of many intersecting colourful lines creating a diamond-like pattern on the top and bottom. Around the edge of the paper are handwritten notes and scribbles.

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An installation image of Progressions and Rhythms in Eight by Channa Horwitz. Eight framed drawings hang on the white wall of a gallery. A narrow display vitrine with four legs and a glass top sits in front. 

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An installation image of artist Channa Horwitz’s exhibition at CAG. Thirteen framed drawings of varying size and shape hang on the wall. A display vitrine sits in the center of the room. 

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Four framed drawings hang on the walls of a gallery. Three drawings are of a grid, two of them are large colourful and vibrant, one is a small simple sketch. The fourth drawing is of a parallelogram.

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A detail image of the work of Channa Horwitz on a display vitrine. The thirteen photos are laid out in groups of three or four. The photos show groups of people in black in white and in colour.

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Progressions and Rhythms in Eight

Jeneen Frei Njootli

Jeneen Frei Njootli’s solo exhibition in the B.C. Binning Gallery, *my auntie bought all her skidoos with bead money*, speaks to refusals, belongings, loss and love, through a new and deeply personal body of work. Its propellant is a series of cultural belongings which are not, in fact, on view: hand-sewn beadwork gifted to Frei Njootli by the women of her family. On first entering the gallery, visitors encounter four large-scale sheets of steel leaning against the walls and floor. Upon their surfaces we catch fugitive impressions left by the beads, which have been pressed into the artist’s skin and then transferred, by way of grease prints, from her skin to the steel. As they inhabit the gallery’s atmosphere over time, the steel plates gradually respond to their environment and, depending upon humidity and temperature fluctuations, the spectral floral patterns might approach the viewer or recede from view, as though of their own volition.

A member of the self-governing Vuntut Gwitchin Nation, Frei Njootli’s practice is both invested in and materially tethered to that community, its way of life and the beings that support it. Her relationship to the matter with which she works is not abstract but defined by her lived experience in the far North. Moving between media, she considers the nature of her culture’s belongings (she rejects the term “artifacts”) as they are entangled with ancestral memory, contemporary community and care. She navigates their complex relationships to her own impermanent body and to the continued consumption of Indigenous people’s histories, labour and knowledge. In her actions and interventions, she asks repeatedly of herself and her audiences: Who or what is the sender? Who or what receives?

Fundamental to each of Frei Njootli’s works is a reconfiguration of that which is “given to be seen.” Settler colonialism is intimately linked to patriarchy and capital and thus has always been — and continues to be — a systemically gendered process. It is, as Leey’qsun Coast Salish scholar Rachel Flowers argues, “invested in gaining access to land and resources through the dispossession of Indigenous peoples, violently or legislatively, a process that begins with the body, specifically the bodies of Indigenous women.” In our current political moment in Canada, even with its audible shift toward recognition and reconciliation, colonial violence has not ended, and the burden on Indigenous women (art workers, mothers, Elders) to continually give of themselves, their culture and their forgiveness persists. For many Indigenous artists and activists, refusal has become a political practice, and for Frei Njootli, it defines the shape of her feminist-iterated survivance. By setting limits on what can be viewed and consumed, she simultaneously negates access to information and affirms her own sovereignty.

The imperative of capitalist consumption is to work toward smooth and glossy surfaces that conceal signs of labour. Frei Njootli’s grease-printed marks are of the type normally eschewed by the gallery — fingerprints should not be visible on artworks. By insisting on their presence, Frei Njootli not only honours the legions of women who hold Gwich’in culture — first of all her grandmother, who beaded the prickly northern wild rose imagery that appears in this work — but begs a consideration of all the unknown labourers who have handled this steel: who smelted the iron ore? Through whose hands did it travel? Through whose traditional territory?

At the back of the gallery is a new video work commissioned by CAG for this exhibition. A single take, played forward and then in reverse in an endless, seamless loop, records the slow appearance of an expansive panel of floral beadwork impressed upon the artist’s bare back. Projected at a scale echoing that of the steel sheets, Frei Njootli’s skin — which exceeds the boundary of the image — becomes an expansive, slowly undulating field. Almost imperceptibly, the patterned impressions emerge, as though produced by the skin itself.

