101 SELECTED EXHIBITIONS Khim Hipol and Karl Hipol Anak ng Lupang Hinirang (Child on the Chosen Land) Karl Hipol Sawali: Blueprint of Reclamation, 2022 mixed media, archival inkjet print on Tyvek 127 x 101.6 cm Courtesy of the Artist Curated by Karl Hipol sd44.ca/school/artistsforkids/ Visit/Exhibitions Anak ng Lupang Hinirang (Child on the Chosen Land) features photographic works by Khim Hipol and sculptural photographs by Karl Hipol. The exhibition looks at the personal effects of the artists’ immigration, their current social context in so-called Canada as Filipino immigrants, and how the two artists investigate decoloniality within their works. Originally Filipino nationals, the artists are aware of the heavy history of colonization here in Canada. Khim Hipol uses his body and symbolic objects tied to Filipino national identity in his work, exploring the complicated history of colonization in the Philippines. The body and the objects perform together to subvert standard and patriotic readings. Conversely, Karl Hipol deconstructs archival images of colonial architecture and reconstructs them by interweaving traditional Filipino elements to challenge the prevalent colonial mentality. The images encourage viewers to question the subjects’ origin and the significance of the objects they picture. Ultimately, the artists reclaim and celebrate Filipino identity and cultural heritage. Gordon Smith Gallery, The Lobby April 1–15
Capture 2023 102 Barrie Wentzell The Legends Barrie Wentzell Jimi Hendrix from The Legends series, 1968 gelatin silver print 40.64 x 50.8 cm Courtesy of Howard495 Curated by Krista Howard howard495.com Howard495 April 1 – June 17 “Like all revolutions, they have to be documented to be believed, to show that there is now a new world, a new way for young people, and this [is] what they look like.” – Gail Buckland, Curator of Who Shot Rock & Roll: A Photographic History, 1955 to the Present at the Brooklyn Museum Shot in the decade spanning 1965–75, The Legends by Barrie Wentzell straddles what is arguably one of the most important decades in the history of both popular music and social change. The Legends brings together 100 of Wentzell’s most notable portraits from his oeuvre, documenting a cultural revolution. Rock and roll acted as a catalyst in mitigating racial discrimination and segregation, heralded the second wave of feminism, denounced the Vietnam war, and celebrated peace and love. Wentzell’s work pays homage to the cultural impact of rock and roll and the birth of a progressive society. The paradoxical correlation between visibility and invisibility is a struggle artists face while searching for ways to express the intangible. Photographed with emotion and integrity – a visual reflection of the sound of the movement – Wentzell imbued his work with meaning and messages that go beyond the limits of time and space. Wentzell was instrumental in giving rock and roll its visual identity. The images question the documentary role of photography and present alternative ways of seeing and understanding the events that helped shape the world in which we live.
103 SELECTED EXHIBITIONS Dawna Mueller Unforgotten – My Journey Home Dawna Mueller Generations from the Unforgotten – My Journey Home series, 2022 multiple exposure gelatin silver negative print 38.1 x 48.26 cm Courtesy of the Artist and Mónica Reyes Gallery Curated by Marianne Otterstrom Please note: this exhibition is wheelchair accessible via the back entrance. monicareyesgallery.com Unforgotten – My Journey Home explores the power of images in relation to memory, history, and ancestry. This visual story traces history back to Dawna Mueller’s ancestral roots in rural Manitoba. A child of the Sixties Scoop, Mueller was taken from her Métis/Anishinaabe mother at birth and placed in a Ukrainian family. It was only as an adult that Mueller discovered her Indigenous roots, and she has spent the last few years on a personal reclamation journey into her Indigeneity. The Sixties Scoop refers to a series of government policies from the 1950s and ’60s whereby tens of thousands of Indigenous babies and children were taken from their birth mothers and adopted out or sold to non-Indigenous families across Canada and the United States. The Sixties Scoop, along with the residential school system, were part of the Federal Government’s attempt at the annihilation of Canada’s Indigenous peoples. The 2015 Truth and Reconciliation Commission Report brought this topic to the forefront of social, political, and legal discussion in Canada, and Unforgotten – My Journey Home is a personal narrative contextualizing a component of this abhorrent segment in Canadian history. Unforgotten – My Journey Home is a solo exhibition composed of large-format, analogue, multiple-exposure, black-and-white photographs combining memory, history, and place. Mueller relies on the Indigenous tradition of oral history and storytelling to connect with her ancestry, creating a post-conceptual visual narrative that expresses the liminal space of bridging two cultures and finding her way back home. Mónica Reyes Gallery April 1–30
