101 SELECTED EXHIBITIONS Group Exhibition Her Presence (Womanhood in Ukraine) Katya Lesiv Work from the I am. Rada series, 2018-22 inkjet print 27.94 x 35.56 cm Courtesy of the Artist Curated by Alina Senchenko Please note this exhibition is not wheelchair accessible. This exhibition contains work that may not be suitable for some viewers. csaspace.blogspot.com CSA Space April 3 – May 1 This group exhibition offers a nuanced and critical exploration of the experience of Ukrainian women. Specifically, it focuses on the relationships between mothers, daughters, and sisters and the significant ways in which these have been affected during the invasion of Ukraine. The exhibition highlights the work of female photographers from Ukraine who explore different aspects of intimate familial relationships between women. Katya Lesiv finds strength and empowerment during the initial days of the invasion in her motherhood experience and this deep sense of presence becomes her main source of support during that unprecedented time. Anya Tsaruk reflects on the changing family roles that ensued upon her mother’s arrival in Berlin from the war-torn country. Her work will be accompanied by an audio component of her mother singing traditional Ukrainian lullabies. Katerina Motylova’s work investigates grief, highlighting the pivotal role her sister played as a source of solace when she lost her home and parents to the occupation. These artists delve into different stages of womanhood, creating works that contrast and complement one another. Her Presence (Womanhood in Ukraine) emphasizes the transformative journey these women have undergone and how they have been empowered as a result.
Capture 2024 102 Marcy Friesen Daydreamer Marcy Friesen Catch a Breeze, 2023 inkjet print 50.8 x 66 cm Courtesy of the Artist and Fazakas Gallery, Vancouver fazakasgallery.com Fazakas Gallery April 17 – May 29 Daydreamer is an exhibition of new works by artist Marcy Friesen featuring photography, ephemera, poems, and audio recordings that explore her streams of consciousness. In this body of work, Friesen invites the viewer to drift seamlessly between wakefulness and dreaming on a journey of the spirit captured by her camera lens. Scenes of the peaceful, endless prairie sky evoke the endless, lazy days of childhood summers. Here, thoughts can drift and consciousness ebbs and flows, offering a sensory evocation of the breeze and grass that feature both land and body. Her lens-based works simultaneously emanate a sense of place and no place, of personal and universal. Friesen states, “it all started with a prayer...then I heard...bead your lips...so I beaded my lips...then I heard...bead your face...so I beaded my face..then I beaded my hands.. I beaded my feet...skin beading....the process is soothing...I love the feel...I love the process...and the look....”
103 SELECTED EXHIBITIONS Group Exhibition To Be Belligerent//To Commit To Memory//To Live Without Fear Unknown Artist Saves Lives, 1998 inkjet print 10 x 8 cm Courtesy of the VANDU Curated by Olumoroti (Moroti) Soji-George with curatorial support from the Vancouver Area Network of Drug Users gachet.org To Be Belligerent//To Commit To Memory//To Live Without Fear is an exhibition marking the twenty-fifth anniversary of the Vancouver Area Network of Drug Users (VANDU), featuring images and ephemera from the organization’s archive. Since its inception, VANDU has acted as one of the pillars of Vancouver’s Downtown Eastside (DTES) community and has fastidiously advocated for the rights and freedoms of all drug users, especially those situated in this area. VANDU initially began as a drug liberation movement, and in the course of its twenty-five-year history, the democratic collective, which comprises current and former users, has become one of the most influential voices in the DTES. The collective has contributed its resources and manpower to engaging in local issues pertaining to the region, best exemplified in its contributions to the battle for safe supply and safe injection sites; its advocation against prejudice in public policy and government neglect of the residents; its harm reduction and community building; and, most importantly, its guerrilla activism and organizing against the decampment, dispossession, and dehumanization of the residents at the hands of the powers that be. This exhibition surveys VANDU’s archival history and addresses the arch of the organization’s successes and failings. Through a range of images embodying collective action, intimacy, protest, violence, friendship, commemoration, and the politics tied to one’s embodiment, this exhibition problematizes an inflammatory understanding of the residents of the DTES and creates a pathway for dialogue on what bodies, circumstances, and actions might cause one to be labelled belligerent in our hegemonic social imagination. Gallery Gachet April 4–29
Capture 2024 104 Group Exhibition Prevailing Landscapes Stan Douglas View of Clearcuts from Blowhole Bay, 1996 chromogenic print 45.7 x 91.4 cm ©️ Stan Douglas. Courtesy of the Artist, Victoria Miro and David Zwirner Curated by Jackie Wong smithfoundation.ca Gordon Smith Gallery of Canadian Art April 12 – June 22 Prevailing Landscapes addresses the ways in which the Canadian landscape prevails in contemporary conceptual artistic practices and how the narrative or predominant theme of the work is affected when it includes a Canadian landscape as a background. In these works, the subject and background become interwoven. This entanglement can cause tension and/or conflict, but it can also be a source of strength and harmony. The iconic Canadian landscape has been a dominant theme across the history of the country’s visual artworks, and it remains an area of inquiry for contemporary artists today. It is physically vast and as a subject, it has offered a visual backdrop for art throughout different periods and genres. Historically, artists have often presented the Canadian landscape through a colonial male gaze, which told a romanticized perspective of the great Canadian wilderness. Prevailing Landscapes instead considers how some contemporary conceptual artworks are challenging this narrative and deconstructing how the colonial male gaze has shaped the discourse in the genre. Prevailing Landscapes, curated by Jackie Wong, includes works by Canadian artists Kim Dorland, Stan Douglas, Tim Gardner, Cameron Kerr, Krystle Silverfox, Ian Wallace, Jin-me Yoon, and Karen Zalamea.