Skin is a boundary-object: the site of both exposure and connectedness. The complex, living landscape of Frei Njootli’s recorded skin, not unlike the caribou-crossed terrain imaged in Frei Njootli’s 2017 video work *Being Skidoo* or the fugitive grease prints on the steel works, reminds us that the experience of being embodied is always already mediated by our continual interactions with other human and non-human bodies. Frei Njootli’s marks are indices of interconnectedness and interdependence. Their legibility reveals a deep pride in her community and the land that sustains it; their fleetingness evinces her desire to protect them both. As Unangax scholar Eve Tuck and artist C. Ree have so powerfully written, “I care about you understanding, but I care more about concealing parts of myself from you…I am using my arm to determine the length of the gaze.”

An artistic practice never develops in isolation, but is entwined with and strengthened by the voices of many others. In recognition of this, while at the same time acknowledging that a community’s knowledge always exceeds that which can be encapsulated in written form, the artist and curatorial team, in partnership with Simon Fraser University, have assembled a library to accompany the exhibition. It is hoped that these books, which span subjects from Gwich’in language to poetry to feminist theory, might offer numerous different entry points into the work of Jeneen Frei Njootli, and create a space for study, reflection and discussion.

Curated by Kimberly Phillips, with assistance from Emily Dundas Oke and Julia Lamare

Presenting Sponsor: The Audain Foundation

We gratefully acknowledge the generous support of the Audain Foundation, Jane Irwin and Ross Hill, Nada Vuksic and Macaulay & Co. Fine Art towards the publication.


### Biography

Jeneen Frei Njootli is a Vuntut Gwitchin artist who has performed and exhibited her work internationally, from galleries to rooftops, casinos, runways and the bush. She works across numerous media and modes, including performance, sound, installation, fashion, and with community, and is a co-creator of the ReMatriate Collective. Frei Njootli holds a BFA from Emily Carr University of Art and Design (2012) and an MFA from the University of British Columbia (2017). In 2016 she was one of three recipients of the William & Meredith Saunderson, from the  Hnatyshyn Foundation. She was longlisted for the Sobey Art Award in 2017 and in 2018, she was shortlisted for the same. Her work has been the focus of solo exhibitions at Fierman Gallery, NYC; Artspace, Peterborough; Southern Alberta Art Gallery, Lethbridge; and Definitely Superior Art Gallery, Thunder Bay. She has participated in the 2018 Biennale d’art contemporain autochtone (BACA) / Contemporary Native Art Biennial, and in group exhibitions at Western Front, Vancouver; ONE AND J + 1, Seoul; Mercer Union, Toronto; Available Light Film Festival, Whitehorse; LandMarks2017/ Repères2017, PAVED Arts, Saskatoon; Whitewater Gallery, North Bay; Art Gallery of South Western Manitoba, Brandon; Vancouver Art Gallery, Trinity Square Video, Toronto; Yukon Arts Centre, Gallery 44, Toronto; and many others. Her work has been part of Indigenous Fashion Week in Toronto (2018) and Vancouver (2017) as well as at the Adäka Cultural Festival in Whitehorse (2015). Frei Njootli has completed multiple residencies at the Banff Centre for the Arts and has collaborated with James Luna, Olivia Whetung, Tsēma Igharas, Krista Belle Stewart with Laura Ortman, Lyndsay Lachance, Dana Claxton, Angela Code, Tania Willard, Gabrielle l’Hirondelle Hill, and Chandra Melting Tallow. Her work is in the Vancouver Art Gallery’s permanent collection. Jeneen Frei Njootli is currently a grateful, uninvited guest on unceded Tsleil-Waututh, Musqueam and Skwxwu7mesh territories.



BibliographyJeneenFreiNjootli.pdf

A close up view of a steel sheet marked with two hand prints pointing downwards and made of grease. The steel is covered with other faint markings and appears to be gray, blue and purple. 

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Two large rectangular steel sheets lean against a wall of a gallery space. The sheets sit horizontally on the floor and are marked with grease prints. On the left sheet two handprints are visible. 