Capture 2023 104 Group Show Arden, Kydd, and Sundin Owen Kydd Acrylic Store, 2011 single-channel video, looped Courtesy of the Artist and Monte Clark, Vancouver monteclarkgallery.com Monte Clark March 18 – April 20 Monte Clark is pleased to present an exhibition of video works by Roy Arden, Owen Kydd, and Vilhelm Sundin. Consisting of scenes that unfold in urban settings, Kydd, and Sundin examine tensions between the familiar and artificial. Sundin’s The Alley combines video footage with animation, depicting events both real and fictitious unfolding in an alleyway. Kydd’s Acrylic Store comes alive in a deceptive play of reflected light and drifting motion across glass objects seen through a storefront window, revealing the barrier between the viewer and objects of desire. Arden’s Supernatural depicts Vancouver in the aftermath of the 1994 Stanley Cup riot. Consisting of television news footage, some imagery seems predictable enough – people letting off steam by waving banners, flashing their breasts, or committing minor acts of vandalism. Other vignettes are not recognizable as the aftermath of a hockey game loss, depicting a city on the verge of chaos.
105 SELECTED EXHIBITIONS Group Show The Willful Plot Derek Jarman The Garden (production still), 1990 35mm film digital transfer 1:32:00 min. Courtesy of Basilisk Communications, Kino Lorber, and Zeitgeist Films Photo: Liam Daniel © Basilisk Communications Ltd The Willful Plot 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 our Belkin Curator’s Forum members. belkin.ubc.ca The Willful Plot brings together artists’ practices to expand the notion of the garden as a site of tension between wild and cultivated, temporal and perpetual, public and private, sovereign and colonized. Here, the garden is considered not only as a delineated patch of earth, but as a story to complicate the way in which cultures and individuals see themselves in relation to ecology, sociality, belief, and possibility. It is an opportunity to look at human relationships with land, flora, fauna, and their interrelatedness. In its willfulness, the resistance garden is a counter-site, a heterotopia for alternative cultivation and potential transformation. The complexities of resistance and “willfulness as audacity, willfulness as standing against, willfulness as creativity” (borrowing from scholar Sara Ahmed’s thinking in her 2014 book Willful Subjects) are articulated through works that use the garden as a site of cultural defiance and reclamation. If the garden is a site and a practice analogous to the studio, it exists within and beyond the logics of human time, holding its own agency, yielding non-linear narratives that give and take, fruit and compost, persist and disappear. Morris and Helen Belkin Art Gallery January 13 – April 16
Capture 2023 106 Group Show Sinking Feeling Jamilah Sabur, Untitled (rhombus cradling Mars west of the Sargasso Sea), 2017 two-channel video with sound 1:50 min., looped Courtesy of the Artist Curated by Heather Diack orgallery.org Or Gallery March 2 – April 29 In synch with rising sea levels, artists are increasingly attuned to the sinking feeling of catastrophe. Water surrounding the metropolis of Miami – designated within North America as “ground zero” for the impending peril it faces from warming waters and flooding – is projected to surge two feet in less than forty years. This exhibition includes work by five artists who tap into this ominous pulse, which, in a cynical twist, coincides with Miami’s designation as the most unaffordable city in the United States. This gateway to the Caribbean and Latin America, popularly dubbed the “Magic City,” is pitched as an ever-expanding, touristic, tropical paradise, even as the drenching effects of global warming loom. The poetic and poignant artworks included here hone in on the inseparability of the actualities of the climate crisis from everyday lived realities and formative histories. Parallels to the increasing vulnerabilities of other coastal cities, such as Vancouver, can be gleaned. Combining references to the transformational role that water plays in our survival and potential demise, the lens-based works in Sinking Feeling are as much about immersion and reflection as creating a rising tide of interconnected awareness and environmental justice. Sinking Feeling includes work by Eddie Arroyo, Claudio Nolasco, Jamilah Sabur, Erin Thurlow, and Antonia Wright.
