Keg de Souza

Australian artist Keg de Souza will be working from a temporary studio in Chinatown as part of the final phase of her eighteen month residency in Vancouver. Developing on from a series of public participatory events examining food culture as a metaphor for urban displacement, for *The Big Draw* the artist will conduct an exploratory food mapping project of the Strathcona neighbourhood by inviting people to become urban cartographers and contribute to a large-scale collaborative map considering local shops, restaurants, urban farms and our interconnected relationships/experiences to them.

Presented as part of *The Big Draw*, the world’s largest drawing festival and Culture Days, a Canada-wide celebration that raises the awareness, accessibility, participation and engagement of Canadians in the arts and cultural life of their communities. 

As our contribution to this city-wide one day drawing festival, CAG will present Walking a Line, a series of collaborative drawing experiences for all ages created by students as part of Community, Collaboration and Pedagogy, a studio course with Emily Carr University of Art + Design, hosted by CAG. 

### Biography

Australian artist de Souza investigates the politics of space informed through a formal training in architecture combined with her experiences such as squatting in Redfern, Sydney. De Souza’s work emphasises participation and reciprocity, and often involves the process of learning new skills and fostering relationships to create site and situation-specific projects. For over ten years she has self-published her hand-bound books and ‘zines under the name All Thumbs Press. Recent exhibitions include; Redfern School of Displacement for the 20th Biennale of Sydney; Abundance: Fruit of the Sea, Bounty of the Mountains for the 2016 Setouchi Triennale (2016). Temporary Spaces, Edible Places: Vancouver and Preservation, Contemporary Art Gallery; Temporary Spaces, Edible Places: New York, AC Institute, New York (2015). Temporarily in Architecture, Food and Communities, Delfina Foundation, London; Temporary Spaces, Edible Places, Atlas Arts, Isle of Skye, Scotland; If There’s Something Strange In Your Neighbourhood … Ratmakan Kampung, Yogyakarta, Indonesia (2014). The 5th Auckland Triennial, 15th Jakarta Biennale and Vertical Villages at 4A Centre for Contemporary Asian Art, Sydney (2013).



A large black and white map covers the floor. Various coloured markers are scattered across the surface and a person is pointing to an intersection on the map. 

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Workshop

We welcome back to Vancouver Australian artist Keg de Souza, on her final visit to the city. De Souza presents an artist talk and a public project exploring food culture as a metaphor for urban displacement. She will discuss her recent projects including the Redfern School of Displacement, presented as part of the 20th Biennale of Sydney. This project reflected on the ongoing activism, debate, speculation and political rhetoric concerning displacement and gentrification in Sydney.

Throughout October, de Souza will operate from a temporary space in the former Park Lock Dim Sum/Seafood Restaurant on the second floor of 544 Main Street in Chinatown. From this location she will initiate a food mapping installation developed via a series of public events, workshops and discussions centered on this disused space, the last original building standing on the corner of Main and Keefer.

Participants are invited to contribute items that represent the changing urban fabric of the Chinatown/DTES area through its food culture. Each participant’s items will be vacuum bagged and used to create a tile in the construction of a temporary structure within the Chinatown space. The numerous vacuum bags will create a patchwork surface that represents various community members, and their insights into local food culture and gentrification. Items could range from: menus from new upmarket establishments; packaging from iconic restaurants of the area, soup kitchen fliers, info on urban farming or even something grown from an urban farm.

De Souza’s practice investigates the politics of space, emphasizing participation and reciprocity to create site and situation-specific projects. De Souza aims to cultivate local knowledge regarding the displacement of low income, indigenous and immigrant communities in collaboration with residents and the community, creating a platform for conversation and debate.

The project in Vancouver is assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and Left of Main.

