Media Kit

Winter 2024 Exhibitions

Monday, November 6th, 2023
Lucia Hierro "Corotos y Ajuares" Juan Ortiz-Apuy "Tropicana" Leonard Suryajaya "Parting Gift for Quarantine Blues" Rhonda Weppler and Trevor Mahovsky "Edelweiss" PROJECT SPACE Wei Li "Skinbound" 12 Feb–9 June We are pleased that four of our Winter 2024 exhibitions are included in Exposure Photography Festival 2024. Look out for the printed map for more info on the festival held in February. @exposurephotofestival

PDFs

PressReleaseEsker_Winter2024.pdf

Thursday, January 18th, 2024
6.59MB

Thursday, January 1st, 1970
0MB

Web Resolution Images

Juan Ortiz-Apuy: Tropicana, 2024. Installation view. Photo by Blaine Campbell.
Juan Ortiz-Apuy: Tropicana, 2024. Installation view. Photo by Blaine Campbell.
Juan Ortiz-Apuy: Tropicana, 2024. Installation view. Photo by Blaine Campbell.
Juan Ortiz-Apuy: Tropicana, 2024. Installation view. Photo by Blaine Campbell.
Juan Ortiz-Apuy, "Midnight Poison," 2020, computer-rendered image, inkjet print on backlit film. Courtesy of the artist.
Juan Ortiz-Apuy: Tropicana, 2024. Installation view. Photo by Blaine Campbell.
Juan Ortiz-Apuy, "Midnight Rain," 2020, computer-rendered image, inkjet print on backlit film. Courtesy of the artist.
Juan Ortiz-Apuy, "Midnight Sun," 2020, computer-rendered image, inkjet print on backlit film. Courtesy of the artist.
Juan Ortiz-Apuy: Tropicana, 2024. Installation view. Photo by Blaine Campbell.
Juan Ortiz-Apuy: Tropicana, 2024. Installation view. Photo by Blaine Campbell.
Workshop in the exhibition Juan Ortiz-Apuy. Tropicana, VOX, 2021. Photo: Michel Brunelle.
Workshop in the exhibition Juan Ortiz-Apuy. Tropicana, VOX, 2021. Photo: Michel Brunelle.
Juan Ortiz-Apuy: Tropicana, 2024. Installation view. Photo by Blaine Campbell.
Juan Ortiz-Apuy: Tropicana, 2024. Installation view. Photo by Blaine Campbell.
Juan Ortiz-Apuy: Tropicana, 2024. Installation view. Photo by Blaine Campbell.
Juan Ortiz-Apuy: Tropicana, 2024. Installation view. Photo by Blaine Campbell.
Juan Ortiz-Apuy, Tropicana, 2020. still, video, 7 min 32 s. Courtesy of the artist.
Juan Ortiz-Apuy, Tropicana, 2020. still, video, 7 min 32 s. Courtesy of the artist.
Juan Ortiz-Apuy, Tropicana, 2020. still, video, 7 min 32 s. Courtesy of the artist.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Lucia Hierro, "Corotos y Ajuares" 2024. Esker Foundation. Photo by: Blaine Campbell.
Leonard Suryajaya, Family Tree, 2023. Courtesy of the artist.
Leonard Suryajaya, Quarantiine Blues, 2023. Coutesy of the artist.
Leonard Suryajaya, Home Body, 2023. Courtesy of the artist.
Rhonda Weppler and Trevor Mahovsky, "Camera" from Edetweiss. 2023.
Rhonda Weppler and Trevor Mahovsky, "Ring" from Edetweiss. 2023.
Wei Li, "Skinbound," 2023. Courtesy of the artist.
Wei Li, "Skinbound," 2023. Courtesy of the artist.
Wei Li, "Skinbound," 2023. Courtesy of the artist.
Wei Li, "Skinbound," 2023. Courtesy of the artist.