107 SELECTED EXHIBITIONS Group Show Paying Attention Berenice Abbott Columbus Circle, c. 1935 gelatin silver print 38.74 x 48.9 cm Courtesy of Equinox Gallery © The Estate of Berenice Abbott / Getty Images fairmontpacificrim.com/ explore/art-program equinoxgallery.com In collaboration with Westbank’s Pacific Gallery at the Fairmont Pacific Rim, Equinox Gallery is pleased to present Paying Attention, a group exhibition featuring the work of Berenice Abbott, Walker Evans, Fred Herzog, Geoffrey James, and George Tice, among others. This exhibition looks at photographers whose work articulates fleeting, oftenoverlooked moments in the evolution of their urban environments during periods of rapid growth and transition. Spanning several cities over the past 100 years, these artists are united in the understanding that what is most familiar in modern life is often what is most impermanent, and its significance may only be felt once it has disappeared. As wanderers through the city, the photographers in this exhibition utilize varying aesthetic strategies to present an alchemy of past, present, and future within a single image. From Berenice Abbott’s striking architectural images of New York City in the 1930s to Fred Herzog’s early colour scenes of a growing Vancouver on the precipice of modernity in the 1950s, the photographers in Paying Attention each explore the large and small ways our environments are shaped and reshaped over time. Pacific Gallery, Fairmont Pacific Rim April 1–29
Capture 2023 108 Hayley Lohn Digital Skins Hayley Lohn Val, from the Digital Skins series, 2021 inkjet prints 22.5 x 34 cm ea. Courtesy of the Artist Curated by Elliot Zharko Please note: this exhibition is not wheelchair accessible. www.instagram.com/ peanuts_gallery_ Peanuts Gallery April 20–25 Digital Skins explores the way our identities shift through both digital algorithms and traditional photography. Generation Z and Millennials are the first generations to be born into an era of social media and big data. They have had the opportunity to explore different selves online, beyond their physical bodies and gender expressions. Digital Skins explores these ideas using diptychs with portraits of Generation Z and Millennials. Each diptych portrays both the physical and digital space of an individual: one photo is a traditional portrait taken in the subject’s home, while the other is a portrait of the individual’s public data created from an algorithm that arranges all of the person’s social media images into one composite grid, like a digital skin. Using the subject’s visual data in combination with their traditional portrait, Digital Skins aims to reveal the individual by merging the real and digital worlds.
109 SELECTED EXHIBITIONS Group Show image/object: new approaches to three-dimensional photography Natalie Hunter Edge of Sky (detail), 2020–21 archival pigment prints on transparent film from 35 mm negatives, turned aluminum, birch, light 325 x 35.5 cm ea. installation dimensions variable Courtesy of the Artist Curated by Adrienne Fast thereach.ca From the earliest days in the history of photography, there have been determined efforts to push the medium beyond its revolutionary ability to capture realistic two-dimensional imagery and to expand photographic images even further into three dimensions. Devices such as the stereoscope, 3D movie glasses, and virtual reality headsets have offered increasingly realistic three-dimensional photographic experiences, but these have largely remained in the domain of popular entertainment, intended to “trick” the eye into seeing a sculptural object where only a flat image (or a digital image) exists. In the 1960s and 1970s, a number of contemporary artists sought to challenge the boundaries of medium specificity by embracing mixed-media forms that often involved a deliberate blurring of boundaries between photographic images and sculptural forms. But by the end of the 1970s, the formal or physical ideas around three-dimensional photography were considered to be largely played out, and artists turned in other directions. In recent years, however, some contemporary artists have again been attracted to the potential for three-dimensional photography – not just to challenge modernist categories, and even less for the sake of easy entertainment. Instead, new artistic practices are emerging that embrace and revel in the material qualities of photography itself – its palpable physicality rather than its representational or symbolic capacities. This exhibition presents three contemporary Canadian artists – Karin Bubaš, Natalie Hunter, and Karen Zalamea – who each explore the potential for photographic images to be spatial, experiential, and material, but who do so in different ways and to different ends. The Reach Gallery Museum January 27 – May 6