105 SELECTED EXHIBITIONS Chad Wong 我住喺呢度嘅!/I live here! Chad Wong 20190612_警察射催淚彈, from the 我住喺呢度嘅!/I live here! series, 2023 archival pigment print 61 x 92 cm Courtesy of the Artist This Selected Exhibition will take place in Studio B of Griffin Art Projects’ resident studios as part of the open studio portion. griffinartprojects.ca Griffin Art Projects, Studio B April 26–28 我住喺呢度嘅!/I live here! is a photo “redocumentation” series that appropriates existing footage taken during the 2019 pro-democratic protests in Hong Kong. Through the act of rephotographing, I sought to recreate the experience as if I were physically present. The digitally photographed images of footage on a computer screen are marked by a moiré pattern that draws attention to the physicality of the screen and emphasizes the distance between me and the events. The images, sometimes abstracted fragments of a yellow helmet or an umbrella shielding pepper spray, allow the viewer to witness the protests and the brutality of the state-sanctioned violence beyond its literal and figurative confines. The layers of mediation are multiplied, immersing the viewer in the emotional experience shared by many overseas Hong Kongers. The exhibition title refers to a specific protest video wherein a man defiantly states that he “live(s) here” as he is being arrested. While these protests unfolded, I was in Canada and watched helplessly as my fellow Hong Kongers were beaten, tear gassed, and arrested – all in the pursuit of democracy. This dissonance between his physical location and the emotional impact became a catalyst for my creative process. 我住喺呢度嘅!/I live here! strives to confront the complexities of memory, longing, and remembrance. This artwork is an homage to the resilience of individuals in the face of adversity and a testament to the enduring power of images to bridge time, distance, and the boundaries of our own lives.
Capture 2024 106 Nicole Beno Entanglements Nicole Beno Endless Loop, 2023 archival inkjet print 61 x 45.72 cm Courtesy of the Artist Please note this exhibition is wheelchair accessible via the back alleyway. instagram.com/kasko_gallery Kasko Gallery April 5 – April 29 Entanglements is a series of ongoing studies merging digital and manual collage techniques to create surreal worlds. Through physically cutting and digitally reworking collages, visual elements are stripped from their original context and function. New still lifes of digital and analogue hybrids emerge from the artist’s play with perception, scale, shape, texture, and colour. Bringing a painterly approach to her collage work, Kitchener and Waterloo-based artist Nicole Beno explores themes of excess, over-consumption, and desire. Layers of photographs, old magazine cutouts, and scanned materials that are otherwise seen as everyday objects are digitally manipulated through a process of cutting, remixing, distorting, and merging. Her work is often overloaded with saturated colours and artificial hues, in contrast to natural textures and materials, as a reflection on the anxieties around consumption. Her compositions are filled to the edges with visual clutter, conveying the feeling of being unable to sort through the noise and distraction. Beno’s work is driven by the contradictions she feels around the pressure to produce, to perform, and to purchase – a common sense among those living under capitalism.
107 SELECTED EXHIBITIONS Aaron Friend Lettner Magic Hour Aaron Friend Lettner Spread (IV), from the Book of Light, 2023 photographic tarot cards Courtesy of the Artist malaspinaprintmakers.com Malaspina Printmakers March 31 – April 29 For seven years, artist Aaron Friend Lettner has been working on a photographic card deck, inspired by the Tarot – a cosmographic wisdom tradition that employs a rich, pictorial language to describe the soul’s journey into and out of form. His self-appointed task has been to bring clarity to this tradition: he began with extensive study and contemplation of the Tarot, tracing its many tributaries through antiquity to the modern era. With camera in hand, he then sought out these ancient, archetypal images in the world around him. The result is a set of seventy-eight cards that have been carefully selected from over 4,000 negatives. In Magic Hour, select images from the deck are printed using photogravure plates, setting the stage for card readings that occur within the gallery space. Each encounter is an entirely new creation that unfolds both for the first and last time. When cards are drawn, images are evoked, brought into association, and held in unexpected relationships that open new pathways of meaning. Each reading lasts as long as a small candle burns – hence the name. Lettner expounds, “One can draw cards on their own, of course, but there’s something remarkable about the connection between strangers, so intimate and brief. When the mood is right, the world will hush, and the cards sing. It’s beautiful to behold.”