### Biography 

Australian artist de Souza investigates the politics of space informed through a formal training in architecture combined with her experiences such as squatting in Redfern, Sydney. De Souza’s work emphasises participation and reciprocity, and often involves the process of learning new skills and fostering relationships to create site and situation-specific projects. For over ten years she has self-published her hand-bound books and ‘zines under the name All Thumbs Press. Recent exhibitions include; Redfern School of Displacement for the 20th Biennale of Sydney; Abundance: Fruit of the Sea, Bounty of the Mountains for the 2016 Setouchi Triennale (2016). Temporary Spaces, Edible Places: Vancouver and Preservation, Contemporary Art Gallery; Temporary Spaces, Edible Places: New York, AC Institute, New York (2015). Temporarily in Architecture, Food and Communities, Delfina Foundation, London; Temporary Spaces, Edible Places, Atlas Arts, Isle of Skye, Scotland; If There’s Something Strange In Your Neighbourhood … Ratmakan Kampung, Yogyakarta, Indonesia (2014). The 5th Auckland Triennial, 15th Jakarta Biennale and Vertical Villages at 4A Centre for Contemporary Asian Art, Sydney (2013).

Talk

Partnering with the VSB Windermere Community Schools Team and Frog Hollow Neighbourhood House, CAG worked with artists and filmmakers to deliver a series of year-long media arts projects from 2016 through 2020 with the grade eight and nine students of Get R.E.A.L., an afterschool program at Windermere Secondary School in East Vancouver. Each year’s project was the result of creative art and video production workshops exploring important issues raised by the group. Students were supported in organizing their collective voices and personal experiences through the use of contemporary media, while building technical skills and supportive relationships with each other, older peers and artist mentors.

Get R.E.A.L. was generously made possible by Brian and Andrea Hill. From 2018 to 2020, we acknowledge the generous support of the BC Arts Council Youth Engagement program toward the project. 

 

Three people, with their backs to the camera, look at a row of unframed photographs hanging on a grey gallery wall.

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Get R.E.A.L.

 Isabel Nolan

Isabel Nolan speaks about her practice and her exhibition at CAG.

### Biography

Isabel Nolan lives and works in Dublin, Ireland. Recent solo exhibitions include Mercer Union, Toronto (2016); Launch Pad, New York; Kerlin Gallery, Dublin (2015); Sean Kelly Gallery, New York; Irish Museum of Modern Art, Dublin (2014); The Return Gallery, Goethe Institut, Dublin; Musée d’art Moderne de Saint-Etienne (2012); The Model, Sligo (2011); Gallery Side 2, Tokyo (2010); Douglas Hyde Gallery, Dublin; ARTSPACE, New Zealand (2008); Project Arts Centre, Dublin (2005). Nolan represented Ireland at the 2005 Venice Biennale in a group exhibition, “Ireland at Venice 2005”. Other recent group shows include Lofoten International Arts Festival (LIAF), Svolvær, Norway; Artspace, Sydney (2015); Wallspace Gallery, New York (2014); Palais de Tokyo, Paris; David Nolan Gallery, New York; Villa Datris, Fondation pour la Sculpture Contemporain, France; Lewis Glucksman Gallery, Cork (2013); EVA International, Limerick (2012); Stephen Friedman Gallery, London;  Talbot Rice Gallery, Edinburgh (2011); Scottish National Gallery of Modern Art, Edinburgh (2010); Accademia d’Ungheria, Rome; The Daejeon Museum of Art, South Korea; Bielefelder Kunstverein, Germany; Limerick City Gallery of Art, Ireland; AkkuH, Hengelo, The Netherlands; Centre Culturel Irlandais, Paris; Millennium Court Arts Centre, Portadown, Northern Ireland; SMART Project Space, Amsterdam (2009); Tanya Bonakdar Gallery, New York; Stroom Den Haag (2007). Work is held in public collections of the Irish Museum of Modern Art; The Hugh Lane Gallery, Dublin; Allied Irish Bank; Arts Council of Ireland; Kildare Co. Council and various private collections in Europe and USA. Nolan is represented by Kerlin Gallery, Dublin. 


