Artist talk: Tues 24 January, 12 Noon
MacNeil’s work explores themes of surveillance, the act of looking and being seen. She questions how we look at each other and ourselves. Through digital images and video, MacNeil aims to demonstrate the way we interpret media and the actuality of documents.
Borrowing heavily from the language of wine, this 3-part exhibition strategy proposes to look at regional artistic production through the cultural milieu from which it emerges. Terroir is defined as “the complete natural environment in which a particular wine is produced, including factors such as the soil, topography, and climate.” Terroir is a survey of the AGNS permanent collection with a special focus on Nova Scotia roots — the history and culture of place informing its artistic community’s output. This exhibition tours the province exploring the flavour and makeup of the work collected over the AGNS’ history.
Image credit: Jones Bannerman, Frances M, Still Life with Lobster (detail), c.1883, Oil on canvas, 51.5 x 65.0 cm. Collection of the Art Gallery of Nova Scotia, 1933.4
Organized and circulated by the Musée d’art contemporain de Montréal With the support of the Government of Canada through its Department of Canadian Heritage Museums Assistance Program
The exhibition consists of an installation version of the hour-long creative documentary Hotel Machine that was filmed by Emanuel Licha in five cities—Beirut, Sarajevo, Gaza, Kyiv and Belgrade—in five hotels that house war correspondents covering conflicts. The film is presented in one central projection space surrounded by five adjacent archive stations, which through texts, images and documents define aspects of the concept of the “war hotel.”
Emanuel Licha, Hotel Machine (film still), 2016. Courtesy of the artist and Les Contes Modernes
A permanent exhibition space devoted to the work of Alex Colville (1920-2013), one of Canada’s most celebrated artists and one of Mount Allison University’s best known graduates. The Gallery features the installation of the mural Athletes, commissioned by Mount Allison for its new Athletic Centre in 1961. Designed around the theme of the student athlete, the mural was the focal point of the new building; it remained there for over 50 years, until its present installation in the stable and secure environment of Owens Art Gallery. Other artworks by Colville are also on view, including many of the preparatory drawings for Athletes and examples of the artist’s serigraphs.
Alex Colville, Athletes, oil and synthetic resin on board, 1961.
With nature as their inspiration, Norman and Oake explore coastal landscapes through hand-manipulated textiles. Norman uses coastal photography and embroidery techniques to illustrate the details in nature. Oake forages natural plant material from Nova Scotian landscapes to dye and print her fabric.
The photographs in the Postcards from Cuba exhibit were taken in March 2014 when the photographer, Kathleen Flanagan, visited Havana, the capital city of Cuba, and Remedios and Caibarien, two small coastal cities in Cuba. The images depict Cuba before the impact of recent major events – the lifting of the 50-year American embargo in December 2014, the election of Donald Trump on November 8, 2016, and the death of Fidel Castro on November 25, 2016. Guided by documentary traditions, the images depict a country in transition as seen with a visitor’s eye and empathy.
Kathleen Flanagan, Girl with keys, Caibarien, Cuba, March 2014
A young boy improvises martial arts gestures against the stark backdrop of an empty modern building and barren landscape. This new short film from internationally-celebrated media artist Myriam Yates, was made following her time on Fogo Island, NL. “Lyle” is the child’s name – pronounced, in French, like “l’isle” – the word for “island”. For the artist, the contrast between the control and discipline of the child’s combat movements against the stillness of the landscape evoke the struggle of the creative process.
Myriam Yates’ work combines photography, video installation and 16mm film. She is particularly interested in recreational or gathering areas, especially those which are obsolete or in the process of disappearing, where new ties are being forged between individuals, modernity and architecture.
Myriam Yates, Island, Lyle, (still) HD video, sound, 2016
The Nature of Nature celebrates forty years of production from one of Canada’s leading photographers, the New Brunswick-based Thaddeus Holownia. This exhibition offers insight into Holownia’s art-making from the late 1970s to the present day and features newly created works on exhibition for the very first
Firmly located within the North American documentary genre, Holownia’s work is engaged with the histories of photography and of places. His unique practice, using predominantly analogue technologies, merges high craft with prolonged inquiry as his projects span years if not decades.
As Holownia states:
The meaning that resides in my bodies of work goes beyond visual description; they stand as a history of the play between human intervention and the landscape. The result is both an anecdote of an ordinary place and a metaphor for our relationship to place and environment. What emerges is a sense of vulnerability and the inexorable force of time.
Together with an attendant publication of the same title, The Nature of Nature: The Photographs of Thaddeus Holownia, 1976-2016 brings into focus the Maritime artist’s significant contributions to the photographic medium, providing the most comprehensive critical analysis of his practice to date.
About her exhibition, Szubielski offers, “Painting is a way of expressing my gratitude to God for life, and to nature for our beautiful world. My goal is to depict how precious the wilderness is and to instil a sense of respect for it and a willingness to act responsibly. I feel compelled to examine timeless, recurring themes. My subject matter is depicted abstractly, with use of vibrant colours to create the illusion of a continuous shift from surface to deep space.”
Jennie Williams was born and raised in Labrador in the most southern Inuit region in the circumpolar Arctic. She photographs people in their everyday environments and circumstances, working to document practices and traditions in the manner that they are celebrated today in Labrador. Recent bodies of work reveal her deep interest and love for Inuit cultural traditions, especially the photographic series Nalujuk Night, shot in Nain where she lives. At a summer residency at The Rooms, Williams will develop a new portrait series of urban Inuit living in St. John’s.
The exhibition is part of the Elbow Room Residency Series
Jennie Williams, Nalujuk, photograph,2015. Courtesy of the artist
The New York-based Canadian artist assembles a visual language of play between illusion and material, sign and image, in recent sculptures and two-dimensional work. Organized by the Confederation Centre Art Gallery and St. Mary’s University Art Gallery.
Maja Padrov’s recent work is about exploring sculptural possibilities of teapots and other spouted pouring vessels. Their function is sometimes emphasized and sometimes concealed, aiming for intuitive connections of the elements and overall visual balance of the finished piece. The inspiration for these pieces came from different everyday objects. Padrov is interested in the metaphor for containment and also the possibility of function that ‘might follow the form’.
Maja Padrov, Untitled Vessel, ceramic, 2016