PLAY:Toys+Age=Art

A Curatorial Framework

PLAY:Toys+Age=Art is a look at work by artists across Canada who use childhood toys and games as elements within their creative practice and at how those common and innocent memories can become changed through the effect of age and experience. Stuffed animals, fantastic stories about loveable monsters and childhood fairytales accompany gendered drawing toys and formative video games in the works in our newest exhibition. Sourced from early career and established artists in 5 provinces, these works in video, sculpture, painting and drawing, installation and performance are the best of a very large group of works I considered for this show. 

Canadian artist, author, designer, thinker and gadabout Douglas Coupland has played with toys through much of his visual art practice. His most obvious works might be the life-sized cast figures of toy army men seen in exhibitions around the world, however, it was a much smaller and quieter piece, shown at Latitude 53 in the The National Portrait Gallery show in 2010 that was the initiator of this exhibition. “Portrait of the Inside of my Head, Age Ten” is an elegant and sensitive photographic still life, in the vein of Flemish and Dutch still life paintings from the 17th century. Part memorial of lost boyhood and part snapshot of the birth of a man, this piece uses common childhood toys to emotively connect with past and present, artist and viewer. This piece brought about my reflection on the way other artists used our/their earliest playthings as fodder for adult communication.

                                       Portrait of the Inside of My Head, Age 10       

                                                 Douglas Coupland, 2010

Internationally there are numerous artists using similar ideas within their work as they comment, I believe, on a radically altered reality and lived experience over the past 2 decades. At a point in time where children can experiment with physics through “clean” and low risk computer simulations, creating complex systems and Rube Goldberg machine on iPads and smartphones, the amazing assemblages of American artist Sarah Sze seem almost quaint. Their size and complexity, and the tension of their construction belies a continual threat of erupting chaos that any model building, Lego constructing, Meccano fixing child knows intently. One wrong move and there is both catastrophe and a huge mess to clean up. There is no “reset” and no “save” to take you back to the point where you misjudged things.

Video games are now a ubiquitous player in every aspect of society - they are our babysitter, companion, sibling, lover. These complex bits of code started out as a black and white faux ping-pong games played with rudimentary computers and simple controllers to great distraction. Games have evolved almost past the real of reality at this point, but artists are using simpler times to reflect on societies need for these distractions and the way we model our lives after and around them. The cynicism and learned  failure of adulthood haunts Brooklyn-based artist Cory Arcangel’s game modifications. He leaves Mario stranded on a cube hanging in space in “Totally Fucked” 2003, removes all but one space invader who is armed with unlimited bullets and life in the 2004 Atari 2600 game mod “Space Invader”, and leaves competitors bowling an endless string of gutterballs on multiple gaming platforms from Atari to Game Cube in 2011’s “Various Self-Playing Bowling Games” shown at London’s Barbican Centre and the Whitney Museum of American Art. This last work shows the progression of gaming from less than 8-bit black and white to a still recognizably primitive Nintendo graphic from the era 2001-2006. New Zealander Pippin Barr - an artist and game designer currently based in Malta has several games that elude a deep sarcasm and ridicule for both the art world and the world of adult society in general. His hilarious "Hot Coffee" brings the viewer into the titillating ridiculosity of Leisure Suit Larry through the most mundane set of instructions for making the titular hot coffee at the request of a date. As all adults know, no matter the quality of the beverage, there is nothing funner happening later. Barr’s most notorious game skewers the six month long performance of Marina Abramovic in “The Artist is Present”, at MOMA in 2010, in re-enacting the experience of lining up in order to have a chance to sit with the artist and look her in the eye for as long as one desires. The real time game, played through a web browser, gives the player the same drawn out and possibly fruitless opportunity to be present with the artist - in all her 8 bit video richness - if only one can get to the end of the line. Because I tried first to play at 7PM on a Saturday night I was first in the line, which sadly started outside the locked doors of MOMA. It is always a long wait I suppose. 

Craig Le Blanc is a fixture in Calgary’s art community. Longtime technical assistant at University of Calgary, Craig recently also completed his MFA there and had a solo survey at the Art Gallery of Calgary. His work has long dealt with the psychology of play and of masculinity in life and in sport. He has altered simple and familiar forms such as the athletic cup, the 1976 Trans Am and childhood playground equipment in ways that render them threatening, frustrating, and most importantly useless. His installation in PLAY, "One on One" (2011) is an ominous and imposing look at the iconic original joystick video game controllers priapically filling the gallery and asserting their superiority. While formally comparable to the familiar steel monoliths of Edmonton’s seemingly never ending modernist movement, there is an almost embarrassing sensuality to this metal. Cold steel offers an emotional barrage when one sees the absolute impotence of these phallic monuments linked to each other through a single short length of cord. This is an intimate game for two players, more hand to hand combat than digital wizardry, mutual masturbation rather than masterful domination.

