August 6 - October 28, 2018
a hint of perennial magic lingers in its fingertips is a site-specific project that examines native and non-native weed species in relation to urban development in the community of Inglewood. Soil and seeds of native and invasive weed species were collected from the construction site across from the Esker and elsewhere in the neighbourhood. These seeds will be grown in the Esker Project Space throughout the exhibition. In this work, the artists hope to create a conversation about land use, notions of progress, and the de/naturalization process of invasive species. Throughout the process, they will ask what remediation, reconciliation, and reclamation mean in this context. Their research will explore the distribution of plants in relation to development, the perception of various plants in the neighbourhood, and phytoremediation as an actual or symbolic process.
May 26 - September 2, 2018
Vanessa Brown works in the space between strength and fragility through an alchemical fusing of steel, pigment, and glass – sculpture flirting with painting, a symbolic narrative collage, form as gesture or character. This exhibition brings together new installations and recent works, ranging in scale from grand to intimate. It is a proposal in material, colour, light, and sound; a coming-into-being, an invitation into an emotively charmed circle.
May 26 - September 2, 2018
Anna Torma was born in Tarnaörs, Hungary in 1952 and graduated with a degree in Textile Art and Design from the Hungarian University of Applied Arts, Budapest in 1979. She has been an exhibiting artist since that time and has produced a body of extremely skilled and exquisitely detailed large-scale hand embroidered wall hangings and collages. She immigrated to Canada in 1988, and has lived and worked in Baie Verte, New Brunswick since 2002. This exhibition will feature new and major works produced over the past five years.
May 7 - July 29, 2018
‘1597; Harmonious Frequencies’ is a performance-based installation to be implemented in the Project Space over the course of twelve weeks. Working within a clean and minimal space, the artist will create an 8-foot diameter representation of the Fibonacci Sequence, which references the golden ratio found throughout nature. The pattern is made up of 1,597 dots configured in two sets of spirals that radiate in opposite directions. Each dot is created by wrapping a golden thread around itself and adhering it to the wall. The performance of labour and the arrangement of the artist’s tools are precise and considered; the monotonous nature of the action is physically challenging and requires self-discipline to achieve a consistent and high level of craftsmanship throughout the project.
January 29 - April 29, 2018
DaveandJenn, also sometimes, known as David John Foy and Jennifer Saleik, have been working together since 2004. Their varied practice weaves a long view of both human and natural histories together with the more closed off realms of private spectacles and inner landscapes. For Esker’s Project Space, DaveandJenn will install a multi-layered, saturated, and shimmering oasis in the middle of Calgary’s winter, where predators stalk and prey glow in the hot sun.
February 3 - May 6, 2018
In this new body of work, Kapwani Kiwanga delves into disciplinary architecture and deconstructs the physical and psychological qualities of different built environments including schools, prisons, hospitals and mental health facilities.
The exhibition Kapwani Kiwanga, ‘A wall is just a wall (and nothing more at all)’ is organized and circulated by The Power Plant Contemporary Art Gallery, Toronto. The exhibition is curated by Nabila Abdel Nabi, Assistant Curator, The Power Plant. It was sponsored by TD Bank Group.
Support for the development and production of new works for the exhibition provided by Esker Foundation.
October 30, 2017 - January 21, 2018
This work by Veronica Verkley, reads as a time-lapse shot over several years, but in reality, it is a stop motion animation shot over many months, with the ruin and decay painstakingly animated by hand. From destruction, there emerges a transformative beauty: the house becomes uninhabitable to some, but in its decay, it becomes refuge for others.
September 16 - December 22, 2017
Guest curated by Jennifer Rudder
The artistic practice of Mary Anne Barkhouse is deeply engaged with environmental and indigenous issues and incorporates in a central role a visual iconography of animals. Barkhouse situates her work between the two worlds of the human and the natural and employs the beaver, raven, wolf, and coyote as symbols of the ability to adapt, persist, regenerate, and repair throughout endless environmental incursions. Her skilled handling of traditional sculptural materials such as wood, bronze, porcelain, metal, and glass bring both a refined sensibility and serious tone to her often-playful installations. The works reflect on our skewed experience of nature as a resource for human needs rather than as an ecosystem with its own intrinsic value.
September 16 - December 22, 2017
‘A Very Long Line’ is a four-channel video installation that employs the image and idea of the fence demarcating the U.S.-Mexico border between Douglas, Arizona and Agua Prieta, Sonora. Camera pans of the Sonoran Desert shot through the border fence blur past viewers on all sides, at varying speeds, amid a jarring, dissonant soundtrack composed by the artists.
July 31 - October 22, 2017
July 31 – September 10, 2017
Jill Allan, Chris Cran, Amanda Fox, Micheline Maylor, and Keegan Starlight
September 11 – October 22, 2017
Derek Beaulieu, Tamara Lee-Anne Cardinal, Micheline Maylor, Andrew Tarrant, and George Webber
This Project Space exhibition is a rotating presentation of works produced in response to the Making Treaty 7 Cultural Society’s Common Ground Dinner Series. Based on the Making Treaty 7 methodology, this dinner series explored the theme of The Land through eight sub-themes: Energy, Agriculture, Education, Law, Culture, Borders, Safety and Security, and Medicine.