The Fine Art of Schmoozy: Saturday, November 24th 2012
"And to make an end is to make a beginning" - T.S. Eliot
Latitude 53 invites members and guests to our winter seasonal fundraiser and silent auction.
What if 2012 really was our last year on earth? You'd have to mark it with the right kind of party. Join Latitude 53 for our kick-off to the holiday season, The Fine Art Of Schmoozy.
Get advance tickets and find out more at latitude53.org/schmoozy.
View posts about The Fine Art of Schmoozy on the Latitude 53 blog.
Aimée Henny Brown: How The West Was Won
September 28–November 10 in the Main Space
Opening Reception and Artist Talk: Friday September 28 at 7:00 pm
Aimée Henny Brown explores tropes of the Wild West with an installation of combined multimedia and visual elements. Inspired by Western pulp fiction novels, Brown’s work replicates and deconstructs the images that dominate our perception of the old West.
Brown delves into the history of the settlement of the West and the cowboy myths that live on from the period. With a series of Western novel covers, Morse code messages, a video projection fed through a heliograph mirror, and a miniature landscape, Brown creates a multifaceted examination of representations of the West.
View posts about Aimée Henny Brown on the Latitude 53 blog.
Read the monograph essay by P.J. Kachmar.
Kent Tate: Circumstances with some Earth & Sky
September 28–November 10 in the ProjEx Room
Opening Reception: Friday, September 28 at 7:00 pm
Artist Talk: Saturday, September 29 at 2:00 pm
Kent Tate’s visual/audio installation examines various separate, yet coexisting worlds. Through looping HD movies drawn from footage at various natural and industrial sites throughout western North America, Tate creates a unique audio-visual environment made of images from the parallel worlds he’s captured.
With looping videos on three walls of the ProjEx Room and accompanying quotes and text on the fourth, Tate’s installation creates an entirely separate, self-contained world. The relationships between the images draw attention to the ways the environments overlap and coexist, as well as the impact of a human presence on the natural world.
The exhibition represents memories reconstructed that are both actualized and imagined to formulate a story—a story that takes place in time and space, shaped by the earth and sky.
September 10–16, 2012 at Latitude 53 and around downtown Edmonton
Visualeyez, Canada’s annual festival of performance art, is returning to Edmonton for its 13th year. From September 10-16, artists from across Canada and beyond will gather to develop and display their work, exploring the curatorial theme of loneliness. Curated by Latitude 53 Executive Director Todd Janes, the festival investigates notions of isolation, emptiness, and intimacy in our relationships with crowds and an urban environment. While the artists have an opportunity to engage with each other’s artistic process, Visualeyez also gives audiences a chance to experience performance art at close range, celebrate and interact with a unique, temporal world of art.
“This year I am very proud of the artists coming to Visualeyez as they explore layered aspects of loneliness through diverse artistic projects commenting on individuals in an increasingly mediated and complex world,” festival founder and curator Todd Janes says. “As technological interfaces increase and our world seems to be connected 24 hours a day, how do we find solace through an epidemic of loneliness?”
Visualeyez 2012 presents work from seven artists at Latitude 53 and in various downtown locations. Facilitating the festival’s online and on-site discussion as the festival Animator this year is Amber Landgraff, director of Toronto artist-run centre XPACE Cultural Centre. Visualeyez is also pleased to work with community partners the Canadian Mental Health Association, the Multicultural Health Brokers Co-Operative, and Edmonton Bicycle Commuters.
Follow festival animator Amber Landgraff and visualeyez.org
View posts about Visualeyez on the Latitude 53 Blog
Jorden Blue and David Doody: And All The Queen's Men
August 9–September 8 in the Main Space
Opening Reception: Thursday, August 9, on the Rooftop Patio
Artist Talk: Friday September 7, at 7:00 pm
David and Jorden Doody share a common focus on the materialism of cultural codification. Their combined individual practices have been heavily influenced by world travel and the cross-pollination of mass media, ritual and fetishistic cultures. Their practice moves freely between new media, sculpture, painting, and collage. This August, they will bring their colourful mixture of media—from painting to bedazzled found objects to electronic motion-triggered sculpture— to edmonton.
Read the Monograph Essay by Rachel Zottenberg.
View posts about The Doodys on the Latitude 53 Blog
Blake Betteridge: Surrealist Gestures
August 9–September 8 in the ProjEx Room
Opening Reception: Thursday August 9 on the Rooftop Patio
Blake Betteridge started painting in 2007, posting his work regularly to his "Art Progress" blog—he has now made more than 120 paintings. Although still grounded in his day-to-day life, his work since the 100th painting has turned to the tradition of surrealism and an examination of his internal world of thoughts, and the inspiration and process of taking his art practice in new directions.
