Binding, Breathing, Incorporating
MFA Graduating Exhibition 2017
09 September 2017 – 23 September 2017, 12:00pm
Audain Gallery, SFU Goldcorp Centre for the Arts, 149 West Hastings Street, Vancouver BC
This exhibition features the work of three graduating MFA candidates at Simon Fraser University’s School for the Contemporary Arts: asmaa al-issa, Dave Biddle, and Patrick Blenkarn. Instead of presenting their works under a unifying theme, the three artists are exhibiting their respective projects within the shared space of the gallery, autonomously.
The exhibition of a graduating project represents the culmination of a candidate’s studies, and is presented in partial fulfillment of the requirements for the degree of Master of Fine Arts.
Presented with the School for the Contemporary Arts at SFU.
Friday, September 8, 2017, 7pm
Audain Gallery is open Tuesday, Wednesday, Saturday, 12-5pm and Thursday, Friday, 12 - 8pm.
611 Alexander Talk
28 September 2017 – 28 September 2017, 1:00pm
611 Alexander Studio, Suite #330 – 611 Alexander Street, Vancouver,
For her 611 Talk Christine Major will discuss her site-specific painting installation project The 3915 Sainte-Catherine Est Case in the context of the symposium A Crimp in the Fabric: Situating Painting Today, where she'll be part of the panel Making a Difference: The Effective Capacity of Painting with Charlene Vickers and Francine Savard and moderator Nicole Ondre.
Christine Major painting practice is engaged, concerned with identity and feminist issues, and takes a critical look at the function of the image in the media and its impact on the representation of bodies. Her recent work evokes alternatively, horror films, the macabre art of the Middle Ages and gore literature. She uses fiction to play around with the disturbing figure of "the stranger" in a site-specific painting installation. In order to do this, she diverts images of female stereotypes used to exacerbate the fears and prejudices of the audience by provoking fright, and possibly disgust. She works with collages to develop an hybridization of images in the construction of her paintings. She advocates illegibility and variability in the appropriation of images and exhibition
of her work. She is interested in the monstrous, where pain borders horror when faced with difference.
A representative of a new generation of Canadian painters and based in Montréal, Christine Major (professor in the painting and drawing area of the École des arts visuels et médiatiques at the Université du Québec à Montréal) has exhibited her work at numerous venues in Quebec and Canada. She is currently part of a Virtual exhibition realised by the Galerie de l'UQAM in partnership with the Virtual Museum of Canada, The painting project: A Snapshot of Painting in Canada. She was part of HER NOW, Six Painters from Quebec and Canada in 2016, a group show at the Montreal Museum of Fine Arts in Montreal. Her work is part of different public and private collections.
Image: Christine, acrylique on canvas, 2016. Installation View, L'affaire du 3915 Sainte-Catherine Est (The 3915 Sainte-Catherine Est Project).
A Crimp in the Fabric: Situating Painting Today Symposium
29 September 2017 – 29 September 2017, 9:00am
Djavad Mowafaghian World Art Centre, SFU Goldcorp Centre for the Arts, 149 West Hastings Street, Vancouver BC
A Crimp in the Fabric: Situating Painting Today
September 28, 29, 2017
Diviners, Materialists, and Creatives
Panellists: Sean Alward, Derek Dunlop, Athena Papadopoulos
in conversation with moderator Carolyn Stockbridge
Making a difference: the effective capacity of painting
Panellists: Charlene Vickers, Christine Major, Francine Savard
in conversation with moderator Nicole Ondre
In the Studio: Painting as thinking; painting as conversation
Panellists: Jessica Groome, Jinny Yu, Sandra Meigs
in conversation with moderator Alison Shields
“Like Hands Stuck in a Mattress:” The Difficulty of Talking Painting
Panellists: M.E. Sparks, Marvin Luvualu Antonio, Mark Igloliorte, Adrianne Rubenstein.
in conversation with moderators Ben Reeves, Elizabeth McIntosh
Painting has been an object of pleasure, debate and commerce for centuries. Recently it has been the subject of much critical writing, several major publications, provocative exhibitions, and international symposia. While painting in Vancouver has always been aware and informed, and a part of current debates nationally and globally, the symposium organizers feel that there is a real need now, from the position of Vancouver, for a platform and venue to reflect upon and contribute to the knowledge and wisdom of current international painting practices.
The symposium is an opportunity for artists, writers, curators, students, educators and thinkers to come together, and question the relevance and importance of painting today. It will be an opportunity to listen to and discuss issues arising from various and diverse artistic positions represented by panelists, in the context of the many concurrent painting exhibitions occurring throughout Vancouver.
