Media Kit

Winter 2025 Exhibition Season

Thursday, December 19th, 2024
Hangama Amiri PARTING/فراق Erika DeFreitas and that break is the one that shows (to shift, a curve, to quiver)  Thuy-Han Nguyen-Chi The blue of the sky depends on the darkness of empty space behind it PROJECT SPACE Taiessa variegata Megan Feniak With All Our Vernal Suns

PDFs

Winter_Exhibitions_2025.pdf

Friday, January 17th, 2025
1.57MB

PR_Winter-2025-Season-at-Esker-Foundation.pdf

Friday, December 20th, 2024
5.07MB

Web Resolution Images

Hangama Amiri,"PARTING/فراق" 2025. Photo by: Blaine Campbell.
Hangama Amiri,"PARTING/فراق" 2025. Photo by: Blaine Campbell.
Hangama Amiri, "Man with Vase of Tulips," 2024. Courtesy of the artist, and T293, Rome.
Hangama Amiri,"PARTING/فراق" 2025. Photo by: Blaine Campbell.
Hangama Amiri,"PARTING/فراق" 2025. Photo by: Blaine Campbell.
Hangama Amiri,"PARTING/فراق" 2025. Photo by: Blaine Campbell.
Hangama Amiri,"PARTING/فراق" 2025. Photo by: Blaine Campbell.
Hangama Amiri,"PARTING/فراق" 2025. Photo by: Blaine Campbell.
Hangama Amiri,"PARTING/فراق" 2025. Photo by: Blaine Campbell.
Hangama Amiri,"PARTING/فراق" 2025. Photo by: Blaine Campbell.
Hangama Amiri, "Woman Before a Mirror," 2022. Courtesy of the artist, and T293, Rome.
Hangama Amiri,"PARTING/فراق" 2025. Photo by: Blaine Campbell.
Hangama Amiri, Portrait of a Woman with Denim Jacket, 2023. Courtesy of the artist.
Hangama Amiri,"PARTING/فراق" 2025. Photo by: Blaine Campbell.
Hangama Amiri exhibition at Esker Foundation, January 2025. Photo by: Allison Seto.
Hangama Amiri exhibition at Esker Foundation, January 2025. Photo by: Allison Seto.
Hangama Amira, "Man Resting in the Park," 2022. Courtesy of the artist, and T293, Rome.
Hangama Amiri,"PARTING/فراق" 2025. Photo by: Blaine Campbell.
Hangama Amiri exhibition at Esker Foundation, January 2025. Photo by: Allison Seto.
Erika DeFreitas: "and that break is the one that shows (to shift, a curve, to quiver)," 2025. Photo by: Blaine Campbell.
Erika DeFreitas: "and that break is the one that shows (to shift, a curve, to quiver)," 2025. Photo by: Blaine Campbell.
Erika DeFreitas: "and that break is the one that shows (to shift, a curve, to quiver)," 2025. Photo by: Blaine Campbell.
Erika DeFreitas, "The Black Madonnas of Perpetual Murmurs 1," 2023. Courtesy of the artist and Christie Contemporary, Toronto.
Erika De Freitas, "The Black Madonnas Of Perpetual Murmurs 1, 11, 14," collage, gold leaf, cut on paper. 2023. Courtesy of the artist, and Christie Contemporary, Toronto.
Erika DeFreitas: "and that break is the one that shows (to shift, a curve, to quiver)," 2025. Photo by: Blaine Campbell.
Erika DeFreitas: "and that break is the one that shows (to shift, a curve, to quiver)," 2025. Photo by: Blaine Campbell.
Erika DeFreitas: "and that break is the one that shows (to shift, a curve, to quiver)," 2025. Photo by: Blaine Campbell.
Erika DeFreitas: "and that break is the one that shows (to shift, a curve, to quiver)," 2025. Photo by: Blaine Campbell.
Erika DeFreitas: "and that break is the one that shows (to shift, a curve, to quiver)," 2025. Photo by: Blaine Campbell.
Erika DeFreitas: "and that break is the one that shows (to shift, a curve, to quiver)," 2025. Photo by: Blaine Campbell.
Erika De Freitas, "the pause and mirrored peaks," 3:21 minutes. Single channel video, no sound, 2018. Courtesy the artist and Christie Contemporary, Toronto.
Erika DeFreitas: "and that break is the one that shows (to shift, a curve, to quiver)," 2025. Photo by: Blaine Campbell.
Erika DeFreitas, "she returns in the midst of echoes," 2018. Courtesy of the artist and Christie Contemporary, Toronto.
Erika DeFreitas: "and that break is the one that shows (to shift, a curve, to quiver)," 2025. Photo by: Blaine Campbell.
Thuy-Han Nguyen-Chi, This undreamt of sail is watered by the white wind of the abyss, 2022, installation view, Hamburger Bahnhof. Courtesy of the artist. Photo by: Jens Franke.
Thuy-Han Nguyen-Chi: "The blue of the sky depends on the darkness of empty space behind it," 2025. Photo by: Blaine Campbell.
Thuy-Han Nguyen-Chi: "The blue of the sky depends on the darkness of empty space behind it," 2025. Photo by: Blaine Campbell.
Thuy-Han Nguyen-Chi: "The blue of the sky depends on the darkness of empty space behind it," 2025. Photo by: Blaine Campbell.
Esker Foundation -Thuy-Han Nguyen-Chi: The blue of the sky depends on the darkness of empty space behind it
Thuy-Han Nguyen-Chi: "The blue of the sky depends on the darkness of empty space behind it," 2025. Photo by: Blaine Campbell.
Thuy-Han Nguyen-Chi: "The blue of the sky depends on the darkness of empty space behind it," 2025. Photo by: Blaine Campbell.
Thuy-Han Nguyen-Chi: "The blue of the sky depends on the darkness of empty space behind it," 2025. Photo by: Blaine Campbell.
Thuy-Han Nguyen-Chi: "The blue of the sky depends on the darkness of empty space behind it," 2025. Photo by: Blaine Campbell.
Thuy-Han Nguyen-Chi, film still from "Into The Violet Belly," 2022. 20 minutes. Courtesy of the artist.
Thuy-Han Nguyen-Chi: "The blue of the sky depends on the darkness of empty space behind it," 2025. Photo by: Blaine Campbell.

