Presented every two years, this FREE, week-long, new media, art exhibition showcases video projects by local, national and international artists in unexpected public spaces throughout the downtown core of Kamloops. As an off-site Kamloops Art Gallery initiative, Luminocity embraces new creative concepts and modes of expression in the media arts field and brings recent video projects previously shown primarily in gallery settings to the outdoors.
Inspired by popular, public art events such as Nuit Blanche that take over major cities like Toronto and Montréal, Luminocity transforms Kamloops’ urban environment with projections on the façades of buildings and from windows and site-specific installations at Riverside Park. Luminocity is a unique offering for audiences of all ages to take in video art projects from a diversity of artists and to explore the city of Kamloops in a new way.
Visit the KAG Luminocity website for full details about each artist, talks, tours and more.
Jeneen Frei Njootli, Gabrielle L’Hirondelle Hill, Chandra Melting Tallow, Tania Willard
Coney Island Baby, 2018
Luminocity 2018, Riverside Park
Photo: Devon Lindsay
For this new body of work, Presences, Roy-Bois has created an ensemble of constructed and found objects that consider our contemporary material knowledge. His discrete architectural sculptures act as vessels for everyday things and are separated from the gallery’s architecture by platforms. This series of site-specific improvisational installations present everyday objects in new ways, blur the boundaries between art and life, and shift ordinary things and spaces into a poetic dimension. By connecting sculpture, everyday objects, floor, and ceiling, Roy-Bois manipulates the gallery space as a strategy to create a genuine and direct relationship with the viewer, and his use of everyday items offers a way of understanding our relationship to our environment.
Samuel Roy-Bois: Presences is organized and circulated by the Kamloops Art Gallery. Support for the development and production of new works for the exhibition provided by Esker Foundation.
Sovereign (ladder and mattress), 2019
Image: Courtesy of the Artist
Lawrence’s eclectic output has focused on early imaging technologies and the meeting place of urban and “wilderness” cultures. Through critical engagement with stories of travel, exploration and mechanical invention, his work merges diverse interests, including sea kayaking and solar phenomena with practices of drawing, photography, construction, D.I.Y. construction, surveying and mapping. His ambitious undertakings have involved converting a kayak to a floating laboratory for underwater pinhole photography and mounting a tent-sized camera obscura on the side of a ferry. This exhibition brings together seminal projects that demonstrate the through-lines of nature and technology in Lawrence’s practice, including Romantic Commodities (1993), The Sled (1995), Underwater Pinhole Photography Project (1997-), Torhamvan/Ferryland (2005), One Eye Folly (2008) and Coastal Camera Obscura (2017).
Lawrence’s current focus on the camera obscura emerges from research into historical understandings of optics in relation to emergent and obsolete technologies. The camera obscura was important to both art and science; it was a precursor to photography and an early optical instrument that provided a means of observing solar phenomena as well as being a tool for artists to render their subjects. Lawrence’s large-scale public artwork, Comet MMXVIII (2018), is part of the Kamloops Art Gallery’s collection and is currently installed on the roof of the Thompson-Nicola Regional District building entrance. Evoking a comet in the night sky and Lawrence’s enduring interest in the pre-photographic optical apparatus that allow us to view such phenomena, the incorporation of bubble wrap and fluorescent light tubes also speaks to Lawrence’s innovative use of salvaged materials and obsolete technology. For this exhibition, Lawrence has constructed a new public artwork on the canopy of the adjacent Paramount Theatre building, offering visitors the opportunity to experience a camera obscura in person, in conjunction with camera obscura works on view in the Gallery.
