January 19 to March 31, 2018
Central Gallery
Anonymous 19th Century Photographers
D. Nusserwanji
Alexander Gorlizki and Riyaz Uddin Studio
Linneaus Tripe
Zinnia Naqvi
Nandan Ghiya
Vivan Sundaram
Pushpamala N. and Clare Arni
Adolf de Meyer
Pamela Singh
Nandini Valli Muthiah
Raja Deen Dayal
Dayanita Singh
Annu Palakunnathu Matthew
John Burke
Ghasiram Haradev Sharma
Panchal Mansaram
Samuel Bourne
Raqs Media Collective
Sunil Gupta
Felice Beato
Re Present: Photography from South Asia is a landmark exhibition, the first of its kind in Western Canada to present a diverse range of the rich and varied histories of photographic media from the Indian subcontinent.

Photography was introduced to India almost immediately after it was invented in Europe. Louis Daguerre’s instructions for the new media were published in France in August 1839, and by 1840 professional photography studios were open in major cities like Calcutta and Bombay. Photography was soon adopted by the British colonial government to document the many different populations and communities they sought to control, and as a result the medium is deeply entangled with the colonial project as a tool of surveillance and policing. At the same time, photography was also enthusiastically embraced by Indians themselves as a means of personal expression and modern experimentation. The painted and embellished photographic practices that developed in nineteenth century South Asia are a unique contribution to the global history of the medium.

Re Present includes a historical section of nineteenth century photographs with examples of both colonial and vernacular forms of photography, including work by major artists including Samuel Bourne, Raja Deen Dayal and Linneaus Tripe, as well as work by many unknown or unnamed studio photographers. The second part of the exhibition features the work of several contemporary artists who use historical images or well-known compositions of visual iconography as the basis for their contemporary interventions. By re-presenting and subtly manipulating imagery that at first appears familiar, these artists insert the past into the present moment in a way that challenges long-held assumptions about photography’s capacity for accuracy and truth.

In addition to featuring the work of artists from South Asia, Re Present includes work by artists of South Asian heritage who live in the diaspora, including South Asian-Canadian artists, who use photography to reflect on themes of migration and relocation. The exhibition includes an interactive educational space highlighting the history of South Asian communities in British Columbia and the importance of photographic records in the immigrant experience.

This exhibition has an accompanying publication available here.
Alexander Gorlizki and Riyaz Uddin Studio
Quorum, 2008
opaque watercolour and gold on inkjet digital print
31.5 x 27 cm
On loan from the Royal Ontario Museum, Toronto, Canada, this acquisition was made possible with the generous support of the South Asia Acquisition and Research Fund, 2009.11.2
Image used with permission of the Royal Ontario Museum © ROM
Curated by Adrienne Fast, Interim Curator, Kamloops Art Gallery
Generously sponsored by PACART, and Nandi's Flavours of India
View images of the exhibition here.
January 13 to March 24, 2018
The Cube
Garnet Dirksen
Garnet Dirksen works in photography, opting to shoot with film for its attachment to a
history of documentary photography. He looks at shifts in trade and industry, their effects on local economies and the human element within built environments. Having grown up in Merritt, BC, Dirksen has documented the effects of economic downturn and the closing of resource-based industries and their impact on workers, residents and associated businesses. He seeks out work spaces altered by labourers with their own personalized touch and the emptiness of spaces in the absence of them.

Currently residing in Montreal, QC, Dirksen explores the fur industry in the city after a decline in the 1990s and 2000s. He documents retail spaces, workshops, processing spaces and storage revealing a human element of those involved in the industry today. While it’s true there has been a recent resurgence in the market for fur, increased global competition and cheaper labour abroad have forced many of Montreal’s traditional furriers out of business. Dirksen looks at the changing industry through personal touches of workers within utilitarian spaces. The images show present-day working places and consider how inseparable this industry is from its role in the history of Canada. The images ask the viewer to question the relevance of this industry in contemporary terms and revisit its historical significance.
Garnet Dirksen
Hercules’ Wife, 2017
chromogenic print
dimensions variable
Image courtesy of the Artist
Curated by Craig Willms, Assistant Curator, Kamloops Art Gallery
View images of the exhibition here.

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