Capture 2024 108 Greg Girard Snack Sakura Greg Girard Akita, 2019 archival pigment print 101.6 x 127 cm Courtesy of the Artist and Monte Clark Please note this exhibition is not wheelchair accessible. monteclarkgallery.com Monte Clark April 20 – May 18 Monte Clark presents Snack Sakura, a selection of new pictures by Greg Girard, taken in Japan between 2017 and 2023. The exhibition coincides with the release of a publication of the same title, presenting the full series. Girard’s expansive photographic project documents snack bars across Japan from Okinawa to Hokkaido. These entertainment bars, known locally as a “snack,” are generally clustered around train stations but can also be found in residential neighbourhoods. A hot spot for those commonly referred to as salarymen in Japan, the bars peaked in popularity in the 1980s, with many still featuring Shōwa-era decor. Bottles of whiskey and shōchū with customer name tags draped around them make regulars feel at home. Karaoke is an integral part of the experience. Girard states: While working and travelling in Japan some years ago, I started noticing that every town seemed to have a drinking place called “Snack Sakura.” Each bar typically has a counter, a few seats, perhaps a booth or two, and a hostess. The Canadian equivalent name might be Maple Leaf Pub. Since 2017, I’ve been photographing these bars, going from town to town, looking for Snack Sakuras. Not all are listed in directories, have websites, or even phone numbers. So there’s a lot of walking around, searching, and asking for directions from locals. The project has come to define a cultural geography of Japan. From glowing awnings and signs to empty streets, late-night karaoke, and the secret life of the patrons, Girard provides a unique glimpse into life during the after-hours.
109 SELECTED EXHIBITIONS Group Exhibition Aporia (Notes to a Medium) Elizabeth Zvonar Face, 2013 inkjet print mounted on Dibond 121.9 x 76.2 cm Collection of Amy Kazymerchyk Curated by Melanie O’Brian belkin.ubc.ca Morris and Helen Belkin Art Gallery January 12 – April 14 Aporia (Notes to a Medium) considers how history, mythology, and wishful thinking entwine across media and through mediums. In this moment where faith in media, government, and institutions is further collapsing, where binarization is on the rise, where expressions of doubt are tactical, this exhibition includes artists’ works that contend with systems of belief and perception to trouble truth’s material (and immaterial) forms. Holding space for doubt – a space of critical reflection that contains multiple truths or exposes the limits of truth – is a strength of contemporary art. Doubt is part of nuanced thinking, and ambiguity may be fertile ground for possibility and otherwise thinking. But Janus-faced doubt is also a tactic. From the Greek word aporos, the exhibition’s title engages the paradoxical or impassable. This impasse functions as an expression of real or pretend uncertainty, something the works in the exhibition collectively query and channel. Aporia (Notes to a Medium) is curated by Melanie O’Brian and made possible with the generous support of the Canada Council for the Arts, the Province of British Columbia through the BC Arts Council, and the Belkin Curator’s Forum members. This exhibition includes work by Colleen Brown, Azza El Siddique, Dani Gal, Katie Kozak and Lucien Durey, Mark Lewis, Jenine Marsh, Jalal Toufic, and Elizabeth Zvonar.
Capture 2024 110 Ho Tam A Manifesto of Hair Ho Tam Ting Ting Hair Salon, from the Haircut 100 series, 2014 inkjet print 57.2 x 47 cm Courtesy of the Artist and Paul Petro Contemporary Art, Toronto bookshopgallery. hotampress.com The News Room March 23 – April 20 Manhattan’s Chinatown, on the homeland of the displaced Lenape, is one of the world’s oldest and largest of its kind for the diasporic Chinese and Southeast Asian populations. The densely populated neighbourhood houses over one hundred barbershops and hair salons, which serve locals and visitors, often operating over long hours on cutthroat prices. Outnumbered only by the food industry, the high concentration of barbershops reflect the importance of hair and appearance in the immigrant community. A Manifesto of Hair by Ho Tam studies the cultural significance of and obsession with hair and haircutting by looking at these business establishments, their architecture, and the activities and individuals that occupy them. Through the artist’s precise eye, the camera picks up the detailed complexity of the scenes and unfolds narratives of daily moments in the metropolis. Highlighting the working class within the marginalized community, the photographs investigate how individuals negotiate their identity in a larger social context, adapting to new norms while reinventing their lives. On one hand, the salons function as a refuge of self-care and comfort, while, on the other, they evoke questions about conformity under homogenized beauty standards and societal expectations. The project is an exploration of the relationships among race, class, and commerce through a look at how hair is cared for. In addition to the photographs, the exhibition will also include Tam’s two other works on the same subject: the video Hair Cuts and his artist book Haircut 100.