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One large rectangular steel sheet leans against a wall of a gallery space. The sheet is marked with grease prints. On the floor surrounding the sheet, a microphone, speaker, mixer and patch cords sit.

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An installation image of Jeneen Frei Njootli’s exhibition my auntie bought all her skidoos with bead money. Three large scale steel sheets lean against two walls in a gallery space. 

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At the center of a gallery space, one large steel sheet leans against the back of a freestanding wall. A low ceiling darkens the space around the sheet and wall. 

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my auntie bought all her skidoos with bead money

Andi Icaza-Largaespada

Andi Icaza-Largaespada is the winner of the second CAG Prize for an emerging artist selected from the graduating class of the BFA program at the School for the Contemporary Arts at Simon Fraser University.

Typical of the artist’s multidisciplinary practice, a new speculative photographic panorama is presented across our Nelson Street façade. Raising questions surrounding ethics and ecology, the image grows out of recent research into Nicaragua’s rapidly expanding mining industry and its connection to Vancouver’s own history of resource extraction, occupation and expansion. Icaza-Largaespada’s subtle insertion of an enigmatic figure pictured within the manipulated landscape suggests a symbolic defiance against the continued colonial exploits of a Vancouver-based mining company in Nicaragua. Shrouded in a golden material, the character at once surveys the scene and refuses our gaze, a quiet manifestation of implied resistance. As described by Unangax scholar Eve Tuck, “resistance is not simply bodies or events articulated against power, but is diffuse, plastic, ungraspable.”

Curated by Julia Lamare, with assistance from Kimberly Phillips

The CAG Prize is generously supported by the Peter Szeto Investment Group, BMO Nesbitt Burns.


### Biography

Andi Icaza-Largaespada graduated from Simon Fraser University with a BFA in Visual Arts in 2017. She has recently exhibited at La Rizoma, Managua (2016 and 2018) and School of Contemporary Arts, Vancouver (2016). Group exhibitions include New Generation Photography Award, OCAD Onsite, Toronto (2018). Nominations and awards include Scotiabank’s New Generation Award Longlist (2018), Contemporary Art Gallery Prize (2017), The Philip B. Lind Award Longlist (2017), BMO First Art! Nominee (2017), AIMIA/AGO Photography Scholarship Honourary Award (2016), SFU Thanabe/Thorne Visual Art Award (2016) and Canon Prize for Best Photographic Portfolio (2015). In Nicaragua, she co-runs La Rizoma Cultural Centre and participates in feminist, ecological and Indigenous rights activism and advocacy.



A photograph of a rainforest landscape. A curved, orange dirt road intersects the middle of the image. A figure covered in reflective gold cloth stands in the middle of the road. 

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A wide shot image of the exterior of CAG. A panoramic photograph in vinyl of a rainforest landscape is installed across the façade windows over an orange background. 

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An image of the exterior of CAG at an angle. A panoramic photograph in vinyl of a rainforest landscape is installed across six windows over an orange background.

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An exterior image of CAG’s façade windows with a panoramic photograph in vinyl of a rainforest landscape installed over an orange background.

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(untitled) a mountain bought but not yet named

Kapwani Kiwanga

Kara Uzelman

Grace Ndiritu

Colin Miner

Joi T. Arcand

Writing in 1857, only a few short decades after the “invention” of photography, the art historian and critic Elizabeth Eastlake describes the photographic image as one that approaches us from the future and arrives in the present. While referring to the new technologies in chemical photography at the time, Eastlake’s comment might also be interpreted more portentously, as critical theorist Kaja Silverman suggests in *The Miracle of Analogy: The History of Photography, Part I*, as an invitation to upend canonical readings of photographs, which emphasize their simultaneous demonstration of “this-has-been” and “this-is-no-more.” The presumption that what we see when we look at a photograph is unalterable, Silverman suggests, “contributes to the political despair that afflicts so many of us today: our sense that the future is ‘all used up.’” Instead, she posits, we should consider photography as “the world’s primary way of revealing itself to us – of demonstrating that it exists, and that it will forever exceed us.” Here, the photograph becomes a tool with speculative potential, rather than one with simply the power to memorialize.