Isabel Nolan

Claudia Beck

 Jochen Lempert

Claudia Beck is an art collector and writer who lives and works in Vancouver. She will lead a personal response to the work of Jochen Lempert. From 1976 to 1982, Claudia Beck and Andrew Gruft ran NOVA Gallery focusing on photography by artists including: Henry Fox Talbot, Julia Margaret Cameron, Walker Evans, Ian Wallace and N.E. Thing Co. They were the first gallery to exhibit the work of Jeff Wall and are considered pioneers among commercial photography galleries. Beck and Gruft have since donated a large portion of their photography collection to the Vancouver Art Gallery, which was featured in the exhibition *Real Pictures* in 2005. Beck curated the exhibition of work by Christopher Williams at CAG as well as serving as a Board member and was also a trustee of the Vancouver Art Gallery. Previously she served for four years as Head of the Acquisitions Committee of The Getty Museum Photo Council in Los Angeles.


A nine by five grid of small black and white photographs which each depict the profile of a birds head.

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Claudia Beck on Jochen Lempert

Kimberly Phillips

Amaara Raheem

Amaara Raheem is *Twenty-Three Days at Sea*’s fourth artist-in-residence. A Sri Lankan born dance artist, based between Melbourne, Australia, and London, UK, Raheem’s practice places her own body in fluid states to investigate the aesthetics and ethics of mobility. Raheem departed for Shanghai on the MV Hanjin Geneva on April 19, and upon her return from Asia in May, CAG will host her at the Burrard Marina Field House to process the experience and produce work.

At this event, held at the CAG Burrard Marina Field House, Raheem and Access Director/Curator Kimberly Phillips will converse about the role of anticipation and imagination in her preparations for the residency voyage. Raheem will also perform a new work in response to her time at sea.

Amaara Raheem is a Sri Lankan born, Melbourne and London based dance artist. Her practice investigates the ethics and aesthetics of mobility, placing language, objects, and movement in parallel, in order to embody flux. She is currently a PhD candidate in the School of Architecture and Design and RMIT Melbourne.

*Twenty-Three Days at Sea: A Travelling Artist Residency* is an Access Gallery initiative, produced in partnership with the Burrard Arts Foundation and the Contemporary Art Gallery. Partial sponsorship of the sea voyages is graciously offered by Reederei NSB, assistance in Asia by China Residencies and Art Contraste, and at the Port of Vancouver by the International Longshore and Warehouse Union. Access is grateful for the ongoing support of the Canada Council for the Arts, the British Columbia government through the BC Arts Council and BC Gaming, the City of Vancouver, and our donors, members, and volunteers.

The Burrard Marina Field House is an off-site artist residency space and community hub organized by the Contemporary Art Gallery and supported by the Vancouver Park Board and the City of Vancouver. Running parallel to the residency program is an ongoing series of public events for all ages.


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Amaara Raheem & Kimberly Phillips

In Conversation

CAG presents the first major museum exhibition in Canada devoted to the well-respected German photographer Jochen Lempert. Trained as a biologist, Lempert photographs plants, animals and other natural phenomena with both scientific acumen and a poetic appreciation of natural beauty. His approach is scientific as well as humorous. Always working in black and white, his work engages with a diverse range of subjects and genres, ranging from everyday views to abstracted details.