111 SELECTED EXHIBITIONS Lys Divine Ndemeye and Colin Kaguru Berg Mbugua Sustaining Apertures Lys Divine Ndemeye and Colin Kaguru Berg Mbugua Daylight, 2023 concept drawing Courtesy of the Artists Curated by Jenn Jackson orgallery.org Or Gallery March 7 – July 6 Sustaining Apertures marks the first exhibition by Lys Divine Ndemeye and Colin Kaguru Berg Mbugua. The discursive project explores the artists’ collaborative practice and builds upon their significant contributions – through place-based installation and design in contemporary art, architecture, and community planning – to intersectional conversations around social and environmental justice. The newly commissioned sculpture works presented within Sustaining Apertures engage community-based knowledge and support, including cultural practices as they relate to ancestral food cultivation, community organizing, and storytelling. From light-based interventions to alternative architectural and archival practices, the lessons nurtured through Sustaining Apertures invite opportunities to experience diverse cultural teachings, traditions, and values. Sustaining Apertures will be the first public viewing of Daylight (2024), an immersive pavilion composed of a central aperture that beams light onto a constellation of photosensitive plantings amidst a system of sustenance. The continual flow of water within the pavilion references the transformative power of Skwachàys, where Or Gallery is currently located in the Chinatown neighbourhood, as a place where salt marshes and freshwater springs once abundantly flowed. Daylight honours ancestral relations to sustenance alongside the protocols necessary to support healthy ecosystems and powerful connections for many generations to come. Together Ndemeye and Mbugua recognize that the xʷməθkʷəy̓əm, Skwxwú7mesh, and səlilwətaɬ Peoples and territories are timeless. Their social and architectural explorations pay honour and respect to how these vast relations have shaped the many publics that have emerged out of the history of this place.
Capture 2024 112 Dani Gal Historical Records Dani Gal Historical Records (detail), 2016–17 vinyl records installation view at private office, New York City Courtesy of the Artist Curated by Monika Szewczyk thepolygon.ca The Polygon Gallery March 9 – July 14 Dani Gal’s epic work Historical Records (2005–) comprises over 700 commercially issued vinyl LPs that the artist has collected since the beginning of this century. As the collection grew over the years, it was divided into three versions; the first version (246 records), which is part of the Collection of Migros Museum in Zürich, has been loaned to The Polygon Gallery for exhibition. This poignantly plural work is the centrepiece of Gal’s first solo exhibition in Canada. Installed in a dense grid on a wall, the array of LP covers can be understood visually as an alternative history painting – albeit one that refuses to serve a dominant narrative. Historical Records coheres a broad spectrum of phonographic, typographic, and photographic approaches to the projects of political transformation across the globe. Bracketed by the period between the invention of the phonograph (1877) and the fall of the Berlin Wall (1989), Gal’s rich collection of sound recordings chronicles, according to Gal, “speeches and interviews of those who were in power, others who objected to this power, of war and peace agreements, human rights struggles, and other radio broadcasts of the events that shaped history.” The recordings have all been digitized by the artist and are available for listening in the Gallery. During the course of the exhibition, several methods are being planned to activate the immense potential of the work as a ground for critical historical reflection and collective imagining of political and sonic futures: dialogues, tours, and radio broadcasts as well as a sound performance. Gal himself will activate Historical Records in a performance titled Semi Automatic which will open the exhibition on March 9th, wherein he “plays” a selection of the records via his own custom-built electronic instruments and closed-circuit recording and projection system.
113 SELECTED EXHIBITIONS Theodore Wan and Paul Wong Unit Bruises: Theodore Wan & Paul Wong, 1975–1979 Theodore Wan Bridine Scrub For General Surgery, 1977 silver gelatin print 50.5 x 40.4 cm Collection of Vancouver Art Gallery, Acquisition Fund Curated by Michael Dang This exhibition contains work that may not be suitable for some viewers. richmondartgallery.org Richmond Art Gallery April 19 – June 30 Unit Bruises brings together the works of two Chinese Canadian conceptual artists active during the 1970s: Theodore Sasketche Wan (1953–87) and Paul Wong (1954–). By mobilizing their respective bodies and the visual languages of medical and procedural illustrations, both artists subverted the notions of objectivity that have been naturalized through such hegemonic imagery. Through these intensely physical works, the two artists respectively asserted their othered subject positions as people of colour and ruminated on the topics of illness, death, and the human condition. The show is named after Wong and Kenneth Fletcher’s 60 Unit; Bruise (1976), a video work that documents the “ritualized” withdrawal of Fletcher’s blood into Wong’s body via a syringe. The disturbingly procedural, abject tone of 60 Unit; Bruise is echoed in a selection of Wan’s work in which the artist performed as a patient in a series of medical-style photographs. During his studies at Nova Scotia College of Art and Design, Wan created a series of photographs that served both as instructional surgical illustrations and as photo-conceptualist interventions. The exhibition includes rarely seen works by both Wan and Wong that continue to resonate in today’s sociopolitical climate, particularly given the rise of anti-Asian hate crimes.