Donald Lawrence is a professor in the Visual Arts Program at Thompson Rivers University (TRU). In 2017, he was the recipient of the Kamloops Mayor’s Award for the Arts – Artist of the Year award and was the first Chair of the City of Kamloops Arts Commission. A testament to his established commitment to research and teaching, Lawrence was recently awarded the President’s Distinguished Scholar Award at TRU. From 2013 to 2019, Lawrence led The Camera Obscura Project, a multi-year program of research funded by the Social Sciences and Humanities Research Council that involved numerous students, emerging and established artists, and scholars. An exhibition of artwork from this project was exhibited at the Kamloops Art Gallery in 2016 entitled Midnight Sun Camera Obscura. A parallel exhibition was also exhibited at the University of Lethbridge Art Gallery and travelled nationally to galleries in Ontario and the Yukon, with a publication forthcoming. That exhibition was followed by the solo exhibition Kepler’s Klepper and The Underwater Pinhole Photography Project in 2018 at the University of Lethbridge Art Gallery. Lawrence also converted a circa 1927 grain bin into a walk-in, pavilion-style camera obscura at the University of Lethbridge’s Coutts Centre for Western Canadian Heritage outside Nanton, Alberta in 2018. A monograph publication will be produced by the Kamloops Art Gallery following this exhibition.
A video tour of the exhibition with the artist, Donald Lawrence, and curator, Charo Neville was recorded and edited by Jonathan Fulton and can be viewed HERE
One Eye Folly, 2008
Boiling down her memories to their key components, Fortie is left with fragments of imagery: a fountain, a bundle of rope, a foot. These seemingly unrelated objects are synthesized to create a narrative that serves as a pathway to the past. Through Pleasant Field, paintings and sculptures work together to create an alternate reality, immersing the viewer in a landscape of memories as they exist at this moment in time.
Fortie’s new body of work builds on her undergraduate project, which she developed while completing a Bachelor of Fine Arts degree at Thompson Rivers University in 2017 that focused on experiences of coming of age and the tension between childhood and adulthood. Maintaining a distinctly playful and colourful aesthetic, Fortie’s loosely rendered marks and associations flow across the canvas and the walls of The Curbe, materializing in a fluid installation of two- and three-dimensional objects that inhabit an immersive environment.
Jin-me Yoon’s C-print (it is this/it is that), 2004 is on loan to the Musée d’art de Joliette for inclusion in the touring exhibition Jin-me Yoon: Ici ailleurs d'autres spectres. Curated by Anne-Marie St-Jean Aubre, this serves as the first survey exhibition offering an overview of Jin-me Yoon’s career spanning more than 25 years.
The exhibition was shown at the Musée d’art contémporain des Laurentides September 8 to November 3, 2019 and at the Musée regional de Rimouski, February 20 to May 31, 2020.
Jin-me Yoon (it is this/it is that), 2004 lightjet C-print with overlay and acrylic surface mount vertical diptych; each panel 74 x 126 cm Collection of the Kamloops Art Gallery, purchased with financial support of the Canada Council for the Arts Acquisition Assistance Program Photo: Rachel Topham Photography
For her new project, Cling, Exner creates an installation of discarded satellite television dishes and infests them with sculptural barnacles that suggest an analogous relationship between invasive species and discarded technology. By connecting nature and technology in this way, Exner engages in current debates about how digital platforms serve to connect us while simultaneously disconnecting us from the real world. Satellites circulate ceaselessly in the skies above us, wifi operates invisibly all around us and “the Cloud” is now a commonly used term and a storage system that exists in the digital realm.
Through the steady transposition of once precious, now abandoned technology, digital tools are in a cycle of perpetual advancement inherently aligned with capitalism by way of planned obsolescence. Exner contends that the prevalence of obsolete technology and the resulting waste that impacts our natural environment exists as evidence of the need for physical resources as a prerequisite for digitized environments. Ironically, this same metaphysical space prides itself as a release from materiality.
Attached to the walls of the Gallery and expanding outside to off-site locations, the works in this exhibition propose hybrids of technological structures and living organisms that have gone awry, multiplying in ways beyond our control. They take the form of abandoned technologies that have sprouted new life, clever artificialities that imitate nature, or biotechnological fixtures of the not-too-distant future.
