Archived Exhibitions

Charlotte Moth: living images

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September 26 – December 20, 2015

Charlotte Moth’s multi-layered work demonstrates her interest in the relationships among photography, sculpture, architecture, memory, and history. Her in-depth research process and the conceptual fluidity of her work poetically interlace architectural projects, archival materials, notions of itinerancy, filmic and art historical references, as well as the objects and places that surround us. In addition to a selection of recent films, photographs, and sculptural works, Esker Foundation is pleased to present a co-commission of new work made in partnership with The Banff Centre, supported by a Paul D. Fleck Fellowship residency.

Celia Perrin Sidarous: Interiors, Other Chambers

Celia Perrin Sidarous

September 26 – December 20, 2015

Celia Perrin Sidarous’ photographic works present intuitively organized collages and sculptural assemblages that offer a gorgeous and considered way of looking at collected objects and how the visual language of photography and the studio transforms them. As striking arrangements of colour, form, and shape that reference histories of still life, interior arrangement, and display, Perrin Sidarous’ images also suggest the implicit associations and secret affinities between objects and materials.

Mia Feuer: Synthetic Seasons

Mia Feuer, Boreal, 2013, (detail). Photo: Sue Wrbican

May 23 – September 6, 2015

Mia Feuer is interested in the post-natural landscape, visible sites where human interaction – be it personal, social, political, or financial – has altered or is in the process of rapidly changing the land, and thus our relationship to it. Her work makes connections between our intense material dependency and the accelerated environmental impact this creates.

Kevin Schmidt: A Sign in the North­west Passage

Kevin Schmidt

May 23 – September 6, 2015

Esker Foundation presents Kevin Schmidt’s A Sign in the Northwest Passage, the multivalent documentation of the creation, delivery, and subsequent search for a cedar billboard that Schmidt emblazoned with foreboding messages from the Book of Revelations and then placed on the steadily melting ice of the Northwest Passage. Blurring the boundaries between durational performance, land art and installation, A Sign in the Northwest Passage asks powerful questions about Arctic sovereignty, colonialism, climate change, and material dependencies, and ultimately bears witness to the unyielding destruction of a not-so-remote landscape.

Guido van der Werve: Nummers Vier, Acht, Veertien

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May 23 – September 6, 2015

Deceptively simple at first glance, Guido van der Werve’s films weave together meticulous cinematography, symphonic scores, and durational performance to create enigmatic and ambiguous narratives that evoke and critique notions of the sublime landscape. Marked by a meditative, dream-like quality and punctuated with surprising moments of deadpan humour, van der Werve’s work explores themes such as loss, solitude, belonging, and the self.