Taiessa: variegata

Wednesday, November 27th, 2024

Taiessa: variegata

October 28, 2024 - February 2, 2025

variegata, Taiessa’s ongoing body of work, offers a tangle of plant cuttings that appear to stretch their leaves toward the light in a sun-soaked greenhouse. These plants are crafted from ivory felt, an inert material intended to foil its organic counterpart. Akin to bleached bone, the specific tone of the felt nods to chimeral variegation in a plant’s leaves. This genetic mutation renders a plant unable to uniformly produce chlorophyl – and can also exponentially increase the selling price of a plant cutting. While plant collection and propagation may seem a benign pastime, variegata points to the linkages between commercial plant collection, sustained colonial extraction, and 21st century capitalism. Modern European botany as a discipline emerged in the 18th century in tandem with the violent colonization of Indigenous communities and lands. Plants were extracted for study and classification, resulting in the erasure of Indigenous knowledges and the destruction of ecosystems. In the present, plant collection has exploded in popularity. Plant collection is often framed on social media as an aspirational act of self-care, while clippings of certain plant cultivars will sell online for hundreds of dollars. While most houseplants today are cultivated industrially (which presents its own concerns), this cycle of extraction, erasure, and the accrual of capital mirrors its colonial history. Close inspection of variegata’s plant cuttings offers a glimpse into Taiessa’s exacting process. Each individual leaf is quilted and stitched from sheets of pressed felt – a process that bears some semblance to drawing – and subsequently fixed into stillness with wheat paste. The inevitable slowness of this process is significant. The time, care, and material intuition required resonates with the process of nurturing plants – it is also deliberately and self-reflexively asynchronous with the cadence of our current moment.  With this pointed emphasis on care, reciprocity, and moving with slowness and intention, variegata offers a pathway to imagining possible futures divested from capitalist modes of exchange. variegata was produced with support from the Alberta Foundation for the Arts, the Edmonton Arts Council, and the Harcourt House Artist Run Centre. IMAGES: Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 

PDFs

Esker_Brochure_Fall.pdf

Tuesday, October 29th, 2024
2MB

Web Resolution Images

Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 
Taiessa, "variegata," 2024. Esker Foundation, Calgary. Photo by Blaine Campbell. 