*The Blue Hour* extends from this premise to rethink our assumptions about the photograph’s relationship to time. Making reference to the brief period of twilight at dawn and dusk when temporal linearity appears to momentarily hover in a state of suspension, the exhibition presents works by five Canadian and international artists – Joi T. Arcand, Kapwani Kiwanga, Colin Miner, Grace Ndiritu, and Kara Uzelman–that collectively act as a proposition to consider the futurity of the photographic image. We might understand this “blue hour” as analogous to the photographic event, whether political, geological, cosmological or philosophical, which as literary theorist Eduardo Cadava has claimed, “interrupts the present; […] occurs between the present and itself, between the movement of time and itself.”

Joi T. Arcand is from the Muskeg Lake Cree Nation in central Saskatchewan, Treaty 6 Territory. Her practice is concerned with the invisibility of Indigeneity in contemporary Canadian culture and, in particular, how erasures of Indigenous presence, culture and histories have been enacted in space and through language. While Cree has been named one of the three Indigenous languages that remain ‘viable’ by Statistics Canada, Arcand realized that her own inability to speak the language meant that in her family, the language was extinct. *Here on Future Earth* (2009) first appears as a series of nostalgic, soft-edged views of small-town Saskatchewan streetscapes. However, Arcand’s intervention quickly reveals itself in a simple act of détournement, performed in her desire to “see things where they weren’t.” By manipulating all visible street signage in the images, replacing English with Cree syllabics, Arcand proposes a radical shift to an Indigenous-centred worldview enacted through language. In bending our presumptions of the photograph as a document of past-time, she imagines an alternative past/present/future, at once “a present beside itself,” to quote Cree writer and theorist Billy-Ray Belcourt, and a future within arm’s length. As a public intervention, three images from the series are reproduced on the facades of Vancouver’s three downtown Canada Line stations: City Centre, Yaletown-Roundhouse and Waterfront. Returned to the street, the photographs’ Cree wordage challenges the visual cacophony of existing images and signage of this settler city built upon unceded Indigenous ground.

Kapwani Kiwanga’s practice also plays with the elastic potential of photographic time. Drawing upon both archival and invented documents, her process is at once investigative and imaginative. With research interests ranging from Afrofuturism and science fiction to the anti-colonial struggle, as well as investigations into more apocryphal histories that have, as she says, “fallen through the cracks,” the Paris-based Canadian artist persistently weaves together fiction and fact. *Subduction Studies* (2017) proposes an intersection of geology and the imaginary, the title describing the sites where the earth’s tectonic plates converge and collide. The series considers the geological hypothesis Pangaea Ultima, which predicts a re-merger of all continents into a single supercontinent, with Europe sliding underneath Africa some 200 million years in the future. In each work, Kiwanga selects two geological samples from the collection of the Natural History Museum in Paris and photographs them. By creasing the prints, Kiwanga aligns the two dissimilar rocks; one image, a rock from the European side of the strait of Gibraltar, the other a sample originating in a North African country on the Mediterranean shore – whereby fold line becomes fault line – and effectively enacts the eons-long geologic process of tectonic convergence. Through this straightforward material manipulation, the artist proposes a future collision of the African and European continents, and –given the current reception of migrant communities by Europeans – one can read the work as materializing colonial anxieties about the African “Other.”

For Kenyan/British artist Grace Ndiritu, photographic time stretches beyond the geological to the cosmological: each photograph that comes into existence, she attests, is a microcosmic instance of the macrocosm of the universe. Since 2010, Ndiritu has been developing an encyclopedic archive, *A Quest For Meaning (AQFM)*. Originating through non-rational methodologies and shamanic journeys, it proposes a universal narrative spoken through the photographic image, a creation story from the beginning of time itself, linking seemingly disparate objects and events from the flash of light that was the Big Bang – the original photographic event, one might argue – until our present day. Each time it is exhibited, new photographic constellations perpetually expand the themes in *AQFM*, suggestive of Silverman’s assertion that “photography is […] an ontological calling card: it helps us to see that each of us is a node in a vast constellation of analogies.” Installed upon colour-blocked walls that Ndiritu calls “Bright Young Things,” the artist’s material and compositional strategies disrupt and confound her viewers’ presumptions about what they are looking at (the installation’s subtitle is Painting as a Medium of Photography). Is the small photograph of Eugène Delacroix’s *Death of Sardanapalus* (1827) hanging in the Louvre, for example, taken by the artist or ripped from the pages of an early edition of Gardner’s Art History textbook? The scale, composition and colouring of the image make it difficult to discern. Are the archival images captured during the Rif War between Morocco and Spain original or re-photographed? It is hard not to read them through current tensions over contemporary migration from both North and Sub-Saharan Africa to Europe. As a further play on expansion and proliferation, a special edition of Ndiritu’s *AQFM* newspaper, featuring the artist’s essay “The End of History,” is available free to take away, and “colonizes” the CAG’s ground floor windows.