### Biography

Jochen Lempert lives and works in Hamburg, Germany. Selected solo exhibitions include Cincinnati Art Museum (2015); ProjecteSD, Barcelona, Spain; Overbeck-Gesellschaft Verein von Kunstfreunden e.V., Lübeck, Germany; Städtische Galerie Nordhorn, Germany (2014); Hamburger Kunsthalle, Hamburg, Germany; Lulu, Mexico City, Mexico; Norma Mangione gallery, Torino, Italy (2013); Midway Contemporary Art, Minneapolis; Rochester Art Center, Rochester (2012); Museum Ludwig, Cologne, Germany; Front Room. Contemporary Art Museum St. Louis, Saint Louis (2010); Domaine de Kerguéhennec Centre d’Art Contemporain, Bignan, France; Culturgest, Lisbon, Portugal (2009). His work has recently been included in group exhibitions at Fotomuseum Antwerp, Belgium; Fotomuseum Winterthur, Switzerland; Museum für Gegenwartskunst Siegen, Germany; Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria; Fondation D’Enterprise Ricard, Paris; The Photographers’ Gallery, London; Marian Goodman, Paris; Biennial for Contemporary Art; FRAC Bretagne, Rennes, France; Heidelberger Kunstverein, Germany; Sprengel Museum, Hannover, Germany; and the Paris Triennial, amongst many others. His work is held in many public collections including: Fundació „La Caixa“, Barcelona, Spain; Colección Banco de España, Madrid, Spain; CNAP, Centre National des Arts Plastiques, Paris, France; FRAC Bretagne, Rennes, France; Kadist Art Foundation, Paris; Fondation Norac, Rennes, France; Les Abbatoirs–Musée d’art modern et contemporain and Frac Midi-Pyrénées, Toulouse, France; Museum Ludwig Köln; Museum Folkwang Essen; and Kunstmuseum Bonn, amongst many others. In 2005 Lempert was the winner of the Edwin-Scharff Preis, Hamburg and was shortlisted for the Deutsche Börse Photography Prize 2014. He is represented by ProjecteSD, Barcelona.


A black and white unframed photograph hangs on a gallery wall. The photograph depicts a a plant with a stark white left in the centre. 

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Jochen Lempert

Camille Norment

Experimental Music Unit

The Contemporary Art Gallery presents a new performative sound work with Norwegian/US artist/musician Camille Norment in collaboration with Victoria’s Experimental Music Unit: Tina Pearson, George Tzanetakis, and Paul Walde.

Norment performs with a glass armonica, a legendary eighteenth-century instrument that creates ethereal music from glass and water. Combined with EMU’s reputation for sonic investigations of relationships between the natural world, sound and music, and between notation, improvisation and attention states in music making, Norment and EMU will develop a work that resonates with local history.

*Songs for Glass Island* will use US visual artist Robert Smithson’s failed 1969 proposal for the Strait of Georgia, *Glass Island (or Island of Broken Glass)* as point of departure. Granted permission by the Canadian Government, Smithson planned encrusting Miami Islet west of Fraser Point in 100 tons of broken glass. However, as public pressure against the idea mounted from environmentalists and anti-Americanists, it was suspended by a governmental telegram. Aside from drawings, letters and plans, the only physical artifacts which remain are studies which Smithson called “maps.” What would have been Smithson’s first “permanent” earthwork morphed via the idea’s failure into the famous Spiral Jetty made the following year.

Throughout March and April, Norment will be in residence at the University of Victoria where she will be writing and rehearsing with EMU members. Using glass in various forms as their primary instruments, they will prepare a set of interrelated works including newly developed instrumentation, that imagine the possible sounds, stories, textures and ecologies of Smithson’s fabled island. Reflecting the themes in structure and content, sound will weave viscerally through this glass world, the project residing in realistic and fantasy scenarios provoked by Smithson’s proposal: glass as a material; glass in acoustic and marine ecology; inevitable mounds of post-catastrophe glass shards; and metaphors associated with glass, such as glass ceilings, broken barriers, reflection, transparency and invisibility.

Through the creative process, the juxtaposition of the practices of sound and experimental music performance in glass will create a visually stunning and sonically captivating audiovisual concert-length program that will debut in progress at the Art Gallery of Greater Victoria and be followed by its premiere performance in Vancouver presented by CAG at Pyatt Hall. Recordings of these works and performances will be subject to a subsequent audio publication. CAG will also partner later this year with Norment and the Montreal Biennale.