                                          Taking the FUN out of FUNCTION

                                                   Craig Le Blanc, 2001

The discarded and forgotten friends of early childhood populate Lorraine Simms’ colourful oil on paper and panel paintings. Simms’ earlier body of work, figurative paintings of adults in furry masks and “plushy” costumes belie an ongoing interest in adult forms of play that brought her the attention of Canadian Art magazine in a feature article written by Isa Tousignant. In her most recent work, shown for the first time at dc3 Art Projects, she creates and then paints bales of stuffed animals mixed with animal bones and skulls, glass eyes and other toys - a rainbow assortment of plushies bound by torn sheets and altered to further animate the inanimate. The eye popping colour and miniature scale of these jewel-like paintings draw us close, simultaneously bound with  and also gazing in on toys that have become our earliest and sometimes closest connection to nature. Google eyes popping from the bondage, these bunnies and bears can almost be heard to call out in Disneyfied voices that are familiar to all. Simms reflects on the fact that for children now, a rabbit is firmly entrenched as a plush toy or a cartoon character with a cute face, pink fur and human characteristics long before it has a chance as a living and breathing being. Lorraine Simms received her graduate education at Concordia University and continues to live in Montreal. While this its the first showing of Simms’ work in Edmonton, she has exhibited in private and public galleries across Canada and the United States and has been reviewed in Canadian Art, Border Crossings and Parachute as well as in newspapers across the country. 

                                                                Bunny

                                                   Lorraine Simms, 2010

Montreal based painter Joe Becker takes his anthropomorphic creatures into a decidedly darker place. Some like Ewoks, others like Gremlins, and many like super-sized Jim Henson creations, Becker’s characters have entered an adolescent fantasy world of bodily functions and violence that are currently being showcased in a survey show at Montreal’s private art incubator PHI Centre. Initial viewing of Becker’ monumentally sized canvases brought to mind fond memories of Maurice Sendak’s amazing Where the Wild Things Are, MAD Magazine, The Dark Crystal and other fantasy movies and Sweetums from Jim Henson’s 1971 The Frog Prince. Confronting the paintings with these thoughts in mind it is clear that the darker forces have prevailed, that teenage angst and vitriol mix aggressively with more naive thought, and bring a very cynical and adult humor to the forefront. The grotesqueries of Becker’s subject matter are softened by his masterly painting, reflecting an intense study of Flemish and Dutch genre painters of the 16th and 17 century as well as those of today. The works in PLAY were created during a painting residency in Leipzig Germany, home of a dynamic school of contemporary German painters.

                                                      Honeysuckle

                                                   Joe Becker ,2010

Amalie Atkins was recently nominated for Canada’s Sobey Art Prize for the second consecutive year and has upcoming shows in major Canadian institutions and international film festivals. Using narratives at once sweet and foreboding, Atkins’ stories are filled with the imagination and handcrafting of childhood while also carrying the anxieties and sadness of adult experience. Atkins works have been featured in major international exhibitions including Mass MOCA’s year long Oh, Canada, the largest survey of Canadian contemporary art. Amalie handcrafts the props and elements in her films as well as writing casting directing and editing the darkly whimsical narrative snippets that she notes may or may not be part of a larger full length story in future work. In “Scenes from a Secret World”, the piece presented in PLAY, Atkins uses childhood’s ultimate freedom vehicle, a lovely red bicycle, to transport her supporting character from place to place thus maintaining the magic of childhood. The Wolf’s murder and ultimate resurrection allows the innocence and wonder to continue, but not without the constant anticipation of an end to it all. Her newest work “The Summoning”, currently in development, is previewed at Art Gallery of Grande Prairie’s current show curated by Amy Fung, They Made a Day Be a Day Here. It gives a glimpse of another childhood pastime, rollerskating, implying both strength and vulnerability in an almost military procession of braided and uniformed uber girls striding across a prairie landscape, perhaps transitioning into adulthood. 

