Exhibitions

Oh, Canada: Contemporary Art from North North America

February 1 - April 26, 2015

Oh, Canada: Contemporary Art from North North America, organized by the Massachusetts Museum of Contemporary Art (MASS MoCA), is the largest survey of contemporary Canadian art ever produced outside Canada. Comprising of more than 100 artworks by 62 artists and collectives from across the country, Oh, Canada is huge in both scale and scope. Too big for just one gallery, the exhibition will be presented at Esker Foundation, Nickle Galleries, Illingworth Kerr Gallery, and Glenbow. This unique collaboration will encourage dialogue, debate, and a deeper understanding of local, regional, and national contemporary practice.

Oh, Canada is curated by Denise Markonish and organized by MASS MoCA. The exhibition is supported by TD Bank and the Canada Council for the Arts.

Ron Terada: We Will Not Grow Old Together

October 14, 2014 - January 4, 2015

‘We Will Not Grow Old Together’ mimics the display and function of signage and evokes an urban typology that is at once familiar and accessible, while also suggesting an alternate ethos or way of thinking of another time and place. While the work doesn’t behave like typical signage – it doesn’t announce the name of the building nor declare the building’s function – it is assertive and aware of its immediate context in the neighbourhood of Inglewood. ‘We Will Not Grow Old Together’ is a small monument to the inevitability of change – both positive and negative – to an urban centre.

Hannah Doerksen: I AM A HOLE IN WALLS OF BUILDINGS

July 21 - October 5, 2014

‘I AM A HOLE IN WALLS OF BUILDINGS’ is an installation which uses sculpture, light, kinetic devices, sound, and re-appropriated objects to create a framework for an emotional and reflective experience. Located in a highly visible yet inaccessible window space, the work depicts a variety of unremarkable yet familiar desires and failures and is absorbed in a contradictory and compulsory relationship with loss, longing, and loneliness.

Terms of Engagement: Averns, feldman-kiss, Stimson

September 27 - December 14, 2014

Curated by Christine Conley

The Canadian Forces Artists Program (CFAP) was launched in 2001 to embed artists alongside Canadian troops. Unlike earlier official war art programs, CFAP does not exhibit or collect the work produced by artists who volunteer for the privileged access it offers. The exhibition Terms of Engagement: Averns, feldman-kiss, Stimson presents work by three artists who have recently been deployed to conflict zones as CFAP participants.

Yvonne Mullock: HIT & MISS

May 5 - July 13, 2014

Adopted as a means to make floor coverings from humble, recycled materials, rug hooking enjoys a long and creative history in Canada. For this exhibition, Calgary-based artist Yvonne Mullock, along with members of the The Chinook Guild of Fibre Arts, will transform Esker’s project space into a live, functioning workshop. The artists will produce a hooked rug over the course of 10 weeks using materials sourced from local neighbourhoods, such as threadbare clothing and old household linens.

Cynthia Girard: Unicorns and Dictators

May 31 - September 7, 2014

At first blush Cynthia Girard’s work is a candy-coated world of animals, birds, and simple political slogans: cute but not threatening. But do not be fooled: Girard uses colour, pattern, and the reassuring forms of small beasts to disarm. On closer look this work deals in class struggle, social utopias, and the game of politics and power. Her paintings and sculptures borrow from the lineage of Political Theatre: theatre by, of, and for the people. Girard picks freely from Western history to select costumes and props, bringing together a commanding cast of unlikely characters, settings, and struggles with an absurdist hand and a comic voice, creating something that sparkles like a fairy tale, but delivers the somber punch of social satire.

Beth Stuart: Doubting Thomas

May 31 - September 7, 2014

Doubting Thomas is a constellation of works from Stuart’s unfolding project that considers the difficulty and possibility of mapping geometric abstraction onto the human body. The exhibition is in two parts: the first pulls together recent works that consider these ideas via the diverse discourses of craft and costume, painting and sculpture. This assembly of works is the prologue to the second: a new immersive theatrical scene which is part of a current project that consists of costumes, props, and scenic displays from a play the elaborates a fictional dialogue between three historical figures: constructivist textile designer Varvara Stepanova, prohibition-era sexologist Ida Craddock, and turn-of-the-century bohemian and dandy Florine Stettheimer. The project filters these three women’s aesthetics and politics together to produce relics of an imaginary modernist feminism that managed to combine the intellectual, the spiritual, and the tangible.