Kara Uzelman’s artistic practice suggests an interruption to mega-production and the disposable object and consistently re-evaluates the potential for alternative sources of meaning beyond what is understood on the surface. Uzelman’s processes of excavating, gathering and inventing act as a kind of self-directed study of her surroundings; the specificities of site and collecting become the means to speculate on possible stories embedded in found and discarded materials, as well as a way to explore time as a non-linear form. While the past, as literary theorist Susan Stewart argues, “is constructed from a set of presently existing pieces,” the collection looks to the future. In the way that a collection is never static, Uzelman’s work is experimental: there is no defined end-form or completion until the collector’s own demise. *Perpetual Motion* (2018) is part of an ongoing series of new works initiated through a field trip to an abandoned farmyard near Speers, Saskatchewan. Once occupied by the artist’s grandfather, the farm was eventually lost and Uzelman’s grandfather became focussed on designing a perpetual motion machine. Despite having met him only a handful of times, Uzelman inherited his notes and drawings. By way of delving into this history, in *Perpetual Motion* the photograph becomes the conduit that unites site with collected objects and information, functioning as the “glue” in an assemblage. As Cadava suggests in Words of Light, “the photograph is always related to something other than itself. Sealing the traces of the past within its space-crossed image, it also lets itself be (re)touched by its relation to the future.” Through the manipulation of the collected materials, chronology becomes dislocated, and photographs become tools for future use in an as-yet unnamed context.

The fugitive and cyclical are ongoing starting points for Colin Miner, whose work traces the ontological anxiety that, in his words, “shadows” the photographic. Considering qualities of lightness, darkness, reflection and refraction, Miner seeks to evoke rather than capture photography’s qualities of relation. In *The Blue Hour,* a constellation of disparate objects and images are brought together to create converging lines of inquiry, which elliptically surface and resurface. Here, Miner approaches the photograph as a state of suspension; a manifestation of “space-crossed time.” Plaster and latex casts of dust covers for photographic equipment (collected by the artist for potential future use) are tinted by different hues of red light thrown by two neon sculptures whose spiral forms recall early 20th century Czech physician Jan Purkinje’s empirical studies of afterimages in the eye. A large-scale print portrays the slippage of silver emulsion across the surface of a photographic plate – quite literally, an image of photography’s unfixed state. This movement of glittering emulsion is echoed once again in the diminutive but mesmerizing video *Untitled (snail) *(2017), which follows, in an endless loop, the barely perceptible movement of a large Peruvian snail – an animal which, one might argue, both secretes time and carries it upon its back. As writer Jacqueline Mabey remarks about Miner’s work, in a statement that might also be applied to the conditions of photography as a whole, “you can try to fix the image, but it will never stick. The temporality of the photograph is not the ‘there-then’ but contains the kernel of potential futures, held in eternal ‘yet-could-be.’”

Curated by Kimberly Phillips

This exhibition is presented in partnership with Capture Photography Festival.
Grace Ndiritu’s participation is generously supported by The British Council.

Joi T. Arcand’s Here on Future Earth is installed at Yaletown-Roundhouse, Vancouver City Centre and Waterfront Canada Line Stations from April 6 to September 16, 2018.


ProgramGuideSpring2018.pdf

A photo with a red car driving down a street past stores and buildings, the background a clear sky. The text on the awnings has been replaced with Cree syllabics. The corners of the image are round. 