                                                  Three Minute Miracle

                                                   Amalie Atkins, 2011

Tammy Salzl’s transitions are neither confident nor innocent. Completing her MFA at Montreal’s Concordia University, Salzl has upcoming shows in Berlin Germany, Kingston Ontario and at Edmonton’s Latitude 53 in their wonderful new home. PLAY presents several of Tammy’s earlier works examining the difficult nature of childhood and adolescence through the filters of family relations, religion and art history. “Look What You Made Me Do” is a nightmarish tea party held in a familiar room overlooking the perfection and peacefulness of a renaissance landscape. The players in the tea drama look to each other as the adult antagonist lays waste to innocence and joy in a scene that is both horrifying and hilarious - to see the ridiculous nature of adult fury stunted by the miniature ikea furniture set and mute targets. “The Magdalene”, while more quiet and restrained , shows a different kind of adult intervention. Using props from George de la Toure’s The Penitent Magdalene, Salzl presents a young girl surrounded by trappings of childhood, including the carcass of her stuffed bear collaged onto the canvas, religion and the ominous eye of a webcam staring at her as she fondles her rosary. Barely on the verge of adulthood, this is a young woman facing her future with neither courage or certainty but with budding knowledge of what the outside world desires of her.

                                                     The Magdalene

                                                 Tammy Salzl, 2008

“Mighty Men and Mistress Maker”, the colourful interactive sculptural installation by Lethbridge based Cindy Baker, deals with internal desires and awakenings through a childhood drawing toy for boys. Codified toys are a focus for both parents and children when play doesn’t fall within  heteronormative lines. Baker recalls her brother playing with the male approved Mighty Men and Monster Maker toy while she and her sister were relegated to the Barbie equivalent which entailed creating differing outfits for the same idealized body type. In her creative practice Cindy has frequently questioned the gender and body stereotypes of contemporary society, and in this piece she gets to do both. The life size toy allows viewers to bring to life their own idealized “playmate” from any combination of lesbian and feminist archetypes and the original “Mighty Men” forms. In order to do so, the viewer has to actively crawl over and around the single bed using the drawing templates and crayons to animate their two dimensional friend, bringing to mind games of both adults and children. Cindy Baker has performed and exhibited nationally and internationally and is currently completing graduate studies at University of Lethbridge.

                                          Dominatrix drawing template

                                                 Cindy Baker,  2012

Memory and reminiscence, sometimes painful and often fond, informs the small scale sculptural and drawn work of Jude Griebel. Jude has deep roots in the prairies and has broad experience traveling for artist’s residencies around the world. He is currently in the MFA program at Concordia University and is showing this summer in Scandinavia, where he has done several residencies in past years. Griebel’s work lies in an ominous and sentimental world between dream and memory. His drawings and sculptures are simple in material and form, speaking to the importance of the artist’s hand in creation, and connecting directly to childhood craft and playtime. His “Melted Snowman”, topped by a bird able to freely escape, seems sadly resigned to its future, as are his melancholy puppet and bear drawings. Well loved but cast aside these are toys whose best days are behind. The haunting and empty “Grandmother”, home to memory and family, lies open to the elements with windows open and curtains blowing through. While treasured and placed with care on a delicate doily, one can’t help but feel the loneliness of such a place in memory and reality.

                                                          Confidante

                                                    Jude Griebel, 2011

Childhood toys, made-up games, play. These are commonalities to us all. We recall some and forget others. Our early exposures can catalyze future careers and life paths, perhaps forming our adult lives through their effect. Artists incorporate toys and games into their works in part because of these common experiences, fostering a recognition within the work for the viewer. Artists also use these elements because their way of communicating thoughts and ideas, emotion and conflict is a visual one informed by their own playthings and childhood experience. I also believe that there is a societal need for simpler things, slower times and innocence that these artists are tapping into. Sadly, the exuberant nature of pure childhood play is corrupted, twisted and perhaps diminished by our lived experiences. How do we recall childhood and how does it affect us as we grow old? PLAY:Toys+Age+Art.

David Candler

dc3 Art Projects

Thoughts after a museum visit

What is a Cultural Asset?

"In every community that manages to sustain or revive itself over time, there are cultural factors that contribute to the vitality and robustness of the people living there. These factors are shared and creative, which is to say they are cultural and they are assets that make life valuable, that make life worth living. These cultural assets can be material, immaterial, emotional, or even spiritual. " 

Professor Ross Gibson, Sydney College of the Arts

Foreground - Old Enemy, New Victim, Tony Matelli 2006, latex resin and yak hair

Back L to R - Mercenaries II, Leon Golub 1979, Acrylic on Canvas ; The Start of the Lion Hunt, A. R. Penck 1982, synthetic resin on canvas ; The Throne Room, Queluz National Palace, Sintra , Portugal, Dorian FitzGerald 2009, acrylic paint and caulking on canvas ; Life's Illusions - Horserider, Folkert DeJong 2003, polystyrene, expanded polyurethane foam, synthetic resin, wood