The symposium begins Thursday evening with lecture by keynote speaker, Isabelle Graw (Staatliche Hochschule für bildende Künste, (Städelschule) Frankfurt am Main) who will situate a particular set of questions regarding contemporary painting. On Friday, there will be four panel discussions, each one dealing with a different question in painting and its praxis with opportunities for the audience to engage in question periods. Panelists include local, national and international artists.
This symposium is a timely opportunity to stage a public and academically driven discussion on painting today. In addition to the exhibition Entangled: Two Views on Contemporary Canadian Painting at the Vancouver Art Gallery opening after of the symposium, along with a citywide set of exhibitions about painting that will be taking place in public and commercial galleries in the autumn of 2017.
Don't miss the A Crimp in the Fabric: Situating Painting Today Keynote Lecture
Keynote Lecture: Isabelle Graw, The Value of Painting
Thursday September 28, 7pm
Reliance Theatre, Emily Carr University of Art + Design
520 East 1st Ave Vancouver
Painting is usually associated with various aesthetic, emotional, symbolic and economic values. In this talk, “Painting” refers to all those (often non-painterly) artistic practices that employ the picture on canvas in manifold ways. Graw will examine the commodity value of painting, considering paintings as unique material objects that nourish a fantasy that their value is substantial and contained within them—valuable because of their specific materiality, and because of the sphere of reception painting exists within.
Graw will argue that despite their materiality, paintings can’t be reduced to their economic dimension; although the luxury industry in particular has tried to learn from painting in recent years, painting’s intellectual prestige has been growing since the early modern times, adding to their status as ideal commodities
Isabelle Graw is a professor of art theory and art history at the Staatliche Hochschule für bildende Künste (Städelschule) Frankfurt am Main, where she co-founded the Institute of Art Criticism. She is an art critic and co-founder of Texte zur Kunst in Berlin. She has edited and contributed to many important books on the medium of painting, most notably Painting Beyond Itself: The Medium in the Post-Medium Condition (Sternberg Press, 2016) and Thinking through Painting. Reflexivity and Agency beyond the Canvas (Sternberg Press, 2012). Her forthcoming book The Love of Painting: Genealogy of a Success Medium aims to establish where painting can be seen today and to reconstruct the historical origins of its current popularity.
Isabelle Graw is a guest of the Goethe-Institut and AHVA UBC
For further information, please visit: crimpinthefabric.ca
Co-presented by SFU School for the Contemporary Arts, Emily Carr University of Art + Design, Department of Art History, Visual Art and Theory at the University of British Columbia, Vancouver Art Gallery, Goethe-Institut, and the Social Sciences and Humanities Research Council of Canada.
Other Inland Empires
Julie Hammond's MFA Graduating Project
05 October 2017 – 07 October 2017, 8:00pm
Studio T, Studio T, SFU Goldcorp Centre for the Arts, 149 West Hastings Street, Vancouver BC
Tickets: $7 Student | $10 Senior/SFU Staff & Faculty | $15 General
A California-born Jew travels to a landlocked country to learn to surf.
Dick Dale plays in the backseat of a too hot car.
The smell of the beach.
Shimmering between here/now, then/there, this place/another place, Other Inland Empires is a new stage performance that traces the Jewish roots of surf culture from Europe to California and back again. Pop music meditations, inflatable palm trees, slow dances, and untold family stories mix with playful humour, seagulls, and the one and only Gidget.
Other Inland Empires is written & directed by Julie Hammond, and created with performers Amanda Sum, Nicola Rough, Montserrat Videla, and Dominique Hat, designers Matthew Ariaratnam (sound), Robert Leveroos (scenic), and Gillian Hanemayer (lights), and dramaturg Caroline Liffmann.
Tickets availible online now.
Please note that this performance will have unconventional seating for audience members (beach / lawn chairs). There will be alternate seating available upon request. If you have any questions or concerns, please contact the box office 778-782-9286 or email GCA_guestservices@sfu.ca.
Julie Hammond is an artist working across performance, pedagogy and intervention. As a director, performer, writer, dramaturg, and instigator, her practice activates spaces with the performative, and investigates the relationships between performance and audience, spectator and place, site and story. Her work has been published in print magazines, seen on stages, hung in galleries, and shared on the street. Recent work and projects have been supported by Vancouver New Music, the ArtStarts Gallery, The Vancouver Foundation, and Oregon Arts Commission. Since 2005 she has created, performed and toured internationally with Portland, Oregon's Hand2Mouth Theatre.