View posts about Blake Betteridge on the Latitude 53 Blog.
Summer Incubator Series
Alongside the Rooftop Patio Series, Latitude 53 has invited eleven great local artists to show their newest, in-development work for one week each in our Community Gallery. Each show will mark a mini-opening on the Thursday night Rooftop Patio event.
|June 11–16||Jennie Vegt|
|June 18–24||Max Amerongen, Chris Camp,
Bryan Kulba & Matt Satchwill
|June 25–30||Adriean Koleric|
|July 2–7||Grace Law|
|July 9–14||Dana Holst|
|July 16–21||Perry Medina|
|July 23–28||Anya Tonkonogy|
|July 30–August 4||Dwayne Martineau|
|August 6–11||Daniel Chmielewski|
|August 13–18||Leslie Sharp|
|August 20–25||Dallas Whitley|
Find more about the artists—including images, statements, and studio-visit videos under Incubator on the Latitude 53 blog.
July 5–August 4 in the Main Space
Opening Reception: Thursday July 5 on the Rooftop Patio
I Have This Dream brings together the work of Canadian artists Craig Francis Power and Turner Prize*, curated by Todd Janes.
In "Other People’s Dreams", the collective Turner Prize*—made up of artists Jason Cawood, Blair Fornwald, and John G. Hampton—explores the alien world of the human subconscious. The artists create images translated through multiple forms of perception through photographs of staged reenactments of volunteers’ dream narratives. Rather than inviting interpretation, the process of extracting images from recollections of sleep raises questions about the disconnect between experience and representation.
Craig Francis Power’s work also offers a chance to question the notion of authenticity in human experience. Through a combination of folk art-influenced hooked rug hangings and confrontational role-playing video installation, Power captures a sense of the absurdity of human existence. Addressing his doubt about his surroundings and his place in them, Power’s artistic reflections encourage viewers to consider their own uncertainties.
Image: “Curtis' Dream”, Turner Prize*
July 5–August 4 in the ProjEx Room
Opening Reception: Thursday July 5 on the Rooftop Patio
“As long as the centuries continue to unfold, the number of books will grow continually, and one can predict that a time will come when it will be almost as difficult to learn anything from books as from the direct study of the whole universe. It will be almost as convenient to search for some bit of truth concealed in nature as it will be to find it hidden away in an immense multitude of bound volumes.”
—Denis Diderot, Encyclopédie, 1755. Quoted in Wikipedia, “Information Overload.”
The latest collaboration between Sergio Serrano and Alexander Stewart is a multimedia art installation exploring our interactions with information and media. Serrano and Stewart examine the intellectual and physical impacts of the increasing amounts of information that overflow our lives and environment and the media through which we experience it. Echoing the symbolic narratives of flood myths and their creation and destruction themes, the work in The Flood will create a form of information overload—or infoglut—through traditional and new media and examine our relationship with information technology and the idea of a world living with infoglut.
May 18–June 23, 2012 in the Main Space
Artist Talk & Opening Reception: Friday May 18 at 7:00 pm
This May, Montreal artist Andrew Forster exhibits two installation works in the Main Space, exploring modes of intimacy and performance at close range.
Forster's new work, “Mouth”, shown here for the first time is a strange room-within-a-room constructed of sagging fabric, inviting you to surround yourself with Forster's text. “Mouth” is the origin of language, covered in the patterns of the artist's words.
In “Duet” the unfamiliar space is based on the experience of a suspect stopped at a security checkpoint—a performative echo of the 2004 account by TV news coverage of would-be teenage suicide bomber Hassam Abdo being disarmed by Israeli officers. In his video installation, Forster presents a choreographed echo of his movements and physical vocabulary, as the protagonist enacts a space for himself responding to imagined directives from off-screen.
View posts about Andrew Forster on the Latitude 53 Blog.
May 25–June 23, 2012 in the ProjEx room
Public Forum: Saturday May 26 at 2:00 pm at the Edmonton Remand Centre courtyard (9660 - 104 Avenue)
Opening Reception: Saturday May 26 at 5:00 pm, at Latitude 53
As construction proceeds to relocate the Edmonton Remand Centre from its current downtown location to a dramatically larger new building, Latitude 53 welcomes Winnipeg-based artist Lindsey Bond back to her hometown for her new show, Messages To: The Edmonton Remand Centre Newspaper. Bond began her project by documenting a passing moment in the city and a surprising new mode of public communication, but in doing so builds a stage for other voices to be heard.