L to R - I Learned the Hard Way, Mickalene Thomas 2010, rhinestones acrylic and enamel on panel ; Eye in Mouth, Paul Rebeyrolle 1988, grog clay and porcelain ; Sculpture - artist date not confirmed ; Sunset Nude, Floral Blanket, Tom Wesselmann 2003, Oil on Canvas ; Seascape, Jean Michel Basquiat 1983, acrylic and oil pastel on paper mounted on canvas ; A Panel of Experts, Jean-Michel Basquiat 1982, acrylic and oil pastel on paper mounted on canvas

L to R - AB Mediation, Gerhard Richter 1986, Oil on Canvas ; Sculpture, Artist and date not confirmed ; Deutschland Cafe XIII, Jorg Immendorff 1982, Oil on canvas ; Getting Ahead, Rachel Harrison 2005, wood, polystyrene, cement, acrylic, rubber, aluminum ladder

Above are images of part of two of the four rooms, within the sprawling Musee des Beaux Arts in Montreal, hosting the current exhibition of the permanent collection of contemporary art at the Musee. Also within this complex of four rooms are major works by Albers, Calder, Beuys, Erro, Nevelson, Vasarely, Avery, Schulnik, Arp, Delvoye, Balkenhol, Horn, Currin, Los Carpinteros and Boltanski.  This does not include separate rooms that feature acquisitions from contemporary artists around Canada - Joanne Tod, BGL, Sanchez Brothers, Genevieve Cadieux, Harold Klunder, Angela Grauerholz, Eric Cameron, Kim Dorland, Kent Monkman, Damien Moppett and Pascal Grandmaison. 

The works currently showing in these exhibitions inhabit less than one tenth of the museum area, and are a combination of donations from artists and gifts from private collections and, importantly, acquisitions from artists studios and galleries.  All of the artworks mentioned, and hundreds of others are collected annually through these means and become the cultural property of the people of Montreal and Quebec.  Montreal collectors directly support the museum through donations and collections, frequently bringing the works into collection within a couple of years from the creation date - the wonderful large Mark Tansey canvas below, Action Painting II created in 1984 was entered into the Museum inventory as a gift by Nahum Gelber Q.C. the same year! The Musee is active at getting the work as close to the date of creation as possible.  

Recently, The National Gallery of Canada has closed its exhibition Builders, billed as a Canadian biennial exhibition.  This curated group of works by artists across all of Canada's provinces, Territories and First Nations included more than 100 drawings, paintings, sculptures, installations, films, videos and other documents by 40 artists all brought into the Nations collection between April 2010 and March 2012.  Remarkably, the show did NOT include at least 177 other collection entries (including a portfolio of 294 separate Royal Art Lodge drawings collages and other ephemera) ALSO collected by the departments of Contemporary Art, Indigenous Art, and Photography during that period!  While the National Gallery has come under criticism for the money spent on acquiring specific pieces, notably  Voice of Fire by Barnet Newman ($1.8 Million) in1988, Maman by Louise Bourgeois ($3.2 Million) in 2004 and 100 Foot Line by Roxy Paine in 2010 for "under a million", I would argue that their purchases have been prescient and greatly enhance not only the country's visibility and tourism draw, but the coffers as well. 

Voice of Fire is an immense (5.4m x 2.4m, 212" x 94") work from 1967.  Characteristic of Newman's work, it has a direct connection to Canadian history, having been created on request from Buckminster Fuller for the US pavillion at Montreal's Expo '67.  A comparison on the open market is very difficult to make, as nothing this size has ever been sold as far as I can find.  Sothebys sold White Fire I from 1954, a 48 x 60" oil on canvas, at a hammer price of $3.3 million US.  Another monstrous work, in size and to some in content, Bourgeois' Maman is the largest example of some of her most well-known works.  One of an edition of 6, this piece has been placed in institutional collections and with important private collectors.  The closest public sale I have found is of a slightly smaller piece, Spider (1996), which is devoid of some of the important details that set Maman apart such as the hanging egg sacs and spinners integral to the metaphoric nature of the piece.  Spider (1996) sold at Christies NY in 2011 for a hammer price of $9.5 million.  Disregarding the incredible draw these works are to the hosting institution, these are significant capital gains that I am certain would dwarf many of the questionable and sometimes grossly negligent "investments" made by all levels of government.