In the Project Space: Angeline Simon: take more

Saturday, September 23rd, 2023
In the Project Space until 4 February, 2024. Angeline Simon’s artistic practice considers her family’s diasporic experience, and the capacity of food and other everyday items to serve as conduits to her ancestral past. In this new site-specific installation, Simon layers together large-scale photo-collage with a collection of hand-built ceramics that reference foods shared with her maternal family while on summer trips to Malaysia – plates heaped with fiddleheads or skewers of beef satay, a gleaming cross-section of durian, or a batch of pineapple tarts. These ceramic sculptures offer glimmers of insight into the artist’s childhood, the specificity of her familial traditions, and, more broadly, the significance of food and shared meals within Chinese-Malaysian culture. At the same time, the sculptures evoke larger histories of colonialism, capitalism, and the circulation of consumer goods. For instance, a Ribena juice box – a British soft drink that has been popularized across Asia – gestures toward histories of British colonialism in Malaysia, and the reverberation of colonial legacies within Simon’s family. Behind the ceramics is a large photographic mural of Simon’s grandmother’s kitchen in Kuching, Malaysia. Within this mural, Simon has digitally collaged material fragments from older family photos. Angeline Simon is a multidisciplinary artist based in Lethbridge, AB/Treaty 7 Territory. She graduated from the University of Lethbridge in 2018 with a BFA in Art Studio. As a second generation biracial Canadian, Simon explores familial narratives and the dynamics within contrasting cultures. The physical distance from family members and a lack of participation in both German and Chinese-Malaysian cultural traditions motivated Simon to investigate her ancestral past.  

Web Resolution Images

Installation view of Angeline Simon's exhibition take more, 2023. Esker Project Space. Courtesy of the artist.
Installation view of Angeline Simon's exhibition take more, 2023. Esker Project Space. Courtesy of the artist.
Installation view of Angeline Simon's exhibition take more, 2023. Esker Project Space. Courtesy of the artist.
Installation view of Angeline Simon's exhibition take more, 2023. Esker Project Space. Courtesy of the artist.
Angeline Simon, pineapple tarts, 2023. Courtesy of the artist.
Angeline Simon, mango and noodles, 2023. Courtesy of the artist.
Angeline Simon, beef satay, rice, ribena, and midin, 2023. Courtesy of the artist.

Fall Exhibition | Like everything alive that we try to hold forever

Thursday, July 27th, 2023
Larry Achiampong & David Blandy Diane Borsato Stephanie Dinkins Bridget Moser Sondra Perry Miya Turnbull Like everything alive that we try to hold forever brings together seven artists whose works, in a broad sense, reflect ways that our human bodies exist in relation to non-human objects and the complex, interconnected ways that these objects, through their systemic collection, consumption, and contextualization, impact our understanding of self and others. Through a constellation of approaches, the works here address psychosocial relationships to materiality and craft; issues of embedded identity, likeness, and self-authorship; biases and harms embedded within science, technology, and museological collections that are often cloaked under the guise of logical neutrality; and objects or avatars that allow us to access the limits of human experience, push against it, or gesture toward a transhuman future.

PDFs

Fall2023.pdf

Thursday, September 28th, 2023
1.47MB

Web Resolution Images

Bridget Moser, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Bridget Moser, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Bridget Moser, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Bridget Moser, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Bridget Moser, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Bridget Moser, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Bridget Moser, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Bridget Moser, "My Crops Are Dying But My Body Persists," 2020. Still, HD video, color, sound, 21 minutes 57 seconds. Courtesy the artist.
Bridget Moser, "My Crops Are Dying But My Body Persists," 2020. Still, HD video, color, sound, 21 minutes 57 seconds. Courtesy the artist.
Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Miya Turnbull, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Miya Turnbull, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Miya Turnbull, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Miya Turnbull, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Miya Turnbull, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Miya Turnbull, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Miya Turnbull, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Miya Turnbull, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Miya Turnbull, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Miya Turnbull, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Diane Borsato, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Diane Borsato, “Artifacts in My Mouth,” 2003. Courtesy of the artist.
Diane Borsato, “Artifacts in My Mouth,” 2003. Courtesy of the artist.
Diane Borsato, "Gems and Minerals," Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Diane Borsato, "Gems and Minerals," Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Diane Borsato, still from the video "Gems and Minerals," 2018. Courtesy of the artist.
Diane Borsato, still from the video "Gems and Minerals," 2018. Courtesy of the artist.
Sondra Perry, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell
Sondra Perry, "It’s in the Game ’17," (still), 2017. Courtesy Electronic Arts Intermix (EAI), New York. http://www.eai.org
Stephanie Dinkins, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Stephanie Dinkins, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Stephanie Dinkins, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Stephanie Dinkins, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Stephanie Dinkins, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Stephanie Dinkins, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Stephanie Dinkins, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.
Stephanie Dinkins, Bina48, 2014-ongoing. "Conversations with Bina48:" digital video installation. Duration 4 minutes, 2018. Courtesy of the artist.