“The Edmonton Remand Centre Newspaper” is the name given by inmates to the chalk messages left on the street outside the ERC—where those charged but not convicted of a crime are held—by well-wishers, which Lindsey Bond began to document in 2011 after being charmed by the often emotional messages. In the process, she discovered the breakdown in communication they exposed, and was impressed by the way that they formed a simplified but bold method of communication in a public space—“everlasting but transient, holding their own space and time.”
Bond’s medium-format photographs provide the backbone for questions about the role of the justice system in our public spaces. Along with these images, she addresses the future of the ERC both in the gallery and out on the street: the show will include a chalk intervention on the floor of Latitude 53’s ProjEx Room, based on aerial views of the two facilities, as well as a public forum to discuss the future of the ERC, to be held at the current Remand Centre’s outdoor courtyard (9660 - 104 Avenue) on Saturday May 26 at 2:00 p.m.
View posts about Lindsey Bond on the Latitude 53 Blog.
With the GELA Women's Prison Library & Reintegration Project
April 13–May 26, 2012 in the Community Gallery
Opening Reception: Friday April 13 at 7:00 pm
Held over: until May 26th.
Hidden Truths: A Multimedia Art Exhibition created by an Artist Collective of Federally Incarcerated Women invites the public to view their collection of art works in the Community Gallery at Latitude 53 Contemporary Visual Culture. Through art, Hidden Truths explores and makes visible the processes that incarcerated women face during their time behind bars. Hidden Truths provides a visual voice for criminalized women to tell their stories, share their experiences, and make sense of how they are interpreted by people who are not criminalized.
Hidden Truths is relevant to all Canadians in the current political climate of ‘getting tough on crime’ by offering new and creative perspectives of women in prison. As Canadian legislation follows in the footsteps of American policies that saw the U.S. house the world’s largest prison population, this exhibition offers a glimpse into the lives and experiences of Canadian women who are already incarcerated. Local Artists Matt McCoy and Anne Pasek held art sessions with artists to assist their creative processes and provide guidance and direction.
Artist Matt McCoy says: “the women’s art gives us a glimpse into the lives of criminalized women and shows us how art can help facilitate their experiences behind bars and with community.”
According to Statistics Canada, crime rates reached a 25 year low in 2006; yet the number of women being imprisoned is increasing at an alarming rate. Women constitute the fastest growing prison population worldwide. Women who are young, racialized, poor, or who have mental or cognitive disabilities are increasingly being criminalized. Two thirds of federally sentenced women are mothers, many of whom have primary childcare responsibilities.
Find out more about the GELA Women's Prison Project at gelaprison.wordpress.com.
View posts about Hidden Truths on the Latitude 53 Blog.
April 6–May 13, 2012 in the Main Space
Opening Reception: Friday April 6th at 7:00 pm
Artist Talk: Saturday April 7th at 2:00 pm
In his new work at Latitude 53 this April, Vancouver-based artist Ian Forbes, a University of Alberta alumnus, takes a dramatic new step in his continuing art practice. His epic, site-specific 129-foot painting—The Big Foldy Painting of Death, designed to fold around Latitude 53’s Main Space walls—is a challenge that Forbes has been working on all winter.
Since 2008, Forbes has turned his interests in narrative images, pop culture, and repurposing appropriated material into a series of paper works, the “Foldy Books of Death”, and later into paintings, which he exhibited in Edmonton in 2010. His works combine these assembled narrative images and humour with a sensitivity to material and a critical approach to the hierarchies of image-making: the histories of image and memory, and the politics of image production in a multimedia-driven society.
Ian Forbes’ narratives often explore stories of personal triumph and tragedy, and the memento-mori—death represented metaphorically, often by a skull—is a recurring feature, in an effort to reclaim these narratives from essentialized mass-market sentimentality. With The Big Foldy Painting of Death, Forbes transforms his studio practice itself into part of the narrative with the massive undertaking and triumph of scale as he expands the accordion-fold pages of his books to the gallery walls at Latitude 53.
View posts about Ian Forbes on the Latitude 53 blog.
Yusuke Shibata – Monotone Voice
April 13–May 12, 2012 in the ProjEx Room
Opening Reception: Friday April 13 at 7:00 pm
Workshop and Artist Talk:Saturday May 12 at 1:00 pm
In Monotone Voice, Japanese artist Yusuke Shibata, currently artist-in-residence at the University of Alberta printmaking department, depicts “an aspect of the reality beyond the truth and the lie” in ordinary scenes made strange through carefully considered interventions—the naked reality mixed with the false. Shibata’s images present an impression of chance, at once unlikely moments and completely ordinary, creating a tension between seemingly random moments and the inevitability of the constructed artwork. Monotone Voice will include a mixture of photography, video, and three-dimensional work.