More recently the National Gallery of Canada has become the co-owner of one of only 5 copies of Christian Marclay's The Clock, along with Boston Museum of Fine Arts, through the incredible generosity of Jay Smith, Laura Rapp and Carol and Morton Rapp.  This durational video piece, awarded the Golden Lion at the 2011 Venice Bienniale, has had continuous showings at several Canadian institutions to huge crowds and great delight. and is an important driver for gallery visits wherever it has been shown. 

Gallery visits and dollar value are not the only reasons for bringing works into collections, but in a world as subjective and intangible as the world of art, they are a quantifiable measurement for those who would judge.  I prefer to think of the value to my kids, my grandkids, and further on, of being able to look on these assets as part of their world. The cultural inventory of a society is what is left when all else is gone.  The chefs and painters in Pompeii are long forgotten but the frescoes and ceramics remain for us to learn from and reflect on.  Details of the exploits of specific gladiators, or the lives of the architects in Rome would be unlikely to hold our attentions but standing inside or in front of the edifice of the Coliseum will make most think about the passage of time, our insignificance and the achievements of past ages. Cultural assets are the means for the future to learn about the past.

Edmonton's AGA had suspended all acquisitions during the time they were in transitional space and moving locations and have recently re-initiated a collecting process.  The 2011 Annual Report of the Art Gallery of Alberta, the province's only major dedicated art gallery and the 2011/12 Annual Report of Calgary's Glenbow Museum are available online.  Together these documents detail the addition, to their art collections, of a sum of 17 individual works from 5 different artists in Edmonton and 133 works from 17 different donations or purchase events in Calgary.  Of items added to inventory, all of the works in Edmonton were donated by artists or donors.  There were three purchased acquisitions to the Glenbow consisting of 31 artworks totalling just over $90,000. 

The cities of Calgary and Edmonton have both stepped up the programming of public art. Very successful pieces by international artists Jaume Plensa, commissioned by Encana and Cenovus, and Julian Opie (a four sided LED installation commissioned by Calgary Municipal Land Development Corporation) have launched in Calgary recently.  Edmonton Arts Council has been busy adding to Edmonton's public art through the percent for art program.  Craig Leblanc's Henri, a sleeping cat nestled above the running track at Terwilligar Rec Centre and Ingres Idee, a European collective's Running Track outside are quite successful in form and placement.  The much discussed Talus Dome aside the Whitemud Freeway is, to my mind, a nice piece placed suboptimally.  Surrounded by Edmonton's luxurious greenspace, a snow field or water I think the sculpture by Ball Nogues studio could be a lovely reflective and entertaining work.  Other works include those Jesse Sherburne and Vancouver collective Instant Coffee and are welcome additions to our civic collection. 

Edmonton has a thriving creative community, an arts friendly administration, a quiet but significant base of wealth, philanthropy and patronage, and a provincial government  that speaks of recognizing the importance of diversifying industry and revenues.  All levels of government seem to, at least in part, understand the value of culture in enhancing the livability of our communities and the viability of other business types.  Are collections being formed in Edmonton and slated for donation to the public trust?  Are our artists being nurtured and supported, presented for collection by individuals and institutions elsewhere?  Are our institutions provided with the resources necessary to collect assets that will fuel future growth in creativity and social discourse?  Where is evidence that backs Edmonton's commitment to a healthy creative community and to a global conversation about art and it's role in our present and future world?

I've been asking these questions for a while, to myself and others. I have found answers offered by other cities. I'm waiting for answers at home. 

Chronicles of a Disappearance - Good art that hurts

Grief and loss and difference are contemporary realities shared across societies and cultures worldwide. “Chronicles of a Disappearance”, a new exhibition at DHC/ART in Montreal, explores these difficult issues through the work of international artists Phillipe Parreno, Taryn Simon, Teresa Margolles, Omer Fast and Jose Toirac as each provides a view into abscence and disappearance as subject. All five of these acclaimed artists, in making the gaps in existence tangible, challenge the viewer to engage with their own state of being as reflected by a lack of something else.

Taryn Simon, a New York photo-based artist, in her An American Index of the Hidden and Unfamiliar, presents a series of stunningly shot photographs of worlds hidden and marginalized within American society. Enigmatic stills of deformed show animals, nuclear waste storage sites, CIA art collections and death row exercise yards are paired with dense and detailed text panels illuminating the images. The small print text requires an intimate closeness for most viewers, implicating us in the content and forcing an identification with either the marginalized or the power base. These hidden places and stories, integral to the function and dysfunction of American society, are unknown and unseeable but through the artist’s lens.