Fall Exhibition | Care and Wear: Bodies Crafted for Harm and Healing

Tuesday, July 11th, 2023

Care and Wear: Bodies Crafted for Harm and Healing

Curated by Brendan Griebel and Jude Griebel

23 September - 17 December, 2023

For print resolution images please contact: [email protected]

PDFs

CareWear_PressRelease.pdf

Tuesday, July 11th, 2023
0.41MB

CareandWear.pdf

Tuesday, July 11th, 2023
0.1MB

Web Resolution Images

Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Crash test dummy, Alderson Research Labs, Inc USA, c. 1960. metal, rubber. 56cm D x 79cm W x 180cm H. Photo by Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Esker Foundation: Care and Wear: Bodies Crafted for Harm and Healing
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Esker Foundation: Care and Wear: Bodies Crafted for Harm and Healing
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Esker Foundation: Care and Wear: Bodies Crafted for Harm and Healing
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Installation view of the exhibition "Care and Wear: Bodies Crafted for Harm and Healing," 2023. Photo by: Blaine Campbell.
Bridget Moser, Installation view of "Like everything alive that we try to hold forever," 2023. Esker Foundation. Photo by Blaine Campbell.

Spring/Summer Exhibitions: Mel O’Callaghan: "Pulse of the Planet"

Thursday, April 27th, 2023

Download web images below, for high-res print images please email to [email protected]

Mel O’Callaghan: Pulse of the Planet

May 27 - August 27, 2023

Co-curated by Peta Rake and Shauna Thompson.

Pulse of the Planet is a major solo exhibition by Paris/Sydney-based artist Mel O’Callaghan that synthesizes several years of collaborations and ways of knowing. For the last twenty years of her practice, O’Callaghan has explored resonant objects, spaces, and tools—namely how they affect, codify, and connect bodies. By working alongside experts in other fields, O’Callaghan seeks to pose new questions through her artistic practice, to highlight the natural synergies between disciplines, as well as to focus attention on how highly curious researchers reciprocally approach complex questions about our more-than-human existence.

The works in this exhibition convene transdisciplinary creative research—from oceanographers, physicists, microbial ecologists, psychologists, and musicologists, among others—that converges around the most urgent problems of our time, including planetary shifts, the viral age, climate futures, interspecies living, and which lifeworlds we must be attentive to and why. Drawing on our innate impulse to connect with one another and to Earth’s inexplicable forces, Pulse of the Planet sees all bodies—human and non-human—as sites of revelation and connection.

Mel O’Callaghan was born in 1975, Sydney, Australia. She lives and works in Paris, France and Sydney, Australia. O’Callaghan’s work explores human behaviour in relation to notions of resistance, endurance, and transformation. Selected solo exhibitions include, Carriageworks, Sydney (2022); University of Queensland Art Museum, Brisbane (2020); Artspace, Sydney (2019); National Gallery of Victoria, Melbourne (2018); Palais de Tokyo, Paris (2017).