Camille Norment is a multidisciplinary American artist living in Oslo, Norway. Her work has been the subject of numerous international exhibitions and performances including the Museum of Modern Art, New York (2013) and a commissioned artwork and performance for the Museum of Contemporary Art, Oslo (2012). In 2015 she presented *Rapture*, a site-specific, sculptural and sonic installation in the Nordic Pavilion for the Venice Biennale. She regularly performs and records with the Camille Norment Trio in which she plays the glass armonica.

EMU is a sound ensemble of LaSaM Music from Victoria, British Columbia featuring performer/composers Tina Pearson, George Tzanetakis, Paul Walde and producer Kirk McNally. During the past four years EMU has developed a reputation for sonic investigations of relationships between the natural world, sound and music, and between notation, improvisation and attention states in music making.


Image of a pair of hands placed on a glass armonica. 

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Camille Norment and Experimental Music Unit: Songs for Glass Island

Performance

Walter K. Scott

Scott currently lives and works in Montreal. For the Images Festival 2015, Scott produced *Wendy Live!* where a cast of English, Japanese and Mohawk-speaking performers enacted the newest Wendy book before its 2016 North American English-language release. Alongside his comic work, Scott produces work involving printmaking and sculpture and is represented by Macaulay & Co. Fine Art, Vancouver. He recently completed a residency at the Koganecho Bazaar, Yokohama, Japan.

This talk is hosted by Emily Carr’s Visual Art Forums. 


A graphic illustration of two figures printed in black vinyl on the glass face of a train station. One is walking and the other is upside down with a drill-like head. Bold text is on either side.  

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 John Wood and Paul Harrison

The Contemporary Art Gallery presents the first solo exhibition in Canada by British duo John Wood and Paul Harrison. Their practice unfolds as a way of observing the human condition, an ongoing investigation into the world that surrounds us, the objects we encounter and use daily, and our fundamental engagement with the physical; universe in all its sometime or seemingly futile existence. 

This talk is hosted by Emily Carr’s Visual Art Forums.


Fifteen metal rulers align diagonally on a white table in a gallery. Each is bent upwards at a 90 degree angle at different points. In combination, the aligned bent sections create a raised slope.

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John Wood and Paul Harrison

Talk 

 Robin Simpson

 James Diamond

 Gwendolyn and Co.

 Xanthra Mackay

P. Staff

 Mirha Soleil-Ross

 Mike Hoolboom

*Missives*, is a new free broadsheet publication and an associated film screening event co-programmed by P. Staff with Canadian curator and writer Robin Simpson. Continuing the format of Staff’s recent screening-performances *Dreams of Travel* (2014) and *Uniform Smoke* (2015), this expanded public programming brings together a number of voices that generate resonances with the politics and interpersonal relationships that constitute the project, rather than describing or fixing the meaning of the work. Grounded within a Canadian context, it seeks to forge a connection among Trans/Queer contexts, production, dialogues and communities.

The broadsheet contains specially commissioned texts by Juliet Jacques, Staff and Simpson and will be distributed city wide as well as in Toronto via defunct Xtra newspaper boxes.

Alongside this, the screening event at Cineworks Annex (February 12 from 7pm), invokes a provisional social space, cinema and theatrical set where a temporary community may gather, through which a selection of film and video works explore first person narratives, interview, account and witness in queer Canadian moving image production, and reflect upon our viewing of it in a contemporary context. Presenting older works framed through their practice the evening engages an intergenerational conversation and includes: Mirha Soleil-Ross’ *Gender Troublemakers* (1993), Xanthra Mackay’s *Rupert Remembers* (2000), James Diamond’s *The Man from Venus* (1999), Mike Hoolboom’s *Frank’s Cock* (1993) and Gwendolyn and Co.’s *Prowling by Night* (1990).