 Nuclear Waste Encapsulation and Storage Facility

Cherenkov Radiation, Hanford Site, U.S. Department of Energy

Southeastern Washington State

Submerged in a pool of water at Hanford Site are 1,936 stainless-steel nuclear-waste 

capsules containing cesium and strontium. Combined, they contain over 120 million 

curies of radioactivity. It is estimated to be the most curies under one 

roof in the United States. The blue glow is created by the Cherenkov Effect 

which describes the electromagnetic radiation emitted when a charged particle, 

giving off energy, moves faster than light through a transparent medium. 

The temperatures of the capsules are as high as 330 degrees Fahrenheit. 

The pool of water serves as a shield against radiation; a human standing one foot 

from an unshielded capsule would receive a lethal dose of radiation in less than 10 seconds. 

Hanford is among the most contaminated sites in the United States.

Chromogenic print, 37-1/4 x 44-1/2 inches framed (94.6 x 113 cm), Edition of 7

                                       

Fidel Castro, long-lived and long-winded orator and leader of Cuba’s recent history is known for speeches lasting up to 9 hours. In Opus, Havana-based Jose Toirac has taken his fiery and impassioned tracts, edited out all content but a litany of numbers and compressed the audio recording to a cryptic speech and video list of numerals about what? Perhaps these represent the cuban refugees who make up part of the American population, or the number of foes, or the successes of the state, or the deaths of valiant heroes of revolution – there are no clues to the hidden content about which this leader is so passionate.

Showing concurrently at DHC/ART and Ottawa’s National Gallery is Berlin-based Omer Fast’s 50,000 Feet is the Best, a looping Groundhog Day of film edits from real and re-enacted interviews in and around a Las Vegas hotel room. The viewer is led through a series of vignettes via the questioning of an unseen interviewer as a man explains his experiences operating a Predator Drone against targets in Pakistan and Afghanistan from his base in the desert of America’s west. Clearly affected by the remote game-like attacks that have difficulty differentiating military from civilian targets, the pilot stutters and stumbles from one horror to the next alternating between anger, detachment, and palpable remorse. His nerves uncalmed by the contents of an unknowable pill bottle, the viewer is repeatedly shaken by

Another video based work, Phillipe Parreno’s engaging reenactment of the final journey of Robert Kennedy’s corpse from New York to Washinton in June 8, 1968, shows the Senator’s view of a country in grieving not only for him but for the hope he represented. Long sweeping shots of mourners in urban and country settings pit the gallery viewer’s gaze with those who experiencing loss and pain. The massive projection of 70mm film leaves us humbled by the emotion portrayed, the gravity of the journey, and the import of the event.

June 8, 1968  Phillip Parreno
Installation View from DHC/ART

Plancha is a startling work by Mexican artist Teresa Margolles that lulls the viewer with its form reminiscent of minimalist sculpture in iron and stone. Within the large gallery, a long line of oxidizing steel is heated by hidden elements and rests underneath a trough slowly dripping water along the slab’s length. The water measures time in this space as it does when slowly leaking from an old faucet, but in DHC/ART the ‘bloop’ echoing in our insomniac brain has become a sharp audible hiss as the droplet immediately evaporates into the room on hitting the hot metal, a whitish residue forming on te plate surface. When one learns, via the whispers of other visitors and the nearby text panel, that Margolles has collected this water from her previous workplace, a morgue, where the liquid had been used to wash bodies, the sounds and heat and smells in the room become far more sinister. The viewer becomes complicit in the processing of death in a country, far away, where the usually young and often anonymous corpses pay silent witnesses to a society rife with drugs, violence and social inequity.

Plancha - Installation and detail views from DHC/ART

In an alcove, next to Plancha, Taryn Simon has a final work, isolated and dead-ended by an astute and fearless curatorial team. Zarah/Farah is a devastating staged photograph based on recent real events staining American military history. This image, created for the final frame of Brian DePalma’s film Redacted, shows the actress Zahra Zubaidi playing the role of Farah, a character based on the 14 year old Iraqi girl Abeer Qasim Hamza. Four American soldiers of the 502nd Infantry Regiment have been convicted of gang rape of the child Hamza outside Mahmudiya, during which time her parents and six year old sister were being murdered. After the rape, Hamza was shot in the head and her body set on fire. The Iraqi actress Zubaidi has, since the film, sought and attained political asylum due to death threats from family and criticism from friends and neighbors for her portrayal of the 14 year old victim, a role they consider to be pornography. No matter how one is affected by this horrifying fiction of a more horrific reality, once seen the viewer has no choice but to re-enter the overly warm and cloying mortuary, and breathe molecules of the departed before being released into the everyday, undoubtedly changed.

