October 12 to December 31, 2012
The Kamloops Art Gallery’s final exhibition of 2012, An Era of Discontent: Art as Occupation, brings together artwork that speaks to the current momentum of Occupy movements and Arab Spring revolutions, which are radically transforming our global reality. A group exhibition containing work in wide ranging mediums such as silkscreened posters, large-scale sculptures, video and installation works, An Era of Discontent: Art as Occupation offers diverse artistic responses to local and world politics, shifting social moralities, and destabilizing balances of power.

The exhibition comprises work by regionally, nationally and internationally based artists, some of whom have made work specifically for the exhibition. It also contains work on loan from private and institutional collections. Artists include Sabine Bitter and Helmut Weber, Jonas Staal (New World Summit project), Christoph Buchel, In Protest, Cameron Kerr, Teresa Marshall, Alex Morrison, John Sharkey, Holly Ward and Elizabeth Zvonar.

An Era of Discontent addresses the current political climate by way of philosophical inquiry into what it means to occupy physical and ideological space. Situated within a broad framework, it articulates the complexities of subjects such as cultural capital, labour, war, nationhood and mass resistance movements within the context of power structures that are intrinsically bound to these politically embedded systems and constructs.

Drawing on the rich history of utilizing art as a vehicle for social transformation, some of the artists in the exhibition generate active and contentious interventions and others make subtler gestures towards the political by re-representing or critically responding to subjects drawn from the world around us. The exhibition and coinciding roundtable discussion on the topic of art and democracy held at the KAG on October 13 and 14 are a provocation to question the role of art and the artist in this time of heightened political consciousness.
Installation view showing five war rugs
untitled, c. 2000-2005
Private Collection, Vancouver
Photo: Dawn Vernon, Kamloops Art Gallery
Curated by Charo Neville
Generously sponsored by Funk Signs
View images of the exhibition here.
September 8 to November 3, 2012
The Cube
Ernie Kroeger
Ernie Kroeger brings together historical and contemporary images in an examination of the confluence of the North and South Thompson rivers, a natural phenomenon that has been central to the shaping of Kamloops. Confluence traces Kamloops’ history through text and photographs, speaking to the city’s historical relationship to the rivers. The word “Kamloops” is derived from the Shuswap word “Tk'?mlúps,” meaning “confluence.” The text portion of the exhibition reveals the many iterations of the city’s name, sourced from signs, books, magazines, encyclopaedias, local historical accounts, and the Internet. The images include a collection of archival photographs from the Kamloops Museum and archives across Canada as well as recent digital photographs and imagery taken from Google Earth. Together, the images and text form a narrative that creates a kind of memory map of the river valley. The exhibition investigates a locale that is intrinsic to Kamloops’ identity and embedded in the cultural fabric of this place. The project comes together as Kamloops celebrates its bicentennial throughout 2012.
Charles Gentile
Hudson Bay Depot Kamloops (detail), 1865
digital copy of albumen print
Library Archives Canada (C-88903)
Curated by Craig Willms
View images of the exhibition here.
June 30 to August 25, 2012
The Cube
Emily Hope
This year’s Curator’s Choice is the eighth annual exhibition of work by students graduating from Thompson Rivers University. Selected by Kamloops Art Gallery Assistant Curator Craig Willms, Curator’s Choice features Emily Hope’s museum of The Wild Man Appreciation Society.

The wild man is our feral double. He lurks in the corners of popular culture, appearing as the good-natured trickster Puck and the comic servant Harlequin, as Old Saint Nick, and the very devil himself. He is Enkidu, Nebuchadnezzar, and St. John of Chrysostom. Here in Canada, we know him as Sasquatch. Inspired by the rich history of this creature, Emily Hope has created The Wild Man Appreciation Society, a civil society and travelling personal museum dedicated to the preservation and promotion of tales about the wild man. Enter through the reading room and join Hope in the creation of drawings and the telling of stories about wild men you’ve seen or imagined, then continue through into the museum to see the artefacts, which include giant mittens and rings, sixteenth-century beer jugs, coins, stamps, playing cards, a tin type, a tapestry, toys, carvings, and costumes.
Installation view the Wild Man Appreciation Society
Photo courtesy of the Artist
Curated by Craig Willms
Generously sponsored by Simmons, Black & Emsland Insurance Services
View images of the exhibition here.
June 30 to August 25, 2012
Storytelling is one of the oldest forms of human communication. The Kamloops Art Gallery’s summer 2012 exhibition, Re-Story: Works from the Permanent Collection, expands upon notions of witnessing explored in the preceding KAG exhibitions this year and imparts a re-vision, re-telling, and re-dress of dominant storylines. The exhibition features a large selection of significant works from the KAG’s permanent collection as well as works borrowed from other institutions and the studios of local artists.