*The MISSIVES* broadsheet and screening event are generously supported by the British Council. Presented by CAG in partnership with Cineworks.

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 P. Staff and Robin Simpson: Missives

Screening

Hazel Meyer

Hazel Meyer’s mutable body of work, *Muscle Panic*, considers the performance of the athletic. Evoking the imagery of momentous sports history, the bodily gestures and actions of a drill or warmup and the aesthetics of the gymnasium, Meyer instigates an arena of sweat and queer desire. Multiple iterations of *Muscle Panic* have taken the project from a rogue basketball gym built in an abandoned barn to a clandestine locker room to a warehouse-like gymnastics studio. Simultaneously an installation and a performance, *Muscle Panic* transforms the banal and austere white cube into a hot physically charged site for emotional and physical exchange. 

For CAG, Meyer has developed an installation of imagery and objects evoking the potentially queer sensibilities of the athletic. The installation will become the set/site for an afternoon event in which performers animate the space through a series of drills exploring endurance as gendered phenomena within sport.

### Biography 

Hazel Meyer’s projects explore seemingly disparate yet overlapping preoccupations — intestines and athletics, feminism and the absurd, anxiety and textiles — using scale, language, repetition, gentle confrontation and ecstatic immersion. Recent projects include solo exhibitions at MacLaren Art Centre, Barrie and Art Metropole, Toronto; group exhibitions at Doris McCarthy Gallery, Scarborough and Trifecta Gallery, Las Vegas; publications with Little Joe (UK) and Idea Exchange, Cambridge and residencies at Embassy of Foreign Artists, Geneva and Scrap Metal Gallery, Toronto.

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Hazel Meyer: Muscle Panic

Cindy Mochizuki

*Paper* introduces us to K, a woman who runs a small, family restaurant off a mysterious island along the shores of Japan. One evening, just before closing, a man appears at the door for a meal. What follows is a series of strange events that allows K to peer into a portal created by a tiny hole in her paper menu.  A second chapter of *Rock, Paper, Scissor* is an ongoing trilogy of multimedia experiences set in the time frame of 1900’s – 2100, *Paper* bridges Canada and Japan through migration, water and the natural resources of coal, lumber and iron. The original Japanese version of *Paper* was completed in 2013 through AIR 475 artist-in-residence program in Yonago, Tottori, Japan.

For the CAG, Mochizuki has produced the English version of the audio narrative experienced on a boat ride across False Creek. The journey will culminate in a traditional chagayu (tea porridge that integrates salmon and rice) often consumed by Japanese Canadian fishermen on lengthy fishing trips out at sea.

### Biography

Cindy Mochizuki creates multi-media installation, performance, animation, drawings and interdisciplinary collaborations that integrate historic ephemera and stories present within public and private archives. Interested in the methodologies of memory work and experimental narratives, her projects invoke a timeless space of both fiction and documentary. Recent exhibitions and projects include *Shako Club*, grunt gallery (2015), AIR 475, Yonago, Japan (2014), *Fictive Communities Asia*, Koganecho Bazaar, Koganecho, Japan (2014), and *On the Subject of Ghosts*, Hamilton Artists Inc. (2013).


A group of people boarding a small blue boat from a concrete dock on a rainy day. A bridge and buildings are visible in the background beyond the water.

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White styrofoam bowls and cups are set up around a long white table. In the middle of the table there are various ceramic and glass bowls containing food, which have bamboo chopsticks placed on top. 

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Cindy Mochizuki: Paper

Boat Tour

Margaret  Dragu

*The Library Project* is an ongoing series of participatory events exploring the body as a source and site of knowledge. Interrogating the strategies of contemporary academic and corporate forms of group knowledge exchange and skill building such as the TED Talk, conference, workshop and lecture, each performance playfully explores personal history, archive and pedagogy. Inspired by the Pakistani activist for female education and the youngest-ever Nobel Prize laureate, Malala Yousafzai's call to action at the UN, “Let us pick up our books and our pens. They are our most powerful weapons. One child, one teacher, one book, and one pen can change the world. Education is the only solution”, *The Library Project* seeks to develop a space and platform for knowledge sharing through performative acts. 