I left the exhibition “Chronicles of a Disappearance” battered and shaken. Face to face with reminders of the disappeared, the forgotten, and the lost we are forced to reconcile our horror with realization that this is the reality that we live in. This is not easy art, and that is high praise indeed. The greatest role of art, in my opinion, is to reflect society back on itself for processing and consideration; to evoke emotion and thought and discussion; to be incapable of being ignored. This exhibition hits on all counts.

It has been my great pleasure to visit DHC/ART for several amazing shows over the past few years and I stand in awe of this institution and her curatorial staff who are seemingly fearless. Jenny Holzer, Guido Van der Werve, Berlinde de Bruyckere, Sophie Calle, John Currin, Tehching Hsieh, Eija-Liisa Ahtila have all shown in recent years. Amazing artists, many exploding onto the international stage after being programmed here, these are not household names but ‘artist’s artists’. These are the controversial and influential leaders in contemporary visual culture.  I am adamant that, while Montreal is always worth visiting, DHC/Art  is reason alone to make the journey and is in itself a national treasure.

Montreal Collects!

Montreal is a city alive with art and artists. Montreal sustains a culture that embraces art in many forms. Entering into the art world of Montreal, one will uncover Canadian artists from all over who have relocated for education, opportunity, and the supportive community present there.

I have been lucky enough to visit several times over the past 12 months and am always thrilled to see what is going on in Montreal’s institutions, galleries and artist run centres as well as the private foundations working to build a thriving contemporary discussion in the visual arts.

I have visited the Musee de Beaux Artes on two occasions this year. The first visit was to see the fantastic Rouge Cabaret The Terrifying and Beautiful World of Otto Dix exhibition, drawing from the Musee’s own collection, the Neue Gallery in New York, and private European and American collections. A couple of years ago the same institution hosted a survey exhibition of Kees Van Dongen which similarly shed new light on an artist sometimes dismissed as trite and of little relevance. Both these shows were remarkable to me for their potent and wrenching discussion of ongoing issues of social responsibility, government censorship of artistic expression in times of conflict, relationships between the patron class and artists, and the importance of unrestricted support in the production of the most powerful work. Both exhibitions allowed for a view of the progression of the artists skills and career through world events and life stages - a great learning experience.

While visiting the Beaux Artes I stumbled upon a fabulous exhibition of recently acquired and borrowed works put together by Stephane Aquin and his curatorial team. “The Earth is Blue Like an Orange” is an examination of the importance of the imagination and the surreal in contemporary art practice. Aquin has been able to bring together work by young Quebecois, Canadian, and International artists in a tour de force of charming and arresting, even disturbing pieces that have held my imagination for many hours after each visit. Many of the works involve the anthropomorphization of animal forms as witnessed in the darkly humorous work of Karen Gibolous who fashions condensed tableaux harshly mimicking our own consumerist society and commenting on the ethics of food production, overpopulation, gluttony and ethnocentricism. Martin Beauregard's “Wake up Teddy” is a cuddly and disturbing “life-size” teddy bear made from – a life size bear – and is a piece I could look at over and over forever even while it gives me a feeling of deep sadness. Simen Johan, a photo-based artist based in New York produces twisted and confusing images of the museum dioramas that those of us of a certain age were bombarded with on numerous trips to the museums of our youth. The familiar animals and surroundings are muddled with features incongruous to natural worlds but familiar to dreams and perhaps the altered environments of our future. Recent Sobey Award finalists Emily Vey Duke and Cooper Battersby are included with a taxidermied installation and hallucinogenic video inducing laughter and squirming discomfort in equal measure. The brilliant Valerie Blass (more of her work later) is represented by the glamorous and ominous She Was a Big Success (2009), a presciently wise acquisition by an institution with eyes fixed on past present and future.

On going through the feature shows, the recent contemporary acquisitions and the historical exhibitions it is amazing to me the activity that must go on within the committees and curatorial departments of the Musee des Beaux Artes. The inventory numbers readable on each label tell a story of acquisition either through purchase or donation of vast numbers of important works of today and yesterday. The support given by this institution, the Musee Art Contemporain, the National Museum of Quebec in Quebec City, and Canada’s National Gallery to the artists in all parts of Canada and especially in Quebec is exemplary. Are western institutions able to illustrate this kind of support for our Canadian and western contemporary artists? Is there a track record of RECENT acquisition, by any means, of important work going on in our relatively well-off province? Are our artists being held up as important cogs within our society on a national and international stage? Are the patrons of our province stepping up in support of artists and creation as suggested in the review of MAC’s recent gala ball by Mr. Alexandre Taillefer who was both host of that ball and lender of several important pieces to the “Blue as an Orange” exhibition?