Fall Exhibition 2024: Constellations: Racial myths, land, and labour - Curated by Su-Ying Lee

Thursday, July 18th, 2024

21 September–15 December

Press Preview: Thursday 19 September, 5-6pm email [email protected] to RSVP.

Public Opening: Friday 20 September, 6-9pm, free all welcome.

Constellations: Racial myths, land, and labour

Curated by Su-Ying Lee

Carl Beam, David Blandy, Andrea Chung, Minerva Cuevas, Aria Dean, Inyang Essien, Andil Gosine, Deborah Jack, Dinh Q. Le, Candice Lin, Daniela Ortiz, Chanell Stone, Hank Willis Thomas, Jeff Thomas, Bo Wang & Lu Pan, Carrie Mae Weems, Connie Zheng

Constellations: Racial myths, land, and labour begins with the flows of people and plants circulated through the routes of early European colonialism. Plants, which were valuable as food, medicine and for other industries were a key driver for colonial exploration and occupation. Ethnobotanical knowledge, expertise, and labour were extracted from racialized peoples, activities that settlers carried out in tandem with the disturbance of land. In real and symbolic terms, a deep enmeshment exists between the disturbance of land, and the disruption and exploitation of transported human lives. Today, numerous aspects of our day-to-day lives, as wide ranging as access to health care and the continuing success of insurance companies, continue to be linked to structures invented or instrumentalized to limit the freedoms of racialized people in favour of colonial capitalism. Under the long shadows of racial and plantation capitalism and unfreedom, how do we conceive of racial identity? How can racialized people relate to place, land and nature under this legacy of trafficking, forced labour and displacement? Constellations: Racial myths, land, and labour brings together work by artists who look at the connected nature of race-making, colonialism, and land.  