Capture 2023 110 Lotta Antonsson West Coast / West Coast Lotta Antonsson Mermaid, 2021 collage with seashells 80 x 60 cm Courtesy of the Artist Curated by Patrik Andersson Please note: this exhibition is not wheelchair accessible. trappprojects.com Lotta Antonsson belongs to a generation of Swedish artists who emerged in the 1990s, inspired by post-structuralist theory and art exploring new media as it pertains to identity formation. For nearly three decades, her work has questioned the objectification of women with irony and self-distance. At the heart of this project has been her exploration and exploitation of lens-based images disseminated via printed matter. In particular, Antonsson’s work reflects her fascination with the late 1960s and 1970s, in a style where documentary and fiction blur in a merging of social and sexual revolutions. Since her first visit to North America in 1995, Antonsson has been fascinated with both the natural and cultural landscape of North America’s West Coast. In 1998, she had her first solo exhibition in Vancouver at Trylowsky Gallery. While based in Berlin for the past two decades, Antonsson has maintained a deep relationship with both the West Coast of British Columbia and her native West Coast of Sweden, where she also maintains a studio. For this exhibition, Antonsson assembles a collection of images and objects from her studio that function as pretext for her research into local archives and the shoreline of Vancouver. The exhibition title, West Coast / West Coast, is a literal reference to the artist’s research sites, but also evokes East Coast / West Coast, the title of a work by Robert Smithson and Nancy Holt produced in 1969, just prior to their arrival in Vancouver. Trapp Projects April 7 – May 7
111 SELECTED EXHIBITIONS Jeffrey Chong Home Edition Jeffery Chong Installation view of Home Edition, 2022 digital print on vinyl Courtesy of the Artist and the Vancouver Heritage Foundation Photo: Jeffery Chong vancouverheritagefoundation. org/discover-heritage/the-wall The WALL, CBC Plaza Vancouver Heritage Foundation October 29, 2022 – April 27, 2024 Home Edition shows the living room of Jeffery Chong’s grandparents, staged as it was on July 2, 1964, when his grandfather Ging Chong appeared on CBC’s newscast “Home Edition.” Earlier that day, Ging had witnessed a crime at the hotel where he worked. When the news crew arrived to cover the story, Ging was filmed for several seconds. The family did not watch the news that evening, nor did they know that such footage existed. After the broadcast, the newsreel remained undiscovered in CBC’s storage until Jeffery visited its archives decades later. Jeffery’s artistic practice involves researching family history, tracking down documentation to fill gaps in public records, and learning stories never before shared by a silent generation. Inspired by the discovery of this newsreel and the setting in which it would have been viewed, Jeffery studied photo albums and interviewed family members to redecorate, and capture in large format, his grandparents’ living room as it appeared in 1964 and to learn about Ging, who died before Jeffery was born. In the CBC Plaza where The WALL is located, Home Edition depicts Ging in the public eye on television. In contrast, the surrounding decor portrays his family’s private life. The provenance of these household items exemplifies Ging’s frugality. The furniture placement is focused on how the family planned time together around the television. The television is on, but nobody is watching, symbolizing this almost-forgotten newsreel and how the past can fade away if not recorded.
Capture 2023 112 Karice Mitchell Karice Mitchell take care II, 2021 archival inkjet print mounted on Plexiglas 60.96 x 40.64 cm Courtesy of the Artist Curated by Wil Aballe waapart.com Wil Aballe Art Projects April 20 – June 3 Karice Mitchell is a Toronto-born, photo-based-installation artist whose practice uses found imagery and digital manipulation to engage with issues relating to the representation of the Black femme body in popular culture and pornography. Historically, the sexuality of Black women and femmes has been central to their abuse, exploitation, and oppression and continues to be systematically constructed and controlled through the white gaze. By reappropriating Black femme erotic imagery, Mitchell reclaims Black agency and subverts history, reimagining the possibilities for Black femme sexuality outside of the weight and constraints of hegemonic, Eurocentric standards and historical constructs. The artwork, take care, gestures to the importance of carving space for Black women to take care of themselves while acknowledging a collective history. Through enacting care, healing can be fostered to imagine empowering possibilities for existence. In take care and Untitled (Woman in Gold), Mitchell represents Blackness and Black femmehood and its pure expression as a true site of resistance. Her photographs also reflect the multiplicity and fluidity of Black womanhood. Mitchell’s works acknowledge the historical legacy of the racist white gaze on the Black female body in an attempt to subvert it and give back power to the Black women whose embodiments have been policed and abused by the white gaze.
