Tyler Los-Jones: The way air hides the sky

December 16, 2013 - March 16, 2014

Much of Tyler Los-Jones’ practice is concerned with the way in which we frame nature and insist upon a detachment between it and ourselves: the anthropocentric assumption that we are distinct from it and not intrinsically linked to it, neither physically nor temporally. That nature is Othered to us and exists for our use, enjoyment, and consumption has long been inherent in the vernacular of landscape photography, and this type of mediated representation of the natural persists to this day largely unchanged.

Peter von Tiesenhausen: Experience of the Precisely Sublime

January 18 - May 11, 2014

The title of this exhibition draws from Donald Judd’s idea of an integrated utopia, where art, architecture, and place come together. For Judd, art could only be realized in an ideal location, and as such could only be experienced in this “precisely sublime” setting – an environmental, social, and political model that seems apt for Peter von Tiesenhausen.

Cedric Bomford: Concrete Logic

January 18 - May 11, 2014

Known for installations that the artist describes as a mode of “thinking through building”, in which the act of construction is akin to a process of drawing or sketching, Esker Foundation presents Bomford’s Prague Air Vents, a series of large scale photographs that act as both studies of and investigations into the folly of civic architecture.

Tobias Zielony: Vele

January 18 - May 11, 2014

Tobias Zielony’s photo- and video-based series Vele explores the legacy of Le Vele di Scampia, a monumental Brutalist housing complex in northern Naples built by Franz Di Salvo in the 1970s. Originally hailed as a revolution in urban social housing, the complex was subsumed by the Camorra crime syndicate even before completion. Zielony’s shifting, hallucinatory video and eerie photographs of the structure and its inhabitants explore the failure of utopian architecture that has literally and figuratively crumbled into a reality that is at once both nightmarish and banal.

Raymond Boisjoly: (Shadows) & (Reflections)

August 20 - December 8, 2013

This photographic work continues the artist’s interest in technological mediation, what happens in the space between sender and receiver, and the provisional character of knowledge. The source material for (Shadows) & (Reflections) is the 1961 film The Exiles, which documents one night in the lives of young Aboriginal men and women living in Los Angeles in the late 1950s.


September 28 – December 22, 2013

September 28 - December 22, 2013

The thirteen artists in Fiction/Non-fiction challenge mainstream cultural and political narratives by offering transcultural critique through works that propose counterpoints, rhetorical questions, and revisionist statements (often as increasingly abstract forms of representation) to official historical records or archives.

David Hoffos: follower

May 4 - August 4, 2013

Esker Foundation commissioned David Hoffos to produce a site-specific, two-channel video, and mixed media installation titled Follower. The video work was filmed in the streets and alleys of Inglewood, Calgary in April 2013.

Janet Werner: Another Perfect Day

June 15 - September 6, 2013

Another Perfect Day comprises a snapshot of Janet Werner’s production over the last ten years that is invested in reinterpretations of the historically established practice of portraiture. This collection of work favours a deeply internalized, subjective, and subverted interpretation of generally accepted concepts of beauty. Figures inspired by high fashion images—often beautiful in an unconventional sense—are delivered here as spectres laden with complex psychological and physical attributes that defy anatomical accuracy, pictorial truisms, and logical understanding.

Dagmara Genda: Scenic Route

June 15 – September 6, 2013

June 15 - September 6, 2013

Blending appropriated imagery from nature photographs, coffee table books, calendars, and travel brochures with original drawn and painted elements, Dagmara Genda’s Panorama and Corrupted Animals address clichés of the Canadian landscape. The work is formed using the logic of a jigsaw puzzle: found forms are traced, cut, combined, and recombined until they fit together. The final collages present a new version of natural space and question the highly constructed legacy of The Group of Seven in relation to both our sense of national identity and prevailing foreign stereotypes.

Jillian McDonald: Valley of the Deer

June 15 – September 6, 2013

June 15 - September 6, 2013

Incorporating video, performance, and drawing, Jillian McDonald’s work examines popular film genres such as romance and horror in relation to their effect on audiences. Currently focusing on the archetypes and themes found in American horror films, McDonald avoids the use of extreme violence in favour of simplified narratives, sublime nature, and familiar characters.