For CAG, Dragu will host a daytime intensive workshop considering the idea of Multi/Inter/Trans-disciplinary. Alongside this in our visitor resource space/reading room we present the video archive of the five previous iterations at the Bickersteth Library, Hart House, University of Toronto; Richmond Public Library; Kamloops Art Gallery; Your Kontinent: Richmond International Film & Media Arts Festival and Month of Performance Art, Berlin.

### Biography 

Margaret Dragu works in video, installation, web-based/book-publication and performance.  Spanning relational, durational, interventionist and community-based practices, her performances have been presented in galleries, museums, theatres, nightclubs, libraries, universities and site-specific venues including parks, botanical gardens, and public parade routes across Canada, the United States and Europe. An innovator and pioneer in Canadian art, Dragu was the recipient of the Governor General’s Award for Visual and Media Arts in 2012.

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Margaret Dragu: The Library Project

Laurie  Bamon 

 The Common Guild, Glasgow

Janice  Kerbel

 Vancouver New Music

Philip  Venable

 musica intima

The Contemporary Art Gallery presents the North American premiere of Janice Kerbel’s Turner Prize nominated *DOUG*, a musical composition and performance.

Employing recognizable conventions from a variety of disciplines – from theatre to sport to music – Kerbel’s practice utilizes existing structures while challenging expectations and traditional use. Events normally considered impossible to depict are given form that is both surprising and strangely familiar.

Commissioned by The Common Guild, Glasgow and first presented at the Mitchell Library in 2014, an ensemble of six vocalists leads the audience through a nine song cycle of imagined disasters, translating “accident” into musical form. Reflecting the acts themselves, some pieces are violently short, others unfold at length. Voice and the structures inherent in music are used to give shape to these visceral moments, while Kerbel’s lyrics take the form of a series of rhythmic verse outlining a sequence of events going from bad to worse with titles such as *Blast, Fall, Hit, Crash* and *Slip*.

The performance is presented with musica intima and supported by Vancouver New Music. Text by Janice Kerbel. Composition by Janice Kerbel in collaboration with Laurie Bamon and Philip Venables. *DOUG* was initially conceived as an online project for Film and Video Umbrella.

### Biography

Janice Kerbel lives and works in London, has exhibited internationally since the late 1990s and participated in numerous group exhibitions and biennales. Recent projects include *The Turner Prize*, Tramway, Glasgow; Catriona Jeffries Gallery, Vancouver (2015); *DOUG*, Common Guild, Glasgow (2014); *Kill the Workers*, Chisenhale, London; Badischer Kunstverein, Karlsruhe and Walter Phillips Gallery, The Banff Centre (2011); *See it Now*, Art Now, Tate Britain (2010); *Remarkable*, commissioned for Frieze Projects (2007); and *Nick Silver Can’t Sleep*, commissioned by Artangel/BBC Radio 3 (2006) and presented live at *Art Now Live*, Tate Britain (2007). Kerbel is represented by Catriona Jeffries Gallery, Vancouver, greengrassi, London; Galerie Karin Guenther, Hamburg; and i8, Reykjavik.

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Janice Kerbel: DOUG

Tiziana  La Melia

Developed from the artist’s own writing, Tiziana La Melia’s performances investigate the slippages between language and form, evoking a tension between the written and the aesthetic visual experience of performance. Creating intricate installations and objects that also operate as props, sets and costumes, La Melia develops compellingly simple vignettes that allude to a range of references from the art historical and literary to the personal and incidental, leaving the viewer to contemplate a layered and malleable composition. 

