SINCE THEN
Rebecca Belmore // Dana Claxton // Leah Decter // Demian Dinéyazhi' // Mark Emerak // Cliff Eyland // Félix González-Torres // Helga Jakobson // Garry Neill Kennedy // Janet Kigusiuq // Cheryl L'Hirondelle // Kent Monkman // Peter Morin // Lisa Myers // Jude Norris // Rúrí // Justin Sorensen // Derek Sullivan // Ione Thorkelsson // Rachael Thorleifson // Chih-Chien Wang // Christopher Wool
Central Gallery
September 23 to December 30, 2017
Curated by Kegan McFadden
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.
PLANNED PEASANTHOOD
Holly Ward
The Cube
September 16 to November 4, 2017
Curated by Craig Willms, Assistant Curator, Kamloops Art Gallery
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.
ALTERNATION
Roy Arden // Rebecca Belmore // Edward Burtynsky // Wally Dion // Aganetha Dyck // Farheen HaQ // Alex Janvier // Komar and Melamid // Eileen Leier // Glenn Lewis // Ken Lum // Divya Mehra // Daphne Odjig // Jana Sasaki // Henry Speck // Takao Tanabe // Joyce Weiland // Tania Willard // Jin-me Yoon // Sharyn Yuen
Central Gallery
July 15 to September 9, 2017
Curated by Adrienne Fast, Interim Curator, Kamloops Art Gallery
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…
CANADIAN VISIONARY
Lawren Harris
Central Gallery
July 15 to September 9, 2017
Curated by Ian M. Thom, Senior Curator–Historical, Vancouver Art 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.
EXPULSION: PANOPTIC MACHINE AND FEED
Levi Glass
The Cube
July 8 to September 2, 2017
Curated by Craig Willms, Assistant Curator, Kamloops Art Gallery
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…
KIDS THESE DAYS
Jo-Anne Balcaen // Sarah Febbraro // Kerri Flannigan // Emmanuelle Léonard // Kyla Mallett // Helen Reed // Guillaume Simoneau
Central Gallery
April 8 to July 1, 2017
Curated by Zoë Chan
In contemporary North America, youth is commonly understood as the period after childhood when young people learn life skills and explore their identities in preparation for impending adulthood, within the formative, protective structures of family and school. This view of youth, however, is a relatively recent one and stands as a distinguishing feature of modernity in the Western world. Many pervasive ideas about youth come from psychology, anthropology and sociology—fields that came to the fore in the twentieth century. Within the social sciences, young people became a category to be studied, understood and conceptualized. In the wake of such theorizing, notions of youth have become persistently linked to wildness, authenticity, freedom and idealism—seductive qualities that have been cast as both dangerous and desirable.
SUPERYOUNG
Cooper Battersby // Mark Clintberg // Emily Vey Duke // Sarah Gotowka // Emily Gove // Terrance Houle // Roselina Hung // Sarah Anne Johnson // Jenny Lin // Hazel Meyer // Marc-Antoine K. Phaneuf // Walter Scott
Central Gallery
April 8 to July 1, 2017
Curated by Zoë Chan
The category of youth is not a straightforward one. Beyond its designation of the stage of life between childhood and adulthood, it encompasses a complex multifaceted “imaginary”—one that is rich in analogous associations and imagery. In its most negative light, youth is denigrated as the incarnation of debauchery and excess, but in its most positive light, youth is idealized as the embodiment of pre-socialized authenticity, unbridled potential, creativity and freedom. The celebratory virtues typically associated with youth strikingly correspond with those sought after by many artists within their own art practices.
FALSEVOID
Matt Macintosh
The Cube
April 8 to June 24, 2017
Curated by Craig Willms, Assistant Curator, Kamloops Art Gallery
Kamloops–based artist Matt Macintosh’s video installation, falsevoid, explores the relationship between mysticism and culture, drawing on recent projects that address strategies for intercultural exchange and the role of signs, symbols and practices in relation to identities, cultures and discourses. For this project, Macintosh works within the parametres of The Cube, critically considering “the (white) cube” as a recurring motif in western modern art and architecture.
BECOMING ANIMAL/BECOMING LANDSCAPE: FROM THE COLLECTION OF THE MORRIS AND HELEN BELKIN ART GALLERY
Claude Breeze // Geneviève Cadieux // Emily Carr // Geoffrey Farmer // Russell FitzGerald // Lawren Harris // Donald Jarvis // Glenn Ligon // Attila Richard Lukacs // Ron Martin // Gordon Payne // Margaret Peterson // Jerry Pethick // Marina Roy // Rudolf Schwarzkogler // Jack Shadbolt // Corin Sworn // Elizabeth Vander Zaag // Lawrence Paul Yuxweluptun // William Woollett
Central Gallery
January 14 to March 25, 2017
Curated by the Morris and Helen Belkin Art Gallery
Becoming Animal/Becoming Landscape looks at the Morris and Helen Belkin Art Gallery’s collection through the lens of today’s “post-humanist” discourse that questions the singularity and primacy of man, which has been the dominant view in the West since the Renaissance. At a time of impending catastrophe caused by the change in climate provoked by human activity, some say we now live in a geological age called the Anthropocene—the era when human activity has transformed the global climate. It is perhaps ironic that at this juncture, progressive scholars have come to question a basic assumption of the modern West, that man is the measure of all things.
GESTURAL TERRAIN
Ann Kipling
Central Gallery
January 14 to March 25, 2017
Curated by Charo Neville, Kamloops Art Gallery
Ann Kipling lives and works in Falkland, BC. Her work is imbued with the beauty and quiet of this rural area. Focusing primarily on portraits, animals and the landscape, Ann Kipling’s process includes drawing similar subjects over long periods of time, recording subtle changes and shifts in expression within these subjects. This prolonged scrutiny gives Kipling's work an unmistakable intensity, fluidity of line and graphic complexity that approaches abstraction. Her portraits are psychologically revealing, retaining evidence of a closely observed encounter between subject and artist. Kipling admits to becoming obsessed with a subject, forming a bond, then interpreting it repeatedly until she exhausts its visual possibilities. Through her repetitive mark-making Kipling suggests that one view cannot capture the complexity and changeability of a person or animal—these fields of reference are variable and constantly shifting.
MOVING WHILE LOOKING AT THINGS THAT DO NOT MOVE
Laura Findlay
The Cube
January 14 to March 25, 2017
Curated by Craig Willms, Assistant Curator, Kamloops Art Gallery
Moving While Looking at Things That Do Not Move emerges from the writing of Scottish author Nan Shepherd (1893-1981) and her book The Living Mountain. In it, Shepherd champions a prolonged and contemplative experience of the landscape, foregoing a hurried ascent to a mountain peak in favour of savouring the expanse of the plateau. Shepherd asserts that “moving the eye itself when looking at things that do not move, deepens one’s sense of outer reality.”