Friday, February 27
Pop-up shop & reception, 7 p.m. to 10 p.m.
The Storefront, 224 20th Street West
Publisher Roger Bywater is the focus of the latest event in the Museums 3.0 program series. Through his imprints, Bywater Bros. and Smoke Room, Bywater publishes artists’ books and editions by prominent national and international artists. He will be introducing his latest releases at The Storefront at 7 p.m., with a reception to follow. This free event is open to the public.
Roger Bywater holds an MFA from the Nova Scotia College of Art and Design in Halifax, as well as a diploma in sculpture from the Emily Carr College of Art and Design in Vancouver. Bywater has extensive experience as a curator, dealer, and publisher. During his eight years as director/curator at Art Metropole, Bywater edited numerous publications, while operating its Little Cockroach Press Series, and organizing exhibitions by Hans-Peter Feldmann, Martin Creed, Rodney Graham, and other artists. In 2001, Bywater established the Goodwater Gallery in Toronto with John Goodwin. During a four-year span, this private gallery functioned as a project room to present solo exhibitions by emerging and established artists, who created work specifically for the gallery. Bywater continues to work independently with artists on a project-to-project basis through his imprint, Bywater Bros. Editions, which publishes artists’ books and editions from various artists working in Canada, the United States, and Europe.
Saturday, March 7, 2015 at 1 p.m.
The gallery presents an informal conversation with editor Meeka Walsh and writer Robert Enright. Through their distinguished and ongoing work with Border Crossings magazine, the duo reflect on the role the publication has played in situating regional and national art within an international context.
Border Crossings magazine is one of the key platforms for the investigation of contemporary Canadian and international art and culture. Founded in 1977 by Robert Enright, this quarterly magazine is published in Winnipeg, and is responsible for bringing international attention to art production on the Prairies.
Meeka Walsh is an award-winning critic, writer, and curator who has been the editor of Border Crossings magazine since 1993. She has given papers and contributed catalogue essays in New York, Canada, England, and Mexico. Her short fiction has been published in a number of anthologies, including The Oxford Anthology of Canadian Women Writers. Walsh received the Lifetime Achievement Award at the Western Magazine Awards in 2003 and in 2007 was given the RCA Gold Medal for her contribution to the arts.
Robert Enright holds the University Research Chair in Art Theory and Criticism at the University of Guelph and is the senior contributing editor for Border Crossings magazine. He has published more than 200 interviews with leading Canadian, American, and European artists. For his writing in Border Crossings, he has received 15 nominations at the National and Western Magazine Awards, winning four gold and two silver awards. Enright has also contributed interviews, essays and introductions to over 60 books and catalogues. In 2005 he was made a Member of the Order of Canada and in 2012 received the Queen Elizabeth II Diamond Jubilee Medal.
About the Project
The Border Crossings Study Centre was developed by the magazine as a unique, mobile archive of the magazine’s 32-year publishing history, and includes copies of each of the magazines to date. It is housed in a portable hybrid storage/reading unit designed by architects Neil Minuk (DIN), and Karen Shanski and Eduardo Aquino (spmb). The archive is made up of the magazines themselves and, where issues were no longer available, handmade facsimiles were produced by Canadian photographer Elaine Stocki. It provides a welcoming social space for readers to look at individual issues, refer to the extensive Index, and talk about the material in the 127 issues of the magazine.
The Mendel Potash-Corp School Hands-on Tours 2014-15 poster features a Vic Cicansky sculpture.
Watch a time lapse video of Karen Tam’s installation process for 鸕鶿飛 (Flying Cormorant Studio [For Lee Nam]). This video represents seven days compressed into two minutes. Tam’s installation is on view until September 14, 2014, part of Convoluted Beauty: In the Company of Emily Carr.
Karen Tam is a Canadian artist whose research focuses on the various forms of constructions and imaginations of seemingly opposing cultures and communities, expressed through installations in which she recreates spaces such as the Chinese restaurant, karaoke lounge, opium den, and other sites of cultural encounters. For Convoluted Beauty, Tam considers notions of cultural, political, and social exile in her imaginative reconstruction of the studio of Chinese Canadian artist Lee Nam, a friend of Emily Carr.
Saturday, September 13 at 1 p.m.
The program connects two concurrent exhibitions, Sympathetic Magic, curated by Troy Gronsdahl, and Convoluted Beauty: In the Company of Emily Carr, curated by Lisa Baldissera. The curators will introduce the exhibitions followed by presentations from exhibiting artists Marianne Nicolson and Raymond Boisjoly.
Raymond Boisjoly (born in Langley, British Columbia, 1981) is an artist of Haida and Québécois descent, living and working in Vancouver. He completed his undergraduate studies at Emily Carr University of Art and Design and holds an MFA from University of British Columbia. Boisjoly’s practice engages with issues of aboriginality, language as cultural practice, and the experiential aspects of materiality. He has presented work in solo and group exhibitions in Canada and the United States including exhibitions at Simon Fraser University, Catriona Jeffries Gallery, and The Contemporary Art Gallery, all in Vancouver; The Power Plant, Toronto; Carleton University Art Gallery, Ottawa; Platform centre for photographic and digital arts, Winnipeg; and Western Bridge, Seattle. Boisjoly is participating in SITE Santa Fe, and La Biennale de Montréal. This fall, Boisjoly will serve as Lead Faculty for “In Kind” Negotiations, a thematic residency at the Banff Centre.
Marianne Nicolson (‘Tayagila’ogwa) (born in Comox, British Columbia, 1969) is an artist of Scottish and Dzwada’enuxw First Nations descent. The Dzwada’enuxw people are a member tribe of the Kwakwaka’wakw Nation of the Pacific Northwest Coast. Nicolson’s artistic training encompasses traditional Kwakwaka’wakw forms and culture as well as Western European-based art practices. Her work engages with issues of Aboriginal histories, politics, and language, arising from a passionate involvement in cultural revitalization and sustainability. Nicolson completed a BFA from Emily Carr University of Art and Design, Vancouver, in 1996, followed by studies at the University of Victoria, British Columbia, where she received an MFA (1999), a Master’s in Linguistics and Anthropology (2005), and a PhD in Linguistics, Anthropology, and History (2013). Nicolson has exhibited paintings, photographs, and installation works locally, nationally, and internationally. Recent exhibitions include the 17th Biennale of Sydney (2010) and the nationally touring group exhibition Beat Nation, organized by the Vancouver Art Gallery (2012). Her solo shows and installations include The Return of Abundance (Art Gallery of Greater Victoria, 2007) and The House of Ghosts (Vancouver Art Gallery, 2008).
In this episode we hear from Sandra Fraser, co-curator of the major retrospective David Thauberger: Road Trips & Other Diversions. We speak with David Thauberger about the development of his practice that spans four decades and hear from Laura Kinzel about the perennial favourite, School Art. Joi Arcand also reflects on her work in the RBC Artists by Artists mentorship exhibition. Music has been provided by Little Criminals.
Credits (songs in order of appearance)
Nice Windbreaker, Grandma
Popeye & Olive Oil Dancing