For CAG, La Melia has produced a new performance *Staring at the Ceiling *which enacts a professional photo shoot for a set of earrings designed by the artist. Her audience become witnesses and participants in a photograph that aims, using techniques of objectification, to capture the glint and flash of an object captured in motion. The piece is performed in two parts, splitting physical action and spoken word.

### Biography

Tiziana La Melia lives and works in Vancouver, BC and works in painting, installation, film and writing. Recent exhibitions include Francois Ghebaly, Los Angeles; Mint, Columbus; Mercer Union, Toronto; Macaulay & Co. Fine Arts, Vancouver; The Apartment, Vancouver; Xspace, Toronto; Western Front, Vancouver, and SBC Galerie, Montreal. La Melia’s writing has appeared in *Night Papers V, Bartleby Review, Setup Magazine, Millions Magazine, Pelt* and *West Coast Line* among others. Selected readings and screenings of her work include Wendy’s Subway, New York; Model, Vancouver and Trieze, Paris. In 2014, she was the Writer in Residence at TPW R&D, Toronto and the winner of the RBC Canadian Painting Competition.

This is a close-up view of a performance taking place inside the gallery space. A person  is adjusting the stage light and another is taking a photograph of a seated person in the middle.  

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Three people are preparing for the performance inside the gallery. Many theatre lights are installed in front of the small coffee table and a chair placed right beside the gallery wall. 

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Five people are posing in a small photo booth set in front of a wall in a gallery. A person standing in the middle of the booth looks at the audience sitting around the set.

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Tiziana La Melia: Staring at the Ceiling

Olivia  Boudreau

Parts of Olivia Boudreau’s diverse practice are performance and video works capturing gradual movement in real time. For example, *Box* (2009) is a twenty-two hour fixed frame record of a horse in its stable or *Pelages* (2007) documents a woman in an ash-coloured fur coat attempting to remain on her hands and knees for five hours. Simple compositions present bodies caught in the passage of time; actions unfold a range of gestures at a glacial pace capturing changes in light and movement that provoke a diversity of interpretations for the viewer.

At CAG we present *Lying Bodies, Standing Bodies* (2014), a performance structured as a durational loop. One performer stands observing another lying on the gallery floor. When the standing performer is tired, he or she lies down indicating to the other to get up and stand. The period of each interval is determined by the performers, a continual role reversal described. Set in the Alvin Balkind gallery, the viewer happens upon this intimate act in progress.

### Biography
Olivia Boudreau has been featured in various exhibitions across Canada and Europe including solo exhibitions at the Leonard and Bina Ellen Gallery, Concordia University, Montréal, Galerie Néon in Lyon, France and at the LOOP Festival in Barcelona. In 2011 she participated in the second Québec Triennial at the Musée d’art contemporain de Montréal and was awarded the Pierre Ayot prize. Boudreau was shortlisted for the Sobey award in 2012.


Two people are performing in a gallery space. The one wearing a blue-green scarf is standing straight and looking down at the other, who is lying down on the floor.

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Olivia Boudreau: Lying Bodies, Standing Bodies

Howie Tsui

 Kim Beom

This series invites cultural and critical producers to present thoughts and ideas rooted in their own interests and practices,and invites audiences to join in the conversations that will explore relevant contemporary issues, theories, ideas and culture.

###Biography
Vancouver-based artist Howie Tsui (Tsui Ho Yan) was born in Hong Kong and raised in Lagos, Nigeria and Thunder Bay. He holds a BFA from the University of Waterloo and received the Joseph S. Stauffer Prize in 2005. Selected solo exhibitions have been held at: Carleton University Art Gallery, Ottawa; Ace Art Inc., Winnipeg; Montreal, arts interculturels; Centre A, Vancouver; Agnes Etherington Art Centre, Kingston and the Art Gallery of Southwestern Manitoba. Howie Tsui will respond to the work of Kim Beom.


An artwork depicting two shoeprint-like forms made out of googly-eye stickers on a tan background. 