The stories told by the diverse artists in this equally diverse grouping of works offer a re-telling of both personal and historical narratives. In response to Prime Minister Stephen Harper’s official apology to former students of residential schools, Rebecca Belmore’s video projection, Victorious(2008), depicts an iconic image of Queen Victoria as a majestic Aboriginal woman constructed with newspaper and honey in a performance that is driven by a blasting “God Save the Queen” soundtrack. Artists from the KAG’s collection, including Jane Ash Poitras and Jim Logan, similarly address historical injustices and offer a voice to often silent, yet pervasive, past wrongdoings. Andy Fabo’s HIV Lists (1992) draws on socially transgressive attitudes associated with an experience that is deeply personal. In this way, works by Barbara Astman, and Linda Jules also examine the formation of the social, cultural, and personal self through their portraits. Photographic work by Jin-me Yoon from the permanent collection is expanded upon with recent video work, as a way of showing the progression of the artist’s practice and a re-consideration of diasporic subjectivity in relation to place and the body. Re-Story offers a unique opportunity to bring together key works from the KAG’s collection in dialogue with important works by other national and regional artists.
Pitseolak Ashoona
Childhood Memories – Snow House of My Youth, 1980
handcoloured etching and aquatint on paper
Collection of the Kamloops Art Gallery, Gift of Glenn and Mary Martin
Photo: Kamloops Art Gallery
Curated by Charo Neville
Generously sponsored by Simmons, Black & Emsland Insurance Services , Radio NL
View images of the exhibition here.
March 24 to June 16, 2012
Esther Shalev-Gerz
This exhibition brings together two key works by Esther Shalev-Gerz in the first solo exhibition of her work to be organized in Canada. Born in Lithuania, raised in Israel and a resident of Paris since 1984, Esther Shalev-Gerz is internationally recognized for her investigations into the nature of democracy, citizenship, cultural memory and spatial politics. Additionally, her work persistently challenges traditional notions and practices of portraiture; it considers the portrait’s possibilities within contemporary discourses and the politics of representation.

Made in Sweden, WHITE-OUT: Between Telling and Listening, 2002, presents a portrait of sorts—one comprised of fugitive stories, stories that exist fleetingly between the actual and the fictional, between the imagined and the experienced. Like previous works by Shalev-Gerz, it discloses and dwells on the space between telling and listening. Here, the portrait subject is Åsa Simma, a woman who is both Sami (the indigenous peoples of Northern Sweden, Finland, Norway and Russia) and Swedish. These two cultures have traditionally been (and continue to be) separated by Sweden’s myth making and its official histories. Åsa Simma is shown in her home in Stockholm, as she responds to Shalev-Gerz’s off-screen reading of Sami and Swedish texts, which are mounted on the wall of the Gallery. The texts are from oral and written sources—myths, fiction and other literatures, travel stories, historical and archival materials, and articles from newspapers and magazines from Swedish, Sami and French archives—on topics such as nature, war, love, desire, gender and the role and conditions of women and children. Simma responds by providing an intimate account of her experience growing up in these two cultures. In the other projection on a facing screen, filmed in her place of origin in the far north of Sweden, Åsa Simma attentively and silently listens to her own story.

In addition to the video projections and printed versions of the texts read to Simma, the installation includes a series of photographs showing the vaults of the National Historical Museum in Stockholm, which commissioned this work and where it was first presented. The images offer opaque views of crates and storage areas containing the museum’s collections materials.

