September 15 to November 3, 2018
The Cube
Edward Cheung
The 2018 Curator’s Choice exhibition features a new project by Edward Cheung. The artist works with photography and video to explore his Chinese-Canadian heritage and the changing cultural and geographic community where he grew up. Investigating a pivotal shift in the place he calls home, Cheung addresses the loss of heritage and cultural spaces within Vancouver’s Chinatown by critiquing the methods that developers use to preserve and acknowledge spaces that have been lost to gentrification. A Chinese Dance speaks to the way in which commercial endeavours and the tourism industry are effecting changes to the cultural fabric of this historic community. The social and architectural landscape in Cheung’s scenes are activated through audience participation as the viewer’s presence directly disrupts and degrades the images they are viewing. This intervention is a prompt for viewers to consider how their presence affects the work in the gallery and how collective actions can have unintended consequences in the gentrification of communities and cultural spaces.

This year's Curator’s Choice is the 14th 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.
Edward Cheung
Grasping at mists, 2017-2018
Video projection onto water vapor
Image courtesy of the Artist
Curated by Craig Willms, Assistant Curator, Kamloops Art Gallery
View images of the exhibition here.
September 29 to December 29, 2018
Central Gallery
Eleanor King
Eleanor King is a Nova Scotia artist based in Brooklyn, New York. Her practice combines sound art explorations, social practices, improvisations, drawing and sculptural installations that engage with memory, community, technology and the everyday. Also a musician, sound is often integrated into the spatial experience of her found and self-generated sculptural installations and relational aesthetics. Frequently site-specific, King’s installations emerge from research that addresses the place and context where she is exhibiting.

In her notable exhibition Stacks, presented at the Southern Alberta Art Gallery in 2012, King looked at the development of Lethbridge through its colonial settlement history where claims to land were made by way of coal mining and farming. Irrigation was an essential aspect of inhabiting the arid landscape with agricultural industry. In response, King made a large-scale painting on the walls of the gallery inspired by the quilt-like topography of circles and rectangles that make up the landscape when viewed from above via satellite imagery – a visual story of the way water is extracted and distributed to the land through irrigation. Incorporating out-moded technologies (tube TVs, records and radios) the installation included a massive black sculpture referencing the natural resource of coal itself, approximately 108 cubic feet, equivalent to a "stack," which is an English measurement of coal.

Our collective impact on the environment is at the forefront of King’s concerns, both on a global and personal level. Her stacked sculptures frequently incorporate used, obsolete and discarded materials, often those meant for single use like coffee cups or referencing dated musical formats like CDs or vinyl records. Aware of her personal environmental footprint through increasing opportunities to travel as her art career excels, King has explored ways to address her complicity in this “jet set” life through studies of geography and land use and by exploiting her own labour in the process. Through massive abstracted landscapes and text-based wall paintings, painted directly on the walls of the gallery by the artist over successive days and nights, King points to our collusion with corporations like Google and their pervasive “user-friendly” version of military mapping tools. Rather than representing the landscape through the traditional display mechanisms of painting, King’s wall paintings and videos use Google maps to follow waterways specific to the location where she is installing, and offer an immersive environment that encourages the viewer to traverse the landscape and the horizon line with their own body.

In the new work made for this exhibition, King intervenes in the architecture of the Kamloops Art Gallery, shifting walls into new configurations that fold inside and outside spaces into one another, filling awkward architectural nooks with salvaged materials and creating a sensory experience of sound and sight. This new body of work builds on King’s ongoing conceptual inquiry into the internal and external, the real and the imaginary.
Eleanor King
Stacks, 2012
Installation view, Southern Alberta Art Gallery
Photo Credit: Eleanor King
Curated by Charo Neville, Curator, Kamloops Art Gallery
View images of the exhibition here.
October 12 to October 20, 2018
Downtown Kamloops and Riverside Park
Luminocity returns in the fall of 2018 for its third biennial event. A week-long video art exhibition, Luminocity showcases video projects by artists from across the country in 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 throughout Canada, previous Luminocity events have transformed Kamloops’ urban environment with projections on the facades of buildings and from storefront windows, along with site specific installations at Riverside Park, projects at Arnica Artist Run Centre and performances in the Rotary Bandshell and the Old Courthouse.

This year Luminocity lights up similar sites and introduces new ones with a selection of diverse multi-media work by artists based nationally and from here at home. Highlighting themes emerging in current video practices, many projects feature predominantly female protagonists, explore Asian folklore and examine traditional Indigenous practices and our relationship with them today. Many of the videos probe fantastical stories of other worlds, at times ghostly and dark.

This year’s event will debut the next chapter of Howie Tsui’s Retainers of Anarchy, a 25-metre scroll-like video installation that references life during the Song dynasty (960–1279 CE). In his newest project Parallax Chambers (White Camel Mountain), Tsui employs the same honed production process of drawing, animation and programming by way of an algorithmic animation sequence with stereo sound and applies this to a suite of intimately animated rooms within the Kowloon Walled City (situated geographically and administratively beyond the borders of both Hong Kong and China). This project serves as an avatar for the transitory state inherent to the diasporic experience.

Delving into Japanese folklore and spirit worlds, and integrating a film noir aesthetic, Cindy Mochizuki’s Scissors, the third chapter of her trilogy Rock, Paper, Scissors, 2017, tells the story of K, a 175 year old blind ghost who walks around a furnace in a steel factory, circling a giant who cuts through time.

Works also include new video projects by artists Maureen Gruben, Jeneen Frei Njootli and Jim-me Yoon that were created as part of LandMarks2017, a curated series of contemporary art projects made in and around Canada’s national parks and historic sites in June 2017 that addressed Canada150, our collective histories and shared futures.

Allison Hrabluik’s Splits, 2015, offers a series of quick cuts showcasing fourteen individuals and groups, each demonstrating some kind of skill. Hrabluik’s mesmerizing video collage showcases an idiosyncratic cast of characters performing their strengths, aptitudes and obsessive interests, including rope-jumpers, weightlifters, dog trainers, a hairdresser, an opera singer, a piano player, a prolific hot dog eater and a tap dancing crew.

The Bandshell is once again home to evening performances and events throughout the week while Riverside Park is aglow with multiple video projections. Be sure to pick up a Luminocity guide at the Gallery or visit to learn more about the multitude of projects, artists and events. Look for KAG art instructors who will be roaming Luminocity sites to offer you insights into the art work.

Allison Hrabluik
The Splits (video still, 2015
HD video with sound
15:00 min
Image courtesy of the Artist
Curated by Charo Neville, Curator, Kamloops Art Gallery
View images of the exhibition here.

Become a member

Make a donation

Description Amount Remove