The Living Surfaces #2: Rhythmic Wanders
Celo Vieira's MFA Graduating Project
11 October 2017 – 16 October 2017, 12:00am
TBA, B1 Level, SFU Goldcorp Centre for the Arts, 149 West Hastings Street, Vancouver BC
Celo Vieira's MFA Graduating Project takes over the B1 Level of SFU at Goldcorp Centre for the Arts with a set of intermedia works.
For Living Surfaces, Vieira uses projection mapping to project a series of video works over handmade sculptures. In Rhythmic Wanders, Vieira creates a puzzle-like collection of beats, melodies, and sonic environments – images and sounds drawn from his affective memories emerge and mix as visitors move around the space.
Celo Vieira is a Brazilian intermedia artist who works with interactive installations, video jockeying, live cinema, projection mapping, music production, performance, and composition. His works often merge other forms, including theater, dance, and visual art.
611 Alexander Talk
10 November 2017 – 10 November 2017, 1:00pm
611 Alexander Studio, Suite #330 – 611 Alexander Street, Vancouver, BC
Rickards’ work deals with perception and its description; with how one can translate an encounter, be that with a space, image, object or sound. It examines the relationship between either temporary or permanent elements in a landscape and the perception of groups or individuals to a landscape as a whole, with the sites concerned being used as both a vantage point and a stage for examining our verbal, spatial, auditory and gestural relationship with our surroundings.
Through this process it examines how a landscape might be read as a score, how it might affect ones utterances, movements, perceptions of scale, distance and material, particularly instances where those measures by which we locate ourselves in space become uncertain. Hannah Rickards’ interdisciplinary practice explores the fluxive, non-linear dynamic between site, gesture, staging and recording: integrating elements of the language of performance, film, drawing and installation.
Hannah Rickards lives and works in London. She has held solo exhibitions at Modern Art Oxford, the Fogo Island Gallery, Newfoundland, Artspeak, The Whitechapel Gallery and The Showroom Gallery, London. Her work has been included in group exhibitions at the Walker Art Center, Minneapolis; Palais de Tokyo, and Witte de With, and was included in the recent Hayward Gallery Touring exhibition, ‘Listening’. She received the Max Mara Art Prize for Women in 2008 and in 2015 was awarded the Phillip Leverhulme Prize in Visual and Performing Arts. Rickards is a Lecturer in Fine Art at Central Saint Martins, London.
Image: Still from One can make out the surface only by placing any dark-coloured object on the ground, 2016.
Dance House | Action at a Distance
23 November 2017 – 23 November 2017, 8:00pm
Fei & Milton Wong Experimental Theatre, SFU at Goldcorp Centre for the Arts, 149 W. Hastings, Vancouver V6B 1H4
General: $36.75 / Student: $22.05
Presented in collaboration with Dance House and SFU Woodward's as part of Celebrate Canada 150+.
Three years in the making, Vancouver’s Vanessa Goodman (SCA BFA in Dance and artistic director of Action at a Distance) brings the world premiere of Wells Hill to the DanceHouse stage. Seven exceptional dancers splice themes of technology and communication into this intriguing and provocative new work based on the sweeping philosophies of Marshall McLuhan and Glenn Gould. These two Canadian luminaries altered how we consume art and information, and their prescient ideas provide an engaging framework for an exciting, immersive performance that is both visceral and cerebral.
Preview: November 23, 8:00 pm
Speaking of Dance Pre-Show Talks : 7:15 PM, November 24 and 25.
Tickets on sale now at dancehouse.ca
The DanceHouse series was established in 2008 to support excellence in artistic production and presentation and to enrich the social fabric in that we live and work. DanceHouse is committed to presenting diverse local, national and international artists and arts organizations engaged in innovative artistic endeavours.
Choreographer: Vanessa Goodman
Lighting Designer: James Proudfoot
Projection Design: Ben Didier, Milton Lim, Vanessa Goodman
Costume Design: Diane Park
Collaborating Dance Artists/Performers: Lara Barclay, Karissa Barry, Dario Dinuzzi, Bynh Ho, Arash Khakpour, Alexa Mardon, Bevin Poole
Composers: Scott Morgan (Loscil), Gabriel Saloman
Apprentice: Shion Carter
SFU Interns: Samatha Penner, Anya Saugstad
Publication: Peter Dickenson
Production Manager: Jessica Chambers