Capture 2024 114 Preston Buffalo Go Home Yuppie Scum Preston Buffalo Hawks Alley May 2023, 2023 stereoscopic image Courtesy of the Artist Curated by Mark Takeshi McGregor sumgallery.ca SUM Gallery April 11 – June 6 SUM gallery presents Go Home Yuppie Scum, a solo exhibition by Vancouver-based Two-Spirit Cree artist Preston Buffalo. This exhibition takes its title from graffiti that appeared on empty and/or sold Vancouver houses and lots in the 1980s, written as part of the local anti-gentrification movement. Go Home Yuppie Scum is an irreverent take on the “Welcome to Vancouver” View-Master reels, which featured three-dimensional images of Vancouver landmarks as a popular means of enticing tourists to visit during the 1960s through ’80s. By making use of six vintage View-Masters, one vintage View-Master projector, and a series of printed, AR-enhanced images stationed around the interior of SUM gallery, Buffalo reveals a very different perspective of the city: crumbling, graffiti-adorned structures in the Downtown Eastside, disused rail lines, and thickets of overgrown flora – all eerily devoid of inhabitants. Buffalo applies infrared filters to much of his photographic work, transforming familiar Vancouver scenes into vibrant alien landscapes. The result is a series of urban snapshots that subvert the stereotypical “Beautiful British Columbia” tropes by presenting quasi-dystopian scenes that are unsettling, otherworldly, and beautiful.
115 SELECTED EXHIBITIONS Jennilee Marigomen Sehnsucht Jennilee Marigomen Disco Ball, 2017 chromogenic print 46 x 33 cm Courtesy of the Artist Curated by Sam Shem vancouverchinesegarden.com Dr. Sun Yat-Sen Classical Chinese Garden April 17 – July 17 Jennilee Marigomen’s exhibition explores the space between everyday phenomena and the ephemeral. With a keen eye for capturing fleeting moments and the beauty found in everyday life, Marigomen delves into the realm of human intervention and reflection in the natural world. In this exhibition, Marigomen’s photographs provide a unique perspective on the ever-changing landscape, often overlooked in the busyness of life. In her photographs, we witness the delicate dance between stillness and time, allowing us to reflect on the transience and changing nature of our surroundings. Using light, reflections, and saturated colours, Marigomen creates images that evoke a sense of quiet introspection, inviting viewers to pause and contemplate the world around them. Amidst the realities of forest fires and environmental challenges, Marigomen strives to be optimistic; yet, as the title Sehnsucht (the German noun for longing) suggests, her photographs straddle optimism and melancholy. She contemplates the imperfections of life, hoping for a better future for the next generation. Her work searches for happiness as well as accepting the inevitable. Through Marigomen’s lens, we are reminded of the intricate connection between humanity and the natural world, encouraging us to consider our role in preserving the beauty and tranquillity that exists in the midst of change.
Capture 2024 116 Al Razutis Gravity wins, Entropy rules Al Razutis Daddy’s Spice Cabinet, 1985 dichromate holographic assemblage 40.64 x 71.12 x 7.62 cm Courtesy of the Artist Curated by Felix Rapp unitpitt.ca UNIT/PITT March 2 – April 30 Featuring holographic assemblages made by Al Razutis in the 1970s and ’80s, Gravity wins, Entropy rules presents a rare and critical opportunity for the public to encounter holographic art. Born in 1946, Razutis is an artist and educator who has dedicated fifty years to innovations in media, such as early experimental film, broadcasting, holography, and virtual reality. Between 1972 and 1977 Razutis leased a two-building site underneath the Granville Street Bridge, where he established the first holographic art studio in Canada. Combining various found materials – including furniture, newspaper clippings, children’s toys, and stray electrical bits – together with dichromate and silver gelatin holograms, the little-known assemblages on display are peculiar and exciting works that blur the binary between the physical space of objects and the virtual space of images. The combination of passé, secondhand objects against the strange futurism of the images reflects the tension that has defined the history of holography: a strikingly innovative, nearly magical, medium which, despite the promise it showed as the future of imaging, is today relegated to obscurity.