Twyla Exner lives and works in Prince George, British Columbia. Her practice encompasses numerous mediums, including drawing, sculpture, ceramics and installation. Her works explore themes of nature, combined with technology and electronics, and have been exhibited across Canada. Exner has taught at Thompson Rivers University, Kamloops, BC, and Grande Prairie Regional College, Grande Prairie, Alberta. She currently works as the Director of Public Programs at Two Rivers Gallery in Prince George.
Cling (installation view), 2019 cast urethan, satellites dimensions variable Image courtesy of the Artist
Free Rein brings together a major body of work which began in 2017 and includes new work made specifically for the Kamloops Art Gallery. Including video, sculpture, sound and text-based work, this exhibition plays with tropes of the Western cinematic genre, particularly the character of the cowboy or Lone Ranger. By drawing from strategies of feminism, science fiction and social utopianism, FLAR proposes an alternate world in which the historical trajectories of land and gender relations exist without ownership or prescribed hierarchies. Their 3-channel video installation No Man’s Land: The Trilogy unfolds in three divergent locations (Berlin, Germany, Heffley Creek, BC, and Galisteo, New Mexico) and features three protagonists: the solitary rider, the horse and the landscape. Embedded cultural myths of the “West” are replaced by images of mutual reliance, presented through a critical feminist lens to complicate the relationship between human, animal and land.
An additional video made for this iteration of the project centres on the horse’s point of view. A wall drawing acts as an abstracted map that could be for a horse or a human, recalling dressage patterns drawn in the sand and then performed in No Man’s Land. Creating tension between a sense of comfort and control, larger-than-life horse blankets and a bridle are shifted from their everyday use to infer an otherworldly dimension. A ceramic bowl burnished with horse hair featured in No Man’s Land serves as a speaker playing a Western-style theme song. Body Language Poems describe visual cues of a horse’s body in a relaxed and aggravated state on mirrors, implicating the viewer. The project also expands outside the Gallery with a large-scale banner of a horse’s eye that connects to two advertising banners inside featuring the landscape and rider, completing the trilogy.
This body of work proposes alternative images of wildness, freedom and autonomy to the ones that have catalyzed colonial settlement and constructed feminine relationships with nature. Subverting expectations of the Western genre, FLAR’s concept of the “West” is supple, offering a story of land relations beyond ownership and one where land is tied to multiple female perspectives.
FLAR initiated No Man’s Land: The Trilogy with curator Amy Kazymerchyk in 2017 and completed post-production of the video in residence at Western Front, Vancouver, in the spring of 2018. The exhibition Free Rein was first presented at the Audain Gallery (part of Simon Fraser University Galleries) in Vancouver, May 31 to August 4, 2018, curated by Amy Kazymerchyk. The exhibition premiered No Man’s Land: The Trilogy, which was supported by SFU Galleries, the Western Front Media Arts Residency, Canada Council for the Arts, British Columbia Arts Council and ACUD Gallery. The first chapter of No Man’s Land was presented at ACUD Gallery in Berlin, April 29 to May 28, 2017, curated by Elodie Evers. Free Rein was most recently shown at The Robert McLaughlin Gallery in Oshawa, Ontario, January 19 to March 31, 2019, curated by Leila Timmins. This iteration of Free Rein is curated by Charo Neville, Curator, Kamloops Art Gallery.
Feminist Land Art Retreat's recent solo exhibitions include Heavy Flow: The Re-Release, Ginerva Gambino, Cologne; Duty Free, Studio for Propositional Cinema, Düsseldorf; and Last Resort, Kunsthaus Bregenz Billboards, Bregenz. They have participated in group exhibitions at Nottingham Contemporary, UK; De La Warr Pavillion, UK; 500 Capp Street, San Francisco; Kestner Gesellschaft, Hannover; Kunstverein Düsseldorf, and JTT Gallery, New York City, among others. In 2018 they produced a series of aerial artworks and live radio broadcasts supported by the City of Vancouver and the Contemporary Art Gallery, Vancouver.
Watch Charo Neville's tour of the exhibition, filmed by Jon Fulton at the opening reception, January 17, 2020.
Installation view of
Feminist Land Art Retreat: Free Rein.
Photo: Cory Hope
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