Find out more: https://eskerfoundation.com/exhibition/mel-ocallaghan/

In the Project Space

Morgan Melenka: A provisional vista until 18 June

Upcoming in the Project Space

assma al-issa: bab el-soosa | باب السوسة 26 June to 15 October  

PDFs

SpringSummer2023_PulseofthePlanet_PressRelease.pdf

Thursday, May 18th, 2023
0.39MB

Esker_Brochure_Spring_Summer_2023.pdf

Wednesday, May 24th, 2023
6.89MB

Web Resolution Images

Mel O'Callaghan, "First Sound, Last Sound" Esker Foundation, 26 May, 2023. Photo by: Elyse Bouvier.
Mel O'Callaghan, "First Sound, Last Sound" Esker Foundation, 26 May, 2023. Photo by: Elyse Bouvier.
Mel O'Callaghan, "First Sound, Last Sound" Esker Foundation, 26 May, 2023. Photo by: Elyse Bouvier.
Mel O’Callaghan, "First sound, last sound (performance)," 2022. Installation view, All is Life, 2022, Carriageworks, Sydney, Australia. Photo Zan Wimberley.
Mel O’Callaghan, "First sound, last sound (performance)," 2022. Installation view, All is Life, 2022, Carriageworks, Sydney, Australia. Photo Zan Wimberley.
Mel O’Callaghan, First Sound, Last Sound (performance), 2022. Installation view, All is Life, 2022, Carriageworks, Sydney. Photo by: Zan Wimberley.
Image: Mel O’Callaghan, “First sound, last sound” (performance), 2022. Installation view, “All is Life,” Carriageworks, Sydney, Australia. Photo by: Zan Wimberley.
Mel O’Callaghan, "First sound, last sound (performance)," 2022. Installation view, All is Life, 2022, Carriageworks, Sydney, Australia. Photo Zan Wimberley.
Image: Mel O’Callaghan, “First sound, last sound” (performance), 2022. Installation view, “All is Life,” Carriageworks, Sydney, Australia. Photo by: Zan Wimberley.
Mel O’Callaghan, "Centre of the Centre," 2019. Installation views. Three-channel HD colour video. Artspace, Sydney. Photos by: Zan Wimberley.
Mel O'Callaghan, "Pulse of the Planet" Esker Foundation, 2023. Photo by: Elyse Bouvier.
Mel O’Callaghan, "Centre of the Centre," 2019. Installation views. Three-channel HD colour video. Artspace, Sydney. Photos by: Zan Wimberley.
Mel O’Callaghan, "Centre of the Centre," 2019. Installation views. Three-channel HD colour video. Artspace, Sydney. Photos by: Zan Wimberley.
Mel O’Callaghan, "To The End,"2007. Video still (detail). Colour digital video with sound.
Mel O’Callaghan, "To The End,"2007. Video still (detail). Colour digital video with sound.
Mel O’Callaghan, "The Fall," 2004. Still, colour video with sound.
Mel O'Callaghan. "Eerie, eerie, esoteric, greenish with the slime of time," 2022. Acrylic paint, pigment on glass.
Mel O'Callaghan, "Ore of Cyrus," 2022. Acrylic paint, pigment on glass.
Mel O’Callaghan, "First sound, last sound (performance)," 2022. Installation view, All is Life, 2022, Carriageworks, Sydney, Australia. Photo Zan Wimberley.

Esker + Park by Sidewalk Citizen Present: "Menu for an Exhibition: Tzavta Salon + Esker"

Monday, March 20th, 2023

Esker + Park by Sidewalk Citizen Present: "Menu for an Exhibition: Tzavta Salon + Esker"

Saturday 8 April, 5pm onwards At PARK by Sidewalk Citizen Central Memorial Park, 340 13th Avenue SW MAP Monday 20 March: Esker Foundation + Park are thrilled to announce our upcoming Tzavta Salon inspired by the artworks in the Esker exhibitions Interiors by Margaux Williamson and The Visitors by Ragnar Kjartansson. Park Chef Stefan Gusztak, mixologist Josh Yuill, and Metrovinohave crafted a menu reflecting the exhibitions' connections. Esker curators Naomi Potter and Shauna Thompson will discuss the curatorial processes behind the exhibitions during the evening. The menu for the salon, will be featured in Esker's Permanent Collection—an ongoing series of online commissioned responses to each seasons exhibitions.

Web Resolution Images

Margaux Williamson, Flowers, 2020, oil on canvas, 41 × 41 cm. Courtesy: the artist.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Ragnar Kjartansson, stills from The Visitors, 2012. Nine channel HD video projection, Duration: 64 minutes. Photo: Elísabet Davidsdóttir, Sound: Chris McDonald. Video: Tómas Örn Tómasson. Image courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik. Gift of Graham and Ann Gund to Institute of Contemporary Art, Boston, Solomon R. Guggenheim Museum, New York, and Gund Gallery at Kenyon College, 2015.1.1.
Ragnar Kjartansson, stills from The Visitors, 2012. Nine channel HD video projection, Duration: 64 minutes. Photo: Elísabet Davidsdóttir, Sound: Chris McDonald. Video: Tómas Örn Tómasson. Image courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik. Gift of Graham and Ann Gund to Institute of Contemporary Art, Boston, Solomon R. Guggenheim Museum, New York, and Gund Gallery at Kenyon College, 2015.1.1.
Ragnar Kjartansson, stills from The Visitors, 2012. Nine channel HD video projection, Duration: 64 minutes. Photo: Elísabet Davidsdóttir, Sound: Chris McDonald. Video: Tómas Örn Tómasson. Image courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik. Gift of Graham and Ann Gund to Institute of Contemporary Art, Boston, Solomon R. Guggenheim Museum, New York, and Gund Gallery at Kenyon College, 2015.1.1.
Ragnar Kjartansson, stills from The Visitors, 2012. Nine channel HD video projection, Duration: 64 minutes. Photo: Elísabet Davidsdóttir, Sound: Chris McDonald. Video: Tómas Örn Tómasson. Image courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik. Gift of Graham and Ann Gund to Institute of Contemporary Art, Boston, Solomon R. Guggenheim Museum, New York, and Gund Gallery at Kenyon College, 2015.1.1.