117 SELECTED EXHIBITIONS Ian Wallace Home and Away Ian Wallace Brenners Park-Hotel & Spa, Baden-Baden I, 2014 photo laminate and acrylic on canvas 61 x 61 cm Courtesy of the Artist and Catriona Jeffries Curated by Hilary Letwin This exhibition, along with its publication, is supported by the Audain Foundation. Please note the exhibition is wheelchair accessible but the programming room on the third floor is not wheelchair accessible. westvancouverartmuseum.ca West Vancouver Art Museum March 13 – May 4 At the age of ten, Ian Wallace moved with his family from the interior of British Columbia to West Vancouver, where he developed his skills as an artist by sketching local views in the community. It was at this time and in this place where his lifelong admiration for modern paintings began, as a young Wallace saw new work by Gordon Smith displayed at the New Design Gallery on Marine Drive and attended a presentation by B.C. Binning with his class at Inglewood Middle School. Years later, Wallace – who is celebrated for his contributions to the internationally renowned Vancouver school of photoconceptualism – would credit these early experiences in West Vancouver as being seminal to his development as an artist. This exhibition begins with a selection of drawings and watercolours from the artist’s youth, which are presented in tandem with new photographs taken from the same vantage points within the community. This hyper-local work is presented together with works from 2014 that are part of Wallace’s ongoing Hotel Series, created and exhibited in Baden-Baden, Germany. Despite being devised far away from West Vancouver, this series has strong ties to the community of Wallace’s youth. Place plays a crucial role in this exhibition, with an unstated acknowledgement that home is never far away, regardless of one’s physical location in the world.
Capture 2024 118 Maegan Hill-Carroll Duct Duck Puce Maegan Hill-Carroll Yoga Ball Burst, 2023 inkjet on agave paper 20.32 x 25.4 cm Courtesy of the Artist and Wil Aballe Art Projects waapart.com Wil Aballe Art Projects March 2 – April 6 A photograph records a moment of light captured within the narrow scope of the camera’s lens. This process can negate other truths outside the frame. A photograph can, paradoxically, be capable of capturing matters unseen, pointing to phenomena beyond the rational and the science of optics. What does it mean to represent subjectivities that constitute the build-up of memory? Duct Duck Puce is the examination of a life lived and avoided through the compulsive making and taking of photographs as a means of escaping and explaining dramatic events that broke with the real. It takes as its starting point images that caught something of the phenomenological, haunted landscapes whose impressions have lingered for decades. These landscapes lead to material investigations, where HillCarroll’s painted and sculpture interventions break the photographic surface: duct tape rips areas away while resistance bands apply pressure on the images and their frames. For Hill-Carroll, breaking the constraints of the photographic medium culminated in the freedom to return to the creation of new images that capture bodily residues and residues of human action. Her latest works, made in the studio and the non-space of the scanner, are meditations on the body and its decay in relation to objects and organic matter. With Duct Duck Puce, Hill-Carroll chronicles the cognitive dissonance of photography’s capacity to both conceal and reveal. The removal of the apparatus of the camera, which once provided a safe distance, is brought to the fore through somatic interventions that create new surfaces of experience for the viewer.
119 SELECTED EXHIBITIONS Group Exhibition Focused Blur Vanessa Denham Kite, from the Corrupted Memories series, 2022 archival inkjet print 91.44 x 121.92 cm Courtesy of the Artist Curated by Khim Mata Hipol zebraclubvan.com/blogs/ window-artists-in-residence Zebraclub March 31 – June 30 How far can the language of a photograph stretch in its storytelling? What lies hidden in an image’s pixels and glistening fragments as they hint at the enigmatic truths that dwell beneath the surface? Focused Blur embarks on a journey into the profound capacities of photography, delving beyond mere visual representation to unearth the concealed narratives that reside within the frame. In this exhibition, we follow the lead of four emerging artists who dare to explore the boundless potential hidden within the realm of photography. In a world flooded with a ceaseless torrent of visual stimuli, where images are effortlessly captured and instantaneously shared, it becomes easy to be captivated by the superficial. Focused Blur strives to break free from this superficiality, inviting viewers to gaze deeper, question the surface, and contemplate the layers beneath a photographic moment frozen in time. Artists Vanessa Denham, Khim Mata Hipol, Karl Mata Hipol, and Maria Michopulu venture into the mysterious through the lenses of abstraction, archival imaging, and experimental photography. They transcend the boundaries of time and space to unravel the stories etched onto the very fabric of the photographic medium. The resulting images resemble spectral whispers from a bygone era, cloaked in a delicate choreography of light and shadow.