113 SELECTED EXHIBITIONS Ema Peter The Decisive Moment Ema Peter Raven House, 2021 giclée on Dibond 91.5 x 91.5 cm Designed by Measured Architecture, Mayne Island Courtesy of the Artist Curated by Alison Powell This exhibition is sponsored by Tricera Print Please note: the art museum galleries and shop are wheelchair accessible. There is a wheelchair accessible entrance from Esquimalt Avenue. The programming room on the third floor is accessed by staircase only. Architectural photojournalist Ema Peter has documented some of the most significant contemporary buildings in West Vancouver, the Lower Mainland, and around the globe for the past fifteen years, garnering awards for her images and collaborating with top local and international architects. Born in Bulgaria, Ema Peter spent much of her youth on set with her father, who worked as a cameraman for avant-garde film productions. Interested in documenting life as it happens, she became a news anchor for Bulgarian TV, eventually leaving Bulgaria to pursue an internship in photojournalism at Magnum Photo in Paris. Ema Peter’s love of modern architecture was ignited by her visits to Villa La Roche, designed by Le Corbusier, in Paris. Inspired by its clean lines and Le Corbusier’s visionary thinking, she drew from her training in photojournalism to document the architectural world around her. This exhibition features residential homes in West Vancouver and coastal British Columbia designed in the West Coast Modern vernacular. The works illustrate Ema Peter’s unique ability to catch fleeting moments: figures moving through space, a cloud tracing the sky, or a rare quality of light. West Vancouver Art Museum April 12 – June 3
Capture 2023 114 Edward Brilliant #04, from the How the birds fly series, 2022 archival inkjet print 60.96 x 76.2 cm Courtesy of the Artist
115 EDUCATIONAL PARTNERSHIPS Capture x ECUAD 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 2–30 Emily Carr University of Art + Design, Faculty Gallery, 1st Floor David Aquino Edward Brilliant Kelsey Brill-Funk Harriet Forster Dorsa Hadikhanlou Khim Hipol Leo Mah Charlie Mahoney-Volk Skye Tao Capture × ECUAD Curated by Birthe Piontek, Assistant Professor of Photography, Audain Faculty of Art, ECUAD Looking After: Photography as an Act of Care The photographic medium is shadowed by its exploitative traits. The notions of “capturing” and “taking” photographs highlight an imbalanced power dynamic that renders one side of the lens as dominating and the other as vulnerable. The exhibition Looking After: Photography as an Act of Care seeks to counter this narrative. It centres a different perspective in which image-making is based on a relationship of respect and the photograph is a gesture of care. Emily Carr University’s artists ask: How does photography make us care? How does it depict care? And why do we care about photography? Here, images serve as a bond – even to those who are not with us anymore. They highlight photography’s close relationship to memory, convey its fluidity, and articulate how images form and express our identities and deepest connections. The look through the viewfinder doesn’t depict the subject as “other,” and isn’t one of investigation, but rather one that is concerned, curious, and compassionate. The works created for this exhibition reveal a sense of belonging not only to our communities but also to the natural world and the land we now inhabit. They ask how we care for ourselves and our own bodies through image-making. Looking After: Photography as an Act of Care brings together emerging artistic voices that understand the urgency of needing to care and examine how a camera can constitute, conduct, or create a work that demonstrates this. It is the study of care through a lens.