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Three framed photographs of rocks hang in a gallery space. Each frame contains two folded photographs of rocks that connect at the fold to create an image of one, composite rock.

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Installation image of the group show The Blue Hour. There are various works that range from sculptural pieces sitting on the floor, neon light fixtures installed on the wall, and photographic works. 

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Installation image of the group show The Blue Hour. A variety of framed photographs that differ in size hang on the wall alongside colour blocks painted on the wall.

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Framed and unframed photographs of different sizes sit leaning against a wall of a gallery space. Placed in a group with some photographs overlapping others, the images are of various found objects. 

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Seven framed photographs hang in a horizontal line on the wall of a gallery. The images depict various Saskatchewan rural buildings with signs in Cree syllabics, all with a blue sky above. 

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Exterior of the Yaletown Roundhouse Station with a large, vinyl photograph installed on the facade. In the photograph, a person bicycles past a building with a large sign in Cree syllabics on top.

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Exterior image of Yaletown Roundhouse Station with a large-scale photograph installed on the facade. The photograph depicts a small-town Saskatchewan streetscape with its signage in Cree syllabics.

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Joi T. Arcand, Kapwani Kiwanga, Colin Miner, Grace Ndiritu, Kara Uzelman

The Blue Hour

Brent Wadden

*Two Scores* is a solo exhibition of ambitious new work by Vancouver-based artist Brent Wadden, his first in a public institution. Presented across both spaces, *Two Scores* is dominated by singular woven statements upon the floor and walls. In their dramatic scale and graphic simplicity, they mark a point of departure for the artist, but might also be said to reveal both an unseen structure and a complex set of tensions that quietly anchor Wadden’s ongoing practice as a whole.

Wadden began his artistic training as a painter, but over the past seven years has established an extensive body of abstract woven work that he continues, very intentionally, to describe as paintings. At once material and conceptual, improvisational and procedural, these textile assemblages simultaneously rely upon and antagonize the highly gendered histories of both painting and textiles, contributing to the new discussion brought to craft-based practices in contemporary art since the end of the 1990s.

With their economy of form and intense colour, stretched over rectangular armatures and hung on the wall, Wadden’s paintings at first glance resemble the modernist hard-edge and post-painterly canvases from the middle of the last century, celebrated by certain art critics for dispensing with everything but the “material facts” of painting. Wadden’s works are indeed “post-painterly”: because they are woven on a loom, composition and surface are one and the same. It is perhaps unsurprising that one of Wadden’s principal instructors at the Nova Scotia College of Art and Design was the late conceptualist painter Gerald Ferguson. Ferguson’s “task-oriented” canvases, rooted firmly in the phenomenal world, offered a direct challenge to the heady formalism of modernist painting and its self-inscribed limits.

In their material matter-of-factness, Wadden’s woven paintings present a similar conceptual provocation to the conventions of abstract painting. They also issue a categorical challenge to weaving. Weaving is a rule-based art, whose structural logic is determined by the vertical warp threads interlacing, line by line, with the horizontal weft. The design of the loom itself, which developed mainly to increase the speed of the weaver’s production, has remained essentially unchanged for millennia.

As a self-taught weaver, Wadden’s process is exploratory, laborious and purposefully naïve. His solutions are often inefficient – they would confound a traditionally-trained practitioner – and his technique frequently fails to take advantage of the loom’s economy of means. Unlike in painting, where an artist is able to apprehend the entirety of the canvas at once, weaving on a loom involves rolling the textile as it is produced, such that the weaver is only able to see the full panel once it has been cut from the device. In weaving, as Wadden notes, one can only move forward. His textile panels are thus riddled with inconsistencies deliberately left uncorrected. These subtle disruptions create a complex material surface that insistently reveals the presence of the artist’s hand (albeit paradoxically) through the mechanical nature of the weaving process itself. Furthermore, as the works in *Two Scores* make clear, Wadden’s paintings are very rarely produced from a single panel of cloth, but more often assembled from multiple panels stitched together at the selvedges. Thus the pictures themselves are not composed until the near end-point of production and reject, as textile historian T’ai Smith has remarked, ”a preconceived masterplan.” In this way too, the artist purposefully undermines the optical rigour of his compositions – along the panels’ seams, the forms do not always line up, producing visual glitches that force, to quote Smith again, “the threads of that moment to meet head on, to form a clash, a resonating buzz of terms.”