Capture 2024 120 Maria Michopulu #6, from the Bones series, 2023 60.96 x 40.64 cm archival inkjet print Courtesy of the Artist
121 EDUCATIONAL PARTNERSHIP Capture x Emily Carr is a partnership between Capture Photography Festival and the Audain Faculty of Art at Emily Carr University of Art + Design ecuad.ca/showcase/category/ capture-festival April 4–28 Emily Carr University of Art + Design Michael O’Brian Exhibition Commons, Zone 4, 1st Floor Vera Bode Andrea Bollen Po-Hsi Huang Julia Kerrigan Charlie Mahoney-Volk Paniz Mani Maria Michopulu Alize Tamturk Eknoor Thind Capture × Emily Carr Curated by Birthe Piontek, Assistant Professor of Photography, Audain Faculty of Art, ECU Longing to See: Photography and In-Visibility In an image-saturated world, we keep photographing. Photographs, digital or analogue, give us the illusion of preserving time and often reveal the significance of the captured moment only later, when it has turned into a memory that is revisited in the image. Asking what can be made visible in a photograph and what stays hidden, the artists in this exhibition investigate the human desires to see, save, and revisit. They explore photography’s close relationship to memory, longing, and belonging by working with personal archives, including photographs, objects, and materials charged with personal histories. Utilizing strategies of documentary photography and staged portraiture, some of the works make visible what is often simply felt or experienced and shine a light on what is overlooked or hidden: fluid identities; invisible mental health issues; desires informed by the subconscious mind as it is shaped by societal pressures; and the complexities of immigration, such as navigating cultural differences. Meanwhile, other works in the exhibition explore these themes from a different perspective, focusing instead on the close relationship between social media and photography. In these pieces, the artists investigate their own desires to see and be seen, challenging the contemporary display and consumption of fleeting digital images on social networks that reinforce the visibility of the desired while often hiding the undesired reality in plain sight. Longing to See is an inquiry into the potentials and limits of a seemingly boundless and ubiquitous medium by a new generation of lens-based artists who address photography’s unique ability to show things as they are. These artists encourage us to feel, remember, and question what is visible and what is invisible – or unphotographable.
Capture 2024 122 Berenice Abbott pp. 50–51 Sungseok Ahn pp. 63–64/71 Farah Al Qasimi pp. 26/40–41 Nabil Azab pp. 50/52 Nicole Beno pp. 90/104 Kamesh Bharadwaj p. 97 Lucas Blalock p. 22 Arielle Bobb-Willis pp. 46–49 Vera Bode p. 119 Andrea Bollen p. 119 Colleen Brown p. 107 Preston Buffalo p. 112 Andrea Chartrand pp. 50/54 Bharat Choudhary p. 97 Delali Cofie p. 95 Gabi Dao pp. 8–13/62–63 Vanessa Denham p. 117 Kim Dorland p. 102 Stan Douglas p. 102 Jade Duncanson p. 95 Laura Dutton p. 98 Azza El Siddique p. 107 Aaron Friend Lettner p. 105 Marcy Friesen p. 100 Dani Gal pp. 107/110 Tim Gardner p. 102 Laura Gildner p. 98 Greg Girard p. 106 Adad Hannah pp. 76–81 Pendarvis Harshaw pp. 63/65/71–72 and Brandon Tauszik Jordan Hill p. 98 Maegan Hill-Carroll p. 116 Julian Yi-Zhong Hou pp. 58–59 Po-Hsi Huang p. 119 Nadia Huggins p. 94 Iris Huongbo p. 95 Andrew Jackson p. 94 Sarah Anne Johnson p. 93 Lotus L. Kang pp. 50/53 Cameron Kerr p. 102 Julia Kerrigan p. 119 Jake Kimble pp. 76–81 Katie Kozak p. 107 and Lucien Durey Aaron Leon pp. 63/66/72–73 Anthony Lepore pp. 63/67/73 Katya Lesiv p. 99 Mark Lewis p. 107 Renluka Maharaj p. 94 Charlie Mahoney-Volk p. 119 Paniz Mani p. 119 Jennilee Marigomen p. 113 Jenine Marsh p. 107 Karl Mata Hipol p. 117 Khim Mata Hipol p. 117 Diane Meyer pp. 63/68/73–74 Maria Michopulu pp. 117/118–119 Ricardo Miguel Hernandez p. 94 Karice Mitchell pp. 2/32–39 Tyler Mitchell p. 14 Gabriel Esteban Molina pp. 50/56 Artist Index To support Capture’s catalogue, exhibitions, public