Capture 2023 116 Alessandra Abballe Berenice Abbott Roya Akbari Hiba Ali Lotta Antonsson Roy Arden Eddie Arroyo David Aquino Nabil Azab Rebecca Bair Steven Beckly Nadia Belerique Krista Belle Stewart Jordan Bennett Jaspal Birdi Lucas Blalock Alison Boulier Deanna Bowen Kelsey Brill-Funk Edward Brilliant Karin Bubaš Kennedi Carter Soloman Chiniquay and jaz whitford Jeffrey Chong Dana Claxton Hannah Collins Sara Cwynar Alyson Davies Meganelizabeth Diamond Lucien Durey Jessica Eaton Marten Elder Walker Evans Samuel Fosso Harriet Forster Giovanni Fredi Jaiden George Wang Guofeng Dorsa Hadikhanlou Fred Herzog Karl Hipol Khim Hipol Tom Hsu Natalie Hunter Georffrey James Ayana V. Jackson Derek Jarman Elliott Jerome Brown Jr. Seydou Keïta Jake Kimble Marisa Kriangwiwat Holmes Reanne Kit-Yee Cheung Kapwani Kiwanga Katie Kozak Owen Kydd Deana Lawson Zun Lee Kevin Lee Burton Hayley Lohn Oumar Ly Artist Index Leo Mah Charlie Mahoney-Volk Alexine McLeod Jalani Morgan Alex Morrison Karice Mitchell Dawna Mueller Kvet Nguyen Claudio Nolasco Alanis Obomsawin Bidemi Oloyede Midi Onodera Ema Peter Dawit L. Petros Dana Qaddah Jamilah Sabur Viviane Sassen Thirza Schaap Jamel Shabazz Fazal Sheikh Malick Sidibé Xavieria Simmons Vilhelm Sundin Skye Tao Svava Tergesen Isaac Thomas Erin Thurlow George Tice James Van Der Zee Stephen Waddell Ian Wallace Barrie Wentzell Gloria Wong Antonia Wright Fauna Ybarra Jin-me Yoon Wayne Yung Karen Zalamea p. 93 p. 105 p. 92 p. 92 p. 108 p. 102 p. 104 p. 113 pp. 10–12 pp. 22–23/40–43 pp. 34–39 p. 29 p. 30 p. 32 pp. 50/57 pp. 46–47/116–117 pp. 50/53 p. 78 p. 113 pp. 112–113 p. 107 p. 78–79 pp. 50/54 p. 109 p. 92 pp. 14/16 p. 33 p. 89 pp. 24/50–51 p. 98 p. 26 p. 96 p. 105 p. 76 p. 113 pp. 10/13 pp. 60–61 pp. 86/91 p. 113 pp. 95/105 p. 99 pp. 61–62/99/113 pp. 61/63/94 p. 107 p. 105 p. 78 p. 103 pp. 58/76–81 p. 77 pp. 8/48–49/90 pp. 11–12 p. 97 p. 31 p. 98 p. 102 p. 77 p. 77 pp. 92/97 p. 106 p. 78 p. 113 p. 113 pp. 61/64 p. 78 p. 28 pp. 110/115 p. 101 pp. 50/55 p. 104 pp. 82–85 p. 78 p. 92 p. 111 pp. 77/80 pp. 61/65 p. 104 pp. 4–5/44–45 pp. 50/52 p. 78 pp. 18/21 p. 77 p. 81 p. 102 p. 113 pp. 72–75 pp. 61/66 p. 104 p. 105 p. 78 p. 27 pp. 61/67 p. 100 pp. 61/68 p. 104 pp. 50/56 pp. 61/69/88 p. 92 pp. 61/70–71/107 To support Capture’s catalogue, exhibitions, public art, and public programs, please donate by scanning here:
117 Karice Mitchell Untitled, 2021 archival inkjet print 121.92 x 40.64 cm Courtesy of the Artist Part of the Selected Exhibition Program
Capture 2023 118 Lucas Blalock Ducks, 2014 Courtesy of the Artist and Galerie Eva Presenhuber (New York/Zurich/Vienna) and Rodolphe Janssen (Brussels) Part of the Pattison Outdoor Billboard Public Art Project
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cagvancouver.org Kathy Slade As the sun disappears and the shadows descend from the mountaintop 27 JAN 23 7 MAY 23
Vancouver + Montréal [email protected] www.denbighfas.com There is no art handing without art. We take great pleasure in donating our services to Capture each year. We volunteer our time, equipment and staff because we love being a part of this community and we believe that art has the power to make the world a better place. We want to use this opportunity to say thank you. Thank you to Capture for putting on this incredible show every year. And thank you to everyone who works hard to make sure that the world is a more colourful, interesting and thoughtful place.
Pattison Outdoor Advertising is proud to support Capture 2023 pattisonoutdoor.com
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Noa Bronstein Leo Cocar Arpad Kovacs Elliott Ramsey Mark Sealy Emmy Lee Wall