Winter 2023 Exhibitions - Margaux Williamson: Interiors | Ragnar Kjartansson: The Visitors

Tuesday, December 6th, 2022
Margaux Williamson: Interiors Ragnar Kjartansson: The Visitors PROJECT SPACE: Morgan Melenka: A provisional vista BRIDGE SPACE: Cut + Paste: Inside Out Until 30 April.

PDFs

Winter-Exhibitions.pdf

Thursday, January 12th, 2023
2.76MB

Interiors_PressRelease.pdf

Thursday, January 12th, 2023
0.61MB

TheVisitors_PressRelease.pdf

Thursday, January 12th, 2023
0.39MB

Web Resolution Images

Installation view of Ragnar Kjartansson's "The Visitors," 2012. Photo by: John Dean.
Installation view of Ragnar Kjartansson's "The Visitors," 2012. Photo by: John Dean.
Ragnar Kjartansson, stills from The Visitors, 2012. Nine channel HD video projection, Duration: 64 minutes. Photo: Elísabet Davidsdóttir, Sound: Chris McDonald. Video: Tómas Örn Tómasson. Image courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik. Gift of Graham and Ann Gund to Institute of Contemporary Art, Boston, Solomon R. Guggenheim Museum, New York, and Gund Gallery at Kenyon College, 2015.1.1.
Ragnar Kjartansson, stills from The Visitors, 2012. Nine channel HD video projection, Duration: 64 minutes. Photo: Elísabet Davidsdóttir, Sound: Chris McDonald. Video: Tómas Örn Tómasson. Image courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik. Gift of Graham and Ann Gund to Institute of Contemporary Art, Boston, Solomon R. Guggenheim Museum, New York, and Gund Gallery at Kenyon College, 2015.1.1.
Installation view of Ragnar Kjartansson's "The Visitors," 2012. Photo by: John Dean.
Visitors at "The Visitors" by Ragnar Kjartansson. Photo by: Elyse Bouvier.
Ragnar Kjartansson, stills from The Visitors, 2012. Nine channel HD video projection, Duration: 64 minutes. Photo: Elísabet Davidsdóttir, Sound: Chris McDonald. Video: Tómas Örn Tómasson. Image courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik. Gift of Graham and Ann Gund to Institute of Contemporary Art, Boston, Solomon R. Guggenheim Museum, New York, and Gund Gallery at Kenyon College, 2015.1.1.
Installation view of Ragnar Kjartansson's "The Visitors," 2012. Photo by: John Dean.
Installation view of Ragnar Kjartansson's "The Visitors," 2012. Photo by: John Dean.
Ragnar Kjartansson, stills from The Visitors, 2012. Nine channel HD video projection, Duration: 64 minutes. Photo: Elísabet Davidsdóttir, Sound: Chris McDonald. Video: Tómas Örn Tómasson. Image courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik. Gift of Graham and Ann Gund to Institute of Contemporary Art, Boston, Solomon R. Guggenheim Museum, New York, and Gund Gallery at Kenyon College, 2015.1.1.
Ragnar Kjartansson, stills from The Visitors, 2012. Nine channel HD video projection, Duration: 64 minutes. Photo: Elísabet Davidsdóttir, Sound: Chris McDonald. Video: Tómas Örn Tómasson. Image courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik. Gift of Graham and Ann Gund to Institute of Contemporary Art, Boston, Solomon R. Guggenheim Museum, New York, and Gund Gallery at Kenyon College, 2015.1.1.
Ragnar Kjartansson, stills from The Visitors, 2012. Nine channel HD video projection, Duration: 64 minutes. Photo: Elísabet Davidsdóttir, Sound: Chris McDonald. Video: Tómas Örn Tómasson. Image courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik. Gift of Graham and Ann Gund to Institute of Contemporary Art, Boston, Solomon R. Guggenheim Museum, New York, and Gund Gallery at Kenyon College, 2015.1.1.
Ragnar Kjartansson, stills from The Visitors, 2012. Nine channel HD video projection, Duration: 64 minutes. Photo: Elísabet Davidsdóttir, Sound: Chris McDonald. Video: Tómas Örn Tómasson. Image courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik. Gift of Graham and Ann Gund to Institute of Contemporary Art, Boston, Solomon R. Guggenheim Museum, New York, and Gund Gallery at Kenyon College, 2015.1.1.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Visitors at the exhibition "Interiors" by Margaux Williamson, at Esker Foundation until 30 April. Photo by: Elyse Bouver.
Margaux Williamson, "Fire," 2021. Oil on canvas. 177.8 x 213.4 cm. Promised gift of Christine and Andrew W. Dunn McMichael Canadian Art Collection.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Margeaux Williamson, "Table and Chair," 2016. oil on canvas. 63 x 90 inches . Courtesy of The Bailey Collection.
Margaux Williamson, "Garlic," 2019. Oil on canvas. 16 x 16 inches. Collection of the artist.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Visitors at the exhibition "Interiors" by Margaux Williamson, at Esker Foundation until 30 April. Photo by: Elyse Bouver.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Visitors at the exhibition "Interiors" by Margaux Williamson, at Esker Foundation until 30 April. Photo by: Elyse Bouver.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Visitors at the exhibition "Interiors" by Margaux Williamson, at Esker Foundation until 30 April. Photo by: Elyse Bouver.
Margaux Williamson, Flowers, 2020, oil on canvas, 41 × 41 cm. Courtesy: the artist.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Visitors at the exhibition "Interiors" by Margaux Williamson, at Esker Foundation until 30 April. Photo by: Elyse Bouver.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Margaux Williamson, "Window," 2017. Oil on canvas 63 x 90 inches. The Bailey Collection.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Installation view of Margaux Williamson's exhibition "Interiors." Photo by: John Dean.
Margaux Williamson, "At night I painted in the kitchen," 2013. Oil on canvas. Collection of Agnes Etherington Art Centre.