art, and public programs, please donate to our charitable partner by scanning here: Caroline Monnet pp. 6/42–43 Kosar Movahedi p. 98 Katerina Motylova p. 99 Lys Divine Ndemeye p. 109 and Colin Kaguru Berg Mbugua Silas Ng p. 92 Diane Severin Nguyen pp. 82–85 Wang Ningde p. 96 Leanne Olson p. 98 Alp Peker pp. 63/69/74 Al Razutis p. 114 Gonzalo Reyes Rodriguez pp. 63/70/74–75 Pussy Riot pp. 86–89 Junior Sealy p. 94 Krystle Silverfox p. 102 Pahul Singh p. 97 Michelle Sound pp. 60/76–81 Deion Squires p. 95 Synchrodogs pp. 50/55/57 Ho Tam p. 108 Alize Tamturk p. 119 Eknoor Thind p. 119 Jalal Toufic p. 107 Anya Tsaruk p. 99 Chukwudubem Ukaigwe p. 95 Ian Wallace pp. 102/115 Theodore Wan p. 111 Chad Wong p. 103 Paul Wong p. 111 Jin-me Yoon pp. 44–45/76–81/102 Karen Zalamea pp. 28–31/102 Charlotte Zhang p. 18 Elizabeth Zvonar p. 107
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Sarah Anne Johnson Woodland, 2020– Art Gallery Hours The magic of the forest comes to life in Sarah Anne Johnson’s artwork Woodland (2020–), presented in partnership with TransLink and the Art Gallery at Evergreen (AGE) | Evergreen Cultural Centre. The AGE presents a rotating series of public artworks in our neighbourhood. To learn more about our Outdoor Exhibitions, visit our website. Part of the 2024 Capture Photography Festival Selected Exhibition Program. Image: Sarah Anne Johnson, LPPY (detail), 2020. Inkjet print with oil paint, 33 x 22 in. Courtesy of the artist. Wednesday, 12 - 5pm Thursday - Friday, 12 - 6pm Saturday - Sunday, 12 - 5pm Free to attend.
Unit Bruises is presented with the support of the Audain Endowment for Curatorial Studies through the Department of Art History, Visual Art and Theory in collaboration with the Morris and Helen Belkin Art Gallery at the University of British Columbia. This exhibition is part of the 2024 Capture Photography Festival Selected Exhibition Program. Image: Paul Wong, In Ten Sity, 1978, video (detail), Courtesy of Paul Wong Projects.
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heffel f ine Art Auction house www.heffel.com · 1 888 818 6505 · [email protected] Heffel is currently accepting consignments for our upcoming auctions, including lens-based art. Heffel auctions are inclusive of international works of art. invitAtion to consign edwArd burtynsky Nickel Tailings #39, Sudbury, Ontario chromogenic colour print 40 x 60 in, 101.6 x 152.4 cm sold for: $64,900 (estimate: 20,000 - 30,000)
PREVAILING LANDSCAPES KIM DORLAND STAN DOUGLAS TIM GARDNER CAMERON KERR KRYSTLE SILVERFOX IAN WALLACE JIN-ME YOON KAREN ZALAMEA 2121 Lonsdale Ave North Vancouver, BC V7M 2K6 April 12 - June 22, 2024 smithfoundation.ca OPENING RECEPTION APRIL 12, 6PM Jin-me Yoon, Listening Place (Under Burrard Bridge), 2022 View Public Programs: Curated by Jackie Wong The Gordon Smith Gallery of Canadian Art This exhibition is part of the 2024 Capture Photography Festival Selected Exhibition Program. PREVAILING LANDSCAPES KIM DORLAND STAN DOUGLAS TIM GARDNER CAMERON KERR KRYSTLE SILVERFOX IAN WALLACE JIN-ME YOON KAREN ZALAMEA 2121 Lonsdale Ave North Vancouver, BC V7M 2K6 April 12 - June 22, 2024 smithfoundation.ca OPENING RECEPTION APRIL 12, 6PM Jin-me Yoon, Listening Place (Under Burrard Bridge), 2022 View Public Programs: Curated by Jackie Wong The Gordon Smith Gallery of Canadian Art This exhibition is part of the 2024 Capture Photography Festival Selected Exhibition Program. PREVAILING LANDSCAPES KIM DORLAND STAN DOUGLAS TIM GARDNER CAMERON KERR KRYSTLE SILVERFOX IAN WALLACE JIN-ME YOON KAREN ZALAMEA 2121 Lonsdale Ave North Vancouver, BC V7M 2K6 April 12 - June 22, 2024 smithfoundation.ca OPENING RECEPTION APRIL 12, 6PM Jin-me Yoon, Listening Place (Under Burrard Bridge), 2022 View Public Programs: Curated by Jackie Wong The Gordon Smith Gallery of Canadian Art This exhibition is part of the 2024 Capture Photography Festival Selected Exhibition Program.
Charlotte Cotton Emilie Croning Asia Jong Sara Knelman Godfre Leung Reid Shier Emmy Lee Wall Kiriko Watanabe Chelsea Yuill