Wadden’s process also begins long before the labour of the weaving itself, with the collecting of yarn. The artist works almost entirely with pre-used fibers, both organic and synthetic. He purchases unwanted overstock off eBay and Craigslist, garage sales and flea markets. He unravels thrift shop sweaters and repurposes their yarn. By choosing to work with only second-hand materials, Wadden is often short of the amount he needs, and frequently compensates with near-matching filler, an act that further undercuts the “purity” of his geometric forms. This rule of “make do and mend” is one Wadden had long observed in the small communities of his native Nova Scotia, where many folk artists worked with only those things directly at hand.

For *Two Scores*, Wadden extends these rules further, bringing the dimensions of the exhibition space itself into the formula. In the B.C. Binning Gallery, the scale of the monumental, nearly seven-and-a-half metre long painting *Score 1 (Salt Spring)* (2018) is determined both by the length of the wall and the amount of yarn the artist obtained in a single purchase from a Salt Spring Island weaver. Wadden has then woven the excess material into long, narrow panels inserted column-like between the gallery’s windows that run like a frieze high up along its south wall. In the Alvin Balkind Gallery, Wadden directs our attention to the floor, where a single, unstretched woven piece is laid out as a rug, further confounding our clear identification of it as either painting or textile. The scale and colour of *Score 2 (16 Afghans)* (2018) is dictated by the yarn unravelled from sixteen knitted blankets Wadden purchased specifically for this project at various Vancouver thrift shops. A series of modestly-scaled images document the original blankets’ geometric simplicity and riotous colour, some of them uncannily modernist in design. Demonstrating Wadden’s interest in the unintentional visual synergies between the lexicons of high art and craft, they also serve as silent markers of the skill and ingenuity of their unknown (and very likely female) makers, bringing into tension once again the asymmetries between a long history of anonymous, feminized textile production and that of the male dominated theatre of modern art.

Curated by Kimberly Phillips

This exhibition is generously supported by Jane Irwin and Ross Hill.

### Biography

Brent Wadden was born in 1979 in Nova Scotia, and currently lives and works between Vancouver and Berlin. Recent solo exhibitions include PKM, South Korea (2017); Mitchell-Innes & Nash, New York (2017); Peres Projects, Berlin (2017); Almine Rech Gallery, Brussels and Paris (2016) and Pace Gallery, London (2015). Wadden’s work has been included in recent international group exhibitions such as *The Art Show – Art of the New Millennium in Taguchi Art Collection*, The Museum of Modern Art, Gumma, Japan (2017); *Bienal de Curitiba*, Paranaense Art Institute, Curitiba, Brazil (2017); *Stitch*, Beeler Gallery, Columbus College of Art and Design, Columbus (2017); *Making & Unmaking*, Camden Arts Centre, London (2016); *High Anxiety: New Acquisitions*, Rubell Family Collection, Miami (2016) and *Vancouver Special: Ambivalent Pleasures*, Vancouver Art Gallery (2016). Wadden is represented by Peres Projects in Berlin, Pace Gallery in London; Almine Rech Gallery, in Brussels and Paris; and Mitchell-Innes & Nash, in New York.



ProgramGuideWinter2018.pdf

A close up view of a weaving. The weaving is made up of horizontal stripes in various colours including, browns, greens, yellows, greys, white, red and purple.

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Installation image of Brent Wadden’s exhibition Two Scores. Four striped woven works stretched onto narrow, rectangular panels hang vertically on a gallery wall. 

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Six works from Brent Wadden’s exhibition Two Scores hang in white frames on the wall of a gallery space. They are photographs of woven afghan blankets of different patterns and colours.

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Installation image of Brent Wadden’s exhibition Two Scores. Four framed photographs hang on the left side of a corner wall and six on the right. A large scale woven rug lays on the floor. 

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A large-scale woven piece hangs on the wall of a gallery space. The piece is rectangular and made up of various coloured and white stripes. 