PROJECT SPACE

Levin Ifko: Tender To The Flame

Taiessa: variegata

Web Resolution Images

Installation view of "Constellations: Racial myths, land, and labour" curated by Su-Ying Lee. Esker Foundation, 2024. Photo by: Blaine Campbell.
Esker Foundation: "Constellations: Racial myths, land, and labour"
Connie Zheng. Installation view of "Constellations: Racial myths, land, and labour" curated by Su-Ying Lee. Esker Foundation, 2024. Photo by: Blaine Campbell.
Connie Zheng, "Routes/Roots," 2021. Photo by Jenna Garrett and the Minnesota Street Project.
Carl Beam, "Columbus and Bees," 1990. Image courtesy of Moose Jaw Museum & Art Gallery.
Carl Beam, "New World," 1990. Image courtesy of Moose Jaw Museum & Art Gallery.
Esker Foundation: "Constellations: Racial myths, land, and labour"
Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Inyang Essien. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Dinh Q. Le. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell. The Colony was commissioned by Artangel, London; Ikon, Birmingham; Han Nefkens H+F Collection; Proyecto Amil, Lima, with additional support from Catherine Petitgas, Private Collection, New York, Shoshana Wayne Gallery. Produced by Artangel and TANQ Studios, this project was supported by Arts Council England, Artangel International Circle, Special Angels, Guardian Angels and The Company of Angels.
Dinh Q. Le. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell. The Colony was commissioned by Artangel, London; Ikon, Birmingham; Han Nefkens H+F Collection; Proyecto Amil, Lima, with additional support from Catherine Petitgas, Private Collection, New York, Shoshana Wayne Gallery. Produced by Artangel and TANQ Studios, this project was supported by Arts Council England, Artangel International Circle, Special Angels, Guardian Angels and The Company of Angels.
Esker Foundation: "Constellations: Racial myths, land, and labour"
Esker Foundation: "Constellations: Racial myths, land, and labour"
Candice Lin. Installation view of "Constellations: Racial myths, land, and labour" curated by Su-Ying Lee. Esker Foundation, 2024. Photo by: Blaine Campbell.
Candice Lin. Installation view (detail) of "Constellations: Racial myths, land, and labour" curated by Su-Ying Lee. Esker Foundation, 2024. Photo by: Blaine Campbell.
Candice Lin. Installation view (detail) of "Constellations: Racial myths, land, and labour" curated by Su-Ying Lee. Esker Foundation, 2024. Photo by: Blaine Campbell.
Candice Lin. Installation view of "Constellations: Racial myths, land, and labour" curated by Su-Ying Lee. Esker Foundation, 2024. Photo by: Blaine Campbell.
Installation view of "Constellations: Racial myths, land, and labour" curated by Su-Ying Lee. Esker Foundation, 2024. Photo by: Blaine Campbell.
Esker Foundation: "Constellations: Racial myths, land, and labour"
Minerva Cuevas. Installation view of "Constellations: Racial myths, land, and labour" curated by Su-Ying Lee. Esker Foundation, 2024. Photo by: Blaine Campbell.
Esker Foundation: "Constellations: Racial myths, land, and labour"
Esker Foundation: "Constellations: Racial myths, land, and labour"
Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
David Blandy. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Deborah Jack. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Aria Dean & Hank Willis Thomas. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Hank Willis Thomas, "A Place to Call Home (Africa-America)," 2014. Courtesy of the artist.
Aria Dean, "Dead Zone (4)," 2019. Courtesy of the artist. KADIST Collection.
Aria Dean & Chanell Stone. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Chanell Stone. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Chanell Stone, "In Search of a Certain Eden," "Natura Negra" series, 2019. Courtesy of the artist.
Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Andil Gosine. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Andil Gosine, Cane Portraits: Field of Dreams, 2017. Courtesy of the artist.
Jeff Thomas & Aria Dean. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Daniela Ortiz. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Daniela Ortiz. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Jeff Thomas. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Esker Foundation: "Constellations: Racial myths, land, and labour"
Bo Wang & Lu Pan. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Bo Wang & Lu Pan. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Bo Wang & Lu Pan. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Bo Wang & Lu Pan. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Andrea Chung. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Andrea Chung. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Andrea Chung. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.
Andrea Chung. Installation view of "Constellations: Racial myths, land, and labour," 2024. Photo by Blaine Campbell.

Spring/Summer 2024 Exhibitions

Friday, May 17th, 2024

Deanna Bowen: Black Drones in the Hive

Curated by Crystal Mowry - Organized by the Kitchener-Waterloo Art Gallery - Circulated in partnership with the MacKenzie Art Gallery, Regina.

Project Space: Wei Li: Skinbound until 6 June, Upcoming: Levin Ifko: Tender To The Flame opens on 17 June to 20 October. In Bridge Space: Tap, Tap, & Unwrap.

PDFs

SpringSummer2024.pdf

Thursday, May 16th, 2024
1.9MB

Web Resolution Images

Esker Foundation - Deanna Bowen: Black Drones in the Hive
Esker Foundation - Deanna Bowen: Black Drones in the Hive
Deanna Bowen, installation view of "Double Consciousness," Inkjet prints on archival paper. Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, installation view of "Double Consciousness," Inkjet prints on archival paper. Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Esker Foundation - Deanna Bowen: Black Drones in the Hive
Installation view of Deanna Bowen's "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, "Berlin Constellation." Installation of 18 inkjet prints on archival paper. Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Detail of "Berlin Constellation." Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Installation of "Berlin Constellation." Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, installation view of "Haldimand Tract." Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, detail of "Haldimand Tract." Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, installation of "Haldimand Tract." Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, "The Wars." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, "The Wars." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Detail of Deanna Bowen, "The Wars." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, "The Wars." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, "The Wars." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, "The Wars." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, "The Wars." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, "Slavery." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, "Slavery." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, "Slavery." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, "Abolition." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Esker Foundation - Deanna Bowen: Black Drones in the Hