July 8 to September 2, 2017
The Cube
The 2017 Curator’s Choice exhibition features a new project by Levi Glass. The artist draws on modern methods of surveillance and a range of critical analyses of the gaze to create a work that involves audience interaction in order to create a mediated experience of viewing and a prompt for self-reflection. Glass cites Foucault’s theory of panopticism, articulated in his work Discipline and Punish (1975) wherein he reflects on the role of surveillance in power structures and as a means of control in society. In these times of increasingly politicized fear, we have seen the rise of Bill C-51 in Canada to expand the surveillance powers of intelligence agencies, and in the USA the National Security Agency has undertaken warrantless surveillance while the Transportation Security Administration has implemented full-body scans under the guise of protecting the public, while simultaneously collecting data with or without an individual’s knowledge or consent. Advances in technology and data collection have made concerns about privacy and power structures between the state and the people ever more pertinent.

In this installation for The Cube, Glass employs multiple cameras and monitors to create a surveillance system that disrupts the very power structure of surveillance by turning the viewer into both the observer and the observed. Issues of security, privacy and individual rights are raised as the live feed is interrupted by recorded footage of previous encounters within the system. The work aims to create a moment of self-reflection as the cameras are turned on the viewer and others for immediate viewing on the adjacent monitors.

This year's Curator’s Choice is the 13th annual exhibition of work by a student graduating from Thompson Rivers University. Selected by Kamloops Art Gallery Assistant Curator Craig Willms, Curator’s Choice annually highlights emerging artists from TRU’s Bachelor of Fine Arts graduating class giving them an opportunity to create new work for a professional exhibition space outside the context of school.
Levi Glass
Panoptic Circuit (image device), 2017
CCTV surveillance cameras, circline fluorescent tubes, Plexiglass, wooden support
Image courtesy of the artist
Curated by Craig Willms, Assistant Curator, Kamloops Art Gallery
View images of the exhibition here.
July 15 to September 9, 2017
Central Gallery
Through both his life and work Harris helped establish an identity for Canadian art. He not only saw the artistic and cultural potential of this country, but also made works that have helped to define the very identity of Canada. Furthermore, he had the courage to take his own art into the realm of abstraction at a time when most of the public was unwilling to follow.

Lawren Harris: Canadian Visionary presents a selection of key works from the Vancouver Art Gallery's permanent collection that collectively trace Harris' artistic evolution from the early years of the twentieth century, through the groundbreaking work of the Group of Seven period when his work transformed the language of Canadian landscape, and finally to his later experiments in abstraction that reflect his efforts to root his work in a universal language rather than a specific national landscape.

Lawren Harris: Canadian Visionary is organized and circulated by the Vancouver Art Gallery with the generous support of the Killy Foundation and is curated by Ian M. Thom, Senior Curator–Historical, Vancouver Art Gallery. This exhibition is complemented by a selection of paintings by other members of the Group of Seven, drawn from the collection of the Kamloops Art Gallery and curated by Adrienne Fast, Interim Curator, Kamloops Art Gallery.
Lawren Harris
Autumn: Design for a Panel, c. 1945
oil on paperboard
38.3 x 30.5 cm
Collection of the Vancouver Art Gallery, Gift of the Vancouver Art Gallery Women's Auxiliary, VAG 68.20
Photo: Trevor Mills, Vancouver Art Gallery
Curated by Ian M. Thom, Senior Curator–Historical, Vancouver Art Gallery
View images of the exhibition here.
AlterNation
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July 15 to September 9, 2017
Central Gallery
Roy Arden
Komar and Melamid
Henry Speck
Rebecca Belmore
Eileen Leier
Takao Tanabe
Edward Burtynsky
Glenn Lewis
Joyce Weiland
Wally Dion
Ken Lum
Tania Willard
Aganetha Dyck
Divya Mehra
Jin-me Yoon
Farheen Haq
Daphne Odjig
Sharyn Yuen
Alex Janvier
Jana Sasaki
This year marks the 150th anniversary of Canadian Confederation, an event that is being met by a wide spectrum of responses that range from sincere celebration to profound ambivalence and thoughtfully considered refusal. Many people have noted that 1867 is an arbitrary choice for the origin of the country: only Ontario, Quebec, Nova Scotia and New Brunswick were then united by the British North America Act, while other histories of nations that have inhabited this land extend tens of thousands of years further back in history. Others have argued that the last 150 years have been largely marked by shameful episodes of repression and violence against many Canadian citizens, particularly Indigenous peoples and other communities of colour. For many, it is difficult to reconcile those histories of institutionalized violence with their hopes for Canada today.

AlterNation suggests an alternative approach to the consideration of Canada and the embracing of multiple perspectives towards our shared history. It is an acknowledgement of the many alternative nations that have existed within this country, while also suggesting a fluctuation between those various histories. In logic and mathematics, alternation is defined as “inclusive disjunction,” a term that metaphorically encompasses the ways that Canada has endeavoured to be a bastion of multicultural democracy, but has at times failed to live up to those ideals.

Presented alongside Lawren Harris: Canadian Visionary, AlterNation is comprised of work from the Kamloops Art Gallery permanent collection and supplemented by loans from local and national collections. This exhibition presents contemporary work by a variety of artists that explores how art has been involved in the myth-making and nation-building of Canada, as well as work that challenges the dominant narratives of celebration by highlighting some of the darker histories that are often overlooked in mainstream considerations of Canadian history. This exhibition includes works that are both laudatory and critical of the idea of Canada, as well as works that are both humourous and somber, in an effort to encourage audiences to thoroughly consider the range of positive and negative forces that have shaped Canada over the last 150 years.
Joyce Weiland
O, Canada, 1972
lithograph on silk
57.5 x 75.3 cm
Collection of the Vancouver Art Gallery, Gift of Michael Audain, VAG 99.16.2
Photo: Vancouver Art Gallery
Curated by Adrienne Fast, Interim Curator, Kamloops Art Gallery
View images of the exhibition here.
September 16 to November 4, 2017
The Cube
Planned Peasanthood stems from the artist’s ongoing project The Pavilion, a geodesic dome that Ward is developing in collaboration with the artist Kevin Schmidt as a rural, site-specific facility for artistic research and production. For this exhibition in The Cube, Ward formulates a series of sculptural and two-dimensional works that explore connections between “natural” systems, skill building, self-reliance and artistic agency within late capitalism.

With increasing pressures on our environment and the rise of neoliberalism, we are currently seeing unprecedented social, political, ecological and economic circumstances of insecurity. Standing on the precipice of this dramatic change, citizens are increasingly being asked to re-examine their core values and daily behaviours and interactions.

Planned Peasanthood is a process-based series of works wherein Ward examines outmoded, pre-modern methods of land-based survival as a means of reclaiming this body of knowledge as a potentially crucial skillset for the coming era. These works resist nostalgic yearnings for days gone by, as with changes in technology these tools no longer are up to the task. Instead, the artist seeks to develop and incorporate distinctly new tools for survival in the present day, such as those that counter facial-recognition and digital tracking strategies.

This project presents a series of sculptural propositions regarding our collective future and in doing so offers a productive moment of reflection on our contemporary present.
Holly Ward
Future Farmer, 2017
digital collage
Image courtesy of the artist
Curated by Craig Willms, Assistant Curator, Kamloops Art Gallery
Generously sponsored by Jane Irwin and Ross Hill, Wilson M. Beck Insurance Services (Kamloops) Inc.
View images of the exhibition here.
Since Then
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September 23 to December 30, 2017
Central Gallery
Rebecca Belmore
Helga Jakobson
Justin Sorensen
Dana Claxton
Garry Neill Kennedy
Derek Sullivan
Leah Decter
Janet Kigusiuq
Ione Thorkelsson
Cheryl L'Hirondelle
Kent Monkman
Rachael Thorleifson
Demian Dinéyazhi'
Peter Morin
Chih-Chien Wang
Mark Emerak
Lisa Myers
Christopher Woll
Cliff Eyland
Rúrí
Felix Gonzales Torres
Postulating what the future might hold, this exhibition looks to histories of survival as a starting point for a conversation about the possibilities of endurance, cross-cultural exchange and legacy. By looking at artwork that depicts survival, that alludes to hybridity and transformation, and that carries with it the physical markers of distress as part of their conceptual make-up, Since Then challenges preconceived notions of what it is to endure from both a historical and a contemporary point of view.

The artworks featured in Since Then are in turn humorous, confounding and rooted in an awareness of colonial violence. Themes such as water, literature, mythologies and time travel are prevalent, as are factual accounts of hardships. These themes emerge and are explored through a variety of media including video, photography, works on paper, performance and site-specific installation in order to inform this conversation concerning an aesthetics of survival. How is the road forward paved with stories of what has come before? What has happened Since Then?

This sprawling, multi-faceted group exhibition poses questions about what it means to survive and how the markers of survival sometimes, necessarily, force a dialogue about its opposite.

Published in response to this research is a special issue of CV2, The Canadian Journal of Poetry and Critical Writing, featuring a 16-page visual art supplement of work from Since Then as well as an exploratory text by the curator.

Artist and independent curator Tania Willard has also curated a performance series in response to Since Then, to be presented over the course of the exhibition.

Since Then was originally produced in Winnipeg for núna (now) – Icelandic Canada Art Convergence, as part of their 10th anniversary programming in 2016.
Justin Sorensen
The Foolish Builder, 2012
video still
Courtesy of the artist
Curated by Kegan McFadden
Generously sponsored by Funk Signs Inc.
View images of the exhibition here.

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