Shibata received a fellowship for overseas study from the Japanese Agency for Cultural Affairs, and is completing this work during a residency at the University of Alberta. The ProjEx Room is Latitude 53’s dedicated space for works-in-progress and new projects from established as well as emerging artists, as part of Latitude 53’s mandate to provide a supportive environment for artists taking risks.
View posts about Yusuke Shibata on the Latitude 53 Blog.
March 2–31, 2012 in the Main Space
Opening Reception: March 16, 7:00 pm
Kayla Cady, Alexandra Emberley, Anna Gaby-Trot, Megan Hahn, Megan Hildebrandt, Patricia Huijen, Annie King, Galia Kwetny, Nathalie Lavoie, Colin Lyons, Faye Mullen, Sam Pettengill, Kim Thomas, Alma Visscher, and Sam Walrod.
Curated by Alysha Creighton, Tessa Hawkins, and Andrea Kastner.
This group show, selected from an open call for works that deal with moments of rupture as catalysts for change through mechanical instability, provides the launchpad for The University of Alberta Art and Design Graduate Student Association's symposium, Instability in Visual and Material Culture, taking place on March 16-17, 2012.
The symposium hosts several panels taking place at the university, including a keynote speaker and graduate papers which will promote an understanding of instability as a pervasive condition that can be exposed and even harnessed to productive critical ends
Find out more about the symposium and the show as it comes together at adgsa.wordpress.com.
View posts about Unstable Natures on the Latitude 53 blog.
Image from Alma Visscher, “The Walk”.
February 24–April 7 in the ProjEx Room
Artist Talk & Opening Reception: Friday February 24, 6:30 pm
Edmonton-based artist Korapin Chaotakoongite returns to Bangkok, where she was born, to document monuments to economic collapse: derelict buildings. Informed equally by her background as an engineer and her concern for contemporary social realities, her photographs trace the way that derelicts become home to low-income workers, targets for scavengers, public spaces, and vehicles for graffiti artwork, and hint at ways that the buildings could again contribute to urban vitality, since their origin in the 1997 Asian economic crisis.
“Derelicts are often overlooked or forgotten due to lack of historical significance, or lack of appreciation for their significance. I am drawn to derelicts because of the visual beauty of nature’s process of decay, and am fascinated with how some derelicts have come to reshape the lives of people. I have observed derelicts become homes or other makeshift spaces serving the community, though often this occurs without legal authorization.”
January 13–February 11, 2012 in the Main Space
Opening Reception: Friday January 13, 7:00 pm
Curator's Talk: Friday January 13, 6:00 pm
Follow Emanuel Licha's "War Tourist" from 2004 to the present in this series of videos. The War Tourist begins exploring sensationalistic zones of conflict in far-off countries in a strange colonialist attempt to reassure himself of their great distance. But as he follows the real stuff, he is slowly draw back towards home and the hyper-real consumer lifestyle, with stops at a French urban-operations police training ground, a Hollywood-built military facsimile of Iraq in California, and the splendour of unreal Italy in Las Vegas.
EMANUEL LICHA was born in Montreal in 1971. After earning a Master’s degree in urban geography, he pursued his education in visual arts at Concordia University in Montreal, followed by a post-graduate diploma at the Ecole nationale des beauxarts de Lyon, France, in 2001. Licha is associate Professor at the Ecole nationale supérieure d’architecture de Paris-La Villette. He is a member of the Centre for research architecture, Goldsmiths College, University of London.
His work focuses on public space and architecture, leading to a reading of the features of the urban landscape as so many social, historical, and political signs. His recent projects investigate the means by which traumatic and violent events are being looked at, and are shown as video installations.
Read the monograph essay by curator Marie-Hélène Leblanc
View posts about Emanuel Licha on the Latitude 53 blog.
January 13–February 11, 2012, in the ProjEx Room
Opening Reception: Friday 13 January, 7:00 pm
Toronto-based former Edmontonian artist Nicole Rayburn proposes an absurd solution to agricultural problems caused by disappearing honeybee populations. This video records her efforts to pollinate flowers with a prosthetic nose. The androgynous Pinnochio penetrates orchid flowers, taking on the insect’s duty, a humorous act of play among the boundaries between humanity and animal, plant, and the mechanical, as Rayburn crosses the hierarchies through which we view the world.
View posts about Nicole Rayburn on the Latitude 53 blog.