Summer/Fall 2022 Exhibitions Launch: Robin Arseneault, Chloe Lum & Yannick Desranleau & Gailan Ngan

Thursday, July 7th, 2022
Robin Arseneault: Falling Off The Log Chloë Lum & Yannick Desranleau: The Garden of a Former House Turned Museum Gailan Ngan: From The Studio Floor 23 July – 18 December 2022

PDFs

PressRelease_Fall2022.pdf

Friday, March 17th, 2023
0.57MB

SUMMER_FALL_2022.pdf

Thursday, July 7th, 2022
5.36MB

Web Resolution Images

Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Robin Arseneault's exhibition "Falling Off The Log," 2022. Esker Foundation. Photo by: John Dean.
Installation view of Chloë Lum & Yannick Desranleau's exhibition "The Garden of a Former House Turned Museum," 2022. Photo by John Dean.
Installation view of Chloë Lum & Yannick Desranleau's exhibition "The Garden of a Former House Turned Museum," 2022. Photo by John Dean.
Installation view of Chloë Lum & Yannick Desranleau's exhibition "The Garden of a Former House Turned Museum," 2022. Photo by John Dean.
Chloë Lum & Yannick Desranleau , "The Garden of a Former House Turned Museum," 2021. HD video, colour, sound, 27 minutes 34 seconds.
Installation view of Chloë Lum & Yannick Desranleau's exhibition "The Garden of a Former House Turned Museum," 2022. Photo by John Dean.
Installation view of Chloë Lum & Yannick Desranleau's exhibition "The Garden of a Former House Turned Museum," 2022. Photo by John Dean.
Installation view of Chloë Lum & Yannick Desranleau's exhibition "The Garden of a Former House Turned Museum," 2022. Photo by John Dean.
Installation view of Chloë Lum & Yannick Desranleau's exhibition "The Garden of a Former House Turned Museum," 2022. Photo by John Dean.
Installation view of Chloë Lum & Yannick Desranleau's exhibition "The Garden of a Former House Turned Museum," 2022. Photo by John Dean.
Gailan Ngan, "From The Studio Floor," 2022. Esker Foundation. Photo by: John Dean.
Gailan Ngan, "From The Studio Floor," 2022. Esker Foundation. Photo by: John Dean.
Gailan Ngan, "Random Objects Of Material: 8 objects/ideas/materials. Things that I collect. Do they mean anything?" from "From The Studio Floor," 2022. Esker Foundation. Photo by: John Dean.
Gailan Ngan, "From The Studio Floor," 2022. Esker Foundation. Photo by: John Dean.
Gailan Ngan, "From The Studio Floor," 2022. Esker Foundation. Photo by: John Dean.
Gailan Ngan, "Moon Orbit" from "From The Studio Floor," 2022. Esker Foundation. Photo by: John Dean.
Gailan Ngan, "Moon Orbit" from "From The Studio Floor," 2022. Esker Foundation. Photo by: John Dean.
Gailan Ngan, "Moon Orbit" from "From The Studio Floor," 2022. Esker Foundation. Photo by: John Dean.
Gailan Ngan, "Moon Orbit" from "From The Studio Floor," 2022. Esker Foundation. Photo by: John Dean.
Gailan Ngan, "Moon Orbit" from "From The Studio Floor," 2022. Esker Foundation. Photo by: John Dean.
Gailan Ngan, "Moon Orbit" from "From The Studio Floor," 2022. Esker Foundation. Photo by: John Dean.
Gailan Ngan, "Moon Orbit" from "From The Studio Floor," 2022. Esker Foundation. Photo by: John Dean.

