February 3 - August 9, 2020
As we deplete the earth’s resources to manufacture and power consumer products, we destroy ecosystems. When such objects are deemed obsolete, these pieces of our contemporary material culture are consigned to landfills and further continue the sequence of ecological devastation. In response to the destructive cycle of late capitalist consumer culture, Anna Gustafson began enshrouding discarded appliances in old, white linen; a manner historically used by many cultures to prepare the dead for burial. Intrigued by this ritual, the material problem solving, the physical, repetitive labour involved, and of course, the enveloped object’s transformation, Gustafson came to understand this process as a way to individuate each item, and to honour the destruction necessary to make and power them. For this installation of Object Lessons, Gustafson includes the ubiquitous leaf blower. Once disruptors in our neighbourhoods, they now float mutely through their new context of decommissioned remote controls.
Presented in partnership with The New Gallery.
October 28, 2019 - January 26, 2020
Marjie Crop Eared Wolf continues her ongoing project to learn Blackfoot in the drawing, sound, and video installation, ‘Iitsi’poyi.’ Using thousands of Blackfoot words transcribed from the ‘Blackfoot Dictionary’ as well as an audio tape made by her mother, this work addresses cultural legacy and resilience by actively engaging in language preservation.
July 29 - October 20, 2019
‘Qiniqtuaq’ (searching/looking) invites viewers to peer through a multi-eyed ghost sheet to witness a looping projection of a video collage screened in front of a piece of oil-stained cardboard. ‘Qiniqtuaq’ is meant to evoke a dream-like state imaging a hypothetical place and time; a representation of what is felt but not known. ‘Qiniqtuaq’ invites a presence of nostalgia, spectatorship, and diaspora.
Kablusiak is an Inuvialuk artist and curator based in Mohkinstsis and holds a BFA in Drawing from the Alberta University of the Arts, Calgary. They use art and humour as a coping mechanism to address cultural displacement. The lighthearted nature of their practice extends gestures of empathy and solidarity; these interests invite a reconsideration of the perceptions of contemporary Indigeneity.
May 6 - July 21, 2019
‘Occlusion Field’ is a singular moment in time and space made of the stuff of trans defense mechanism: tattoos, liquid gender concepts, and hormonally transforming surfaces that come together to speak to an idiosyncrasy, a gestalt, a whole that transcends its constitutive parts. The Field is a shifting space of images and materials that represent the space between you and me. Beyond that space is me and you, respectively: two Occlusions who belie understanding, who promote narratives of deflection and anxiety. The Field, however, isn’t necessarily keen to divulge its disparate natures; it needs to be seen, first.
Presented in partnership with Untitled Art Society.
February 4 - April 28, 2019
Through Cardinal’s beautifully crafted work that includes home furnishings, taxidermy, and rocks from the area around her former childhood home, Cardinal’s work explores themes of land and home, displacement and loss related to the construction Calgary’s Southwest Ring Road through >> read more
November 5, 2018 - January 27, 2019
A tone is a wave, and a wave is just a circle in the format of a line: a circle in eternity, an undulating line in sequence. If a tone is alive, what is the substance of its body, and do our bodies have that substance also? Can a tone be a limb? What would it reach for?
A tender proposition to the din is a moment extracted from a cycle of water storage, distillation, distribution, consumption, transformation. This cycle takes place on a scale and scope far beyond that of our bodies and the human lifetime; it encompasses states of atmospheric haze, glacial movement, the wayward paths of astral bodies. A tender proposition to the din captures an industrialized, infrastructural instance within the cycle.
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 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.
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.