    "Encouraging the MAC means supporting a place where today's artists can share the fruits of their artistic labours. Thanks to the acquisitions the Musee makes every year, this support also provides them with precious revenue that will allow them to grow, nurture their vision and push back the boundaries of their art further still.
     The Musee is a place where visitors can be enriched by artists' vision and life experience - be shocked, bowled over or carried away, and nurtured by that very vision.
     It isn't always easy to champion arts related causes at times like the one we are going through. But it is my deep conviction that art is just as important as education and health - that it nurtures the soul!
     More than all those artists who have passed on and left us an enduring legacy with their works, the artists who are our contemporaries need our encouragement. Your support this evening is a sterling example.
     Like many of you, Debbie and I are passionate about contemporary art and collect work that moves us. Think about visiting your local galleries, keeping in mind that every acquisition helps build an even stronger Quebec visual arts scene."     Alexandre Taillefer

The amount of haggling and horse trading, pleading, and begging that must go on in these institutions to amass the collections of work shown and stored is astounding. Arguments about budgets and time are likely even more valid in Quebec and yet the Beaux Artes is able to boast new entries in 2008 of at least 100 pieces of art. The MAC has recently acquired a major piece by Valerie Blass as has the National Museum of Canada and Quebec City’s National Museum. Can our local temples of culture come close to this level of advocacy? Are our community leaders and economic giants able to see the benefit to our world of a thriving artistic scene and step up in a fashion deserved by our artists and cultural creators? Or perhaps, as has been the norm, shall we see the ongoing exodus of the best of our musicians, painters, writers, sculptors, dancers, performers, and filmmakers. These integral members of our world are moving to a climate that recognizes a thriving arts community as a reflection of a healthy and balanced society comfortable with discussions of importance beyond the price of oil and the rise or fall of the real estate market? They move to Montreal.

An Artjunkie’s Views

Hiya!

Being a man of a certain middle age, and a luddite by nature, I am a very late arrival in the land of blog. In general I haven't felt like I had much of value to inflict on you. In all likelihood, I still don't but I do have increasingly strong opinions about the state of contemporary art, and it's importance, in my world.

I had little to no exposure to visual art in my education and growing up. I was, and still am, avidly connected to music in many forms. I played in concert band, sang in church choir and yelled in a band covering post-punk and new wave tunes.

As I went through school and university, studying science and then medicine, there was little time nor room in my brain for anything more. After writing my last exams in medical school I went on a trip to Mexico - to an area off radar for most - to the southern state of Oaxaca. The state capital, Oaxaca City,  has long been a centre of art production in Mexico and has a number of influential schools for training artists along with a strong network of galleries. I visited the museum of pre-columbian art and artifacts left by Rufino Tamayo, saw murals created by the great muralists of early 20th century Mexico including Tamayo, David Siqueros, Jose Clemente Orozco, and Diego Rivera. I spent a day in Mexico City and visited the amazing collection of the Rufino Tamayo Museum of Contemporary Art and saw, for the first time, the wonders of some of the mid-century greats - european, american and latin. These were formative exposures. I had a brain open to new information and a heart desperate for new experience; it was an epiphany.

While visiting a few of Oaxaca's small galleries I was stunned to see so many different ways of representing thought, idea, and emotion. I bought my first two pieces of original work (or convinced my parents that it would be a great graduation present) in Oaxaca, and have continued to collect work that made me feel and think and sometimes to hurt. I have managed to become steward for works by Edmonton, Canadian and international artists and learned of the great privilege that comes with patronage. I now know that by committing my resources to acquiring original art I am able to support artists to continue the important work they do. The works I get to live with could become the cultural treasures of the future, or perhaps they are the means that allow that artist to create the next watershed cultural work that can change our world.

I volunteer at a local non-profit gallery and support the major collecting institution in Edmonton. I attend as many events as I can in my area to support local artists at all stages, and I have worked with local artists to produce major works that have shown locally and are slated to travel internationally. I travel several times a year to major art centres and events including art fairs in New York, London, Miami, and I look at a vast array of art. I read art journals, blogs and critical writing. I visit museums and galleries frequently. I have very strong opinions about the important role artists play in our communities and the need for their work to be supported, shown, collected and documented by collectors and institutions.

In this blog I will be commenting on work I see, on developments in the international art world, on art that inflames me, and on the practices of artists I love. I hope to infect others with the collecting bug, and to inspire a culture of patronage in readers as well as dialogue and learning about art theory and practice. Posts will happen when I have something new to talk about. Conversations are encouraged.