Winter/Spring 2022 Exhibitions Launch: Farah Al Qasimi, Michelle Bui, and Veronika Pausova; Ashley Bedet & TIPI_LOOPS.dreamwaves

Friday, January 14th, 2022
Esker Foundation is pleased to present our Winter/Spring 2022 exhibition season with three solo exhibitions by Farah Al Qasimi: Letters for Occasions, Michelle Bui: Naked Excess and Veronika Pausova: Fast Moving Sun, 22 January until 26 June 2022. In the Project Space: Ashley Bedet: a rolled chord of sunlight unfurled.  In our new Bridge space is: TIPI_LOOPS.dreamwaves an audiovisual digital art installation by Kaitlyn Purcell and collaborators Brendon Many Bears, Joey Big Snake, Jeremy Bobosky, Laurencine Saddleback, and Maci Jordan.

PDFs

PressRelease_WinterExhibitions2022-1.pdf

Wednesday, January 19th, 2022
1.51MB

Web Resolution Images

Installation view of Veronika Pausova's exhibition "Fast Moving Sun," 2022. Photo by: John Dean.
Installation view of Veronika Pausova's exhibition "Fast Moving Sun," 2022. Photo by: John Dean.
Installation view of Veronika Pausova's exhibition "Fast Moving Sun," 2022. Photo by: John Dean.
Installation view of Veronika Pausova's exhibition "Fast Moving Sun," 2022. Photo by: John Dean.
Installation view of Veronika Pausova's exhibition "Fast Moving Sun," 2022. Photo by: John Dean.
Veronika Pausova, "Partly Cloudy," 2021. Photo by: John Dean.
Veronika Pausova, "Partly Cloudy," 2021 (detail). Photo by: John Dean.
Veronika Pausova, "Wading Sun," 2021. Photo by: John Dean.
Veronika Pausova, "Contact Lens," 2018. Oil on canvas, 36 x 30 inches. Courtesy the artist, and Bradley Ertaskiran, Montréal. Private collection of Karine Faucher & Nicolas Patard.
Veronika Pausova, "Flaneuse," 2019. Oil on canvas, 75 x 65 inches. Courtesy the artist, and Bradley Ertaskiran, Montréal. Claridge Collection.
Veronika Pausova, "Still Life," 2018. Photo by: John Dean.
Installation view of Veronika Pausova's exhibition "Fast Moving Sun," 2022. Photo by: John Dean.
Installation view of Veronika Pausova's exhibition "Fast Moving Sun," 2022. Photo by: John Dean.
Installation view of Veronika Pausova's exhibition "Fast Moving Sun," 2022. Photo by: John Dean.
Veronika Pausova, "Playing the Organs," 2021. Oil on canvas, 18 x 15 inches. Courtesy of the artist and Simone Subal Gallery, New York.
Veronika Pausova, "Playing the Organs," 2021. Oil on canvas, 18 x 15 inches. Courtesy of the artist and Simone Subal Gallery, New York.
Installation view of Veronika Pausova's exhibition "Fast Moving Sun," 2022. Photo by: John Dean.
Veronika Pausova, "counterpole," 2019. Photo by: John Dean.
Veronika Pausova, "Sexy Gloves" 2019. Photo by: John Dean.
Veronika Pausova, "Scent Charm" 2018, oil on canvas, 18 x 15 inches. Courtesy of the artist and Bradley Ertaskiran, Montréal.
Veronika Pausova, "Projected Limbs," 2021. Photo by: John Dean.
Installation view of Farah Al Qasimi's exhibition "Letters for Occasions," 2022. Photo by: John Dean.
Installation view of Farah Al Qasimi's exhibition "Letters for Occasions," 2022. Photo by: John Dean.
Installation view of Farah Al Qasimi's exhibition "Letters for Occasions," 2022. Photo by: John Dean.
Installation view of Farah Al Qasimi's exhibition "Letters for Occasions," 2022. Photo by: John Dean.
Farah Al Qasimi, "Anood in the Guest Bedroom," 2020. Courtesy of the Artist; Helena Anrather, New York; and The Third Line, Dubai.
Farah Al Qasimi, “Majlis Goat,” 2020. Courtesy of the Artist; Helena Anrather, New York; and The Third Line, Dubai.
Installation view of Farah Al Qasimi's exhibition "Letters for Occasions," 2022. Photo by: John Dean.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022. Photo by: John Dean.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022. Photo by: John Dean.
Michelle Bui, "Baby's Breath," 2019. Courtesy of the artist.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022. Photo by: John Dean.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022. Photo by: John Dean.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022 (detail). Photo by: John Dean.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022 (detail). Photo by: John Dean.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022 (detail). Photo by: John Dean.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022 (detail). Photo by: John Dean.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022. Photo by: John Dean.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022 (detail). Photo by: John Dean.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022 (detail). Photo by: John Dean.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022. Photo by: John Dean.
Installation view of Michelle Bui's exhibition "Naked Excess," 2022 (detail). Photo by: John Dean.
Michelle Bui, "Still Life Under Rolling Pin," 2019. Pigmented inkjet print on paper. Equitable Bank Art Collection.
Michelle Bui, "Hell's Angels Bouquet," 2018. Pigmented inkjet print on paper. Courtesy of the artist.
Installation view of Ashley Bedet's exhibition "a rolled chord of sunlight unfurled," 2022. Photo by: John Dean.
Installation view of Ashley Bedet's exhibition "a rolled chord of sunlight unfurled," 2022. Photo by: John Dean.
Installation view of Ashley Bedet's exhibition "a rolled chord of sunlight unfurled," 2022. Photo by: John Dean.
Installation view of the Bridge Space exhibition "TIPI_LOOPS.dreamwaves," 2022. Photo by: John Dean.
Installation view of the Bridge Space exhibition "TIPI_LOOPS.dreamwaves," 2022. Photo by: John Dean.
Installation view of the Bridge Space exhibition "TIPI_LOOPS.dreamwaves," 2022 (detail). Photo by: John Dean.
Installation view of the Bridge Space exhibition "TIPI_LOOPS.dreamwaves," 2022 (detail). Photo by: John Dean.
Installation view of the Bridge Space exhibition "TIPI_LOOPS.dreamwaves," 2022 (detail). Photo by: John Dean.