WHITE-OUT is accompanied by Shalev-Gerz’s1998-2000 video projection Perpetuum Mobile in which a 10 Franc coin spins in constant motion so that both sides merge into one, just as Åsa Simma's dual identity merges in a unified and perpetually evolving sense of self. A study of a currency replaced by the Euro and thus no longer in use, Perpetuum Mobile reflects upon money’s symbolic value and its role among other economic forces that determine and interconnect national and individual identities.

This exhibition is dedicated to the memory of Annette Hurtig (1946-2012).

Supported by the Consulate General of France in Vancouver.
Installation view of WHITE-OUT: Between Telling and Listening
Photo: Kamloops Art Gallery
Curated by Charo Neville, Annette Hurtig
Generously sponsored by Radio NL
View images of the exhibition here.
March 24 to June 9, 2012
The Cube and BMO Open Gallery
Transart Collective
Connecting the Dots is a multi-gallery project organized by Kamloops-based artist Tricia Sellmer that brings together international artists with artists from the Kamloops region at the Kamloops Art Gallery, Thompson Rivers University Art Gallery and Arnica Artist Run Centre.

At the KAG, Doug Buis and Astrid Menze’s works are projected simultaneously throughout The Cube, exploring the perception of space and time in relation to one’s surroundings. Buis’ clouds drift across the gallery walls interacting with images of Menze’s floating body and domestic objects as they appear to levitate through familiar interior spaces. Doug Buis continues this exploration in a dual screen video in the BMO Open Gallery.

Doug Buis is a Kamloops-based artist and professor in the visual arts department at Thompson Rivers University. Buis’ work investigates perceptions of the landscape and our surrounding environment through a variety of media and conceptual strategies. Astrid Menze completed her MFA in new media program at the Transart Institute and lives and works as an interdisciplinary artist in Berlin. Her practice focuses on time-based media.
Installation view of Doug Buis and Astrid Menze: Connecting the Dots
Doug Buis
Cloud, 2002–12
video projection
Astrid Menze
all inclusive HERE | THEN | THERE | NOW, 2010
single channel video
Photo: Kamloops Art Gallery
Curated by Tricia Sellmer, Craig Willms
View images of the exhibition here.
January 14 to March 10, 2012
The Cube
Sarah Jules
The camera phone has created immediacy in photography in a way never seen before in the history of image making and image publishing. Photographers are now able to post their snap shots of events and moments to social media and photo sharing websites within seconds of image capture; subsequently rendering the printed hard copy photograph out-dated and unnecessary. Sarah Jules captures moments of intimacy that hint at greater narratives through her iPhone. She weaves a story from her experiences through these snapshots shown on video monitors and the printed image.
Installation view of Sarah Jules:
Photo: Kamloops Art Gallery
Curated by Craig Willms
View images of the exhibition here.
January 14 to March 10, 2012
This exhibition launches a year of programming at the Kamloops Art Gallery that focuses on the re-reading of history, the provocation of power relations and the notion of “bearing witness” to world events through personal and collective narratives. Bearing Witness is the first in four exhibitions throughout 2012 that will be ideologically linked by these common threads.

Socially engaged works of art offer a powerful means of communicating the human experience. They bring attention to political violence, unjust social realities and man’s inhumanity to man. Drawn from the Vancouver Art Gallery’s permanent collection, this exhibition brings together the work of 27 artists who examine industrial exploitation, large-scale government action, the atrocities of war, the history of slavery, and the representation of women in society. The strategies and aims of these artists are as distinctive as the visual languages they employ. The photographers Margaret Bourke-White and Robert Capa, for example, saw their role as creating a record through the documentation of unfolding events. The painters Leon Golub and Nancy Spero responded to events with work that incited debate and galvanized communities. Others, such as Barbara Kruger and Magdalena Campos-Pons, are committed to exposing historical invisibility. Provocative and unsettling, the images in this exhibition bear witness to the powerful forces that shape our lives and world.

Bearing Witness is organized and circulated by the Vancouver Art Gallery with the generous support of The Killy Foundation and Odlum Brown Limited
Stephen Shames
Tear Gas Grenade, Berkeley, 1970
silver gelatin print
Collection of the Vancouver Art Gallery, Gift of Claudia Beck and Andrew Gruft
Curated by Ian M. Thom
Generously sponsored by Radio NL
View images of the exhibition here.

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