Esker Foundation Proudly Presents: "Legends of the Trans" A Solo Exhibition of New Photographic Work by Vivek Shraya

Wednesday, September 22nd, 2021
Vivek Shraya: Legends of the Trans 18 October 2021 to 6 February 2022 This new photographic work, inspired by the 1994 film Legends of the Fall, continues Vivek Shraya’s queering of performance, photography, and storytelling to reflect an open-ended and ever-evolving notion of herself and the immense value of non-conforming role models. Vivek Shraya is an artist whose body of work crosses the boundaries of music, literature, visual art, theatre, and film. Produced in part with support from the Esker Foundation Commission Fund.

PDFs

PressRelease_VivekShraya.pdf

Wednesday, September 22nd, 2021
2.23MB

Web Resolution Images

Vivek Shraya, "Legends of the Trans,"2021. Courtesy of the artist.
Vivek Shraya, Legends of the Trans, 2021. Courtesy of the artist.
Vivek Shraya, Legends of the Trans, 2021. Courtesy of the artist.
Vivek Shraya, Legends of the Trans, 2021. Courtesy of the artist.
Vivek Shraya, Legends of the Trans, 2021. On view at the Esker Foundation Project Space until 6 February. Photo by: John Dean.
Vivek Shraya, Legends of the Trans, 2021. On view at the Esker Foundation Project Space until 6 February. Photo by: John Dean.
Vivek Shraya, Legends of the Trans, 2021. On view at the Esker Foundation Project Space until 6 February. Photo by: John Dean.
Vivek Shraya, Legends of the Trans, 2021. On view at the Esker Foundation Project Space until 6 February. Photo by: John Dean.
Vivek Shraya, Legends of the Trans, 2021. On view at the Esker Foundation Project Space until 6 February. Photo by: John Dean.
Vivek Shraya, Legends of the Trans, 2021. On view at the Esker Foundation Project Space until 6 February. Photo by: John Dean.
Vivek Shraya, Legends of the Trans, 2021. On view at the Esker Foundation Project Space until 6 February. Photo by: John Dean.
Vivek Shraya, Legends of the Trans, 2021. On view at the Esker Foundation Project Space until 6 February. Photo by: John Dean.
Vivek Shraya, Legends of the Trans, 2021. On view at the Esker Foundation Project Space until 6 February. Photo by: John Dean.
Vivek Shraya. Photography by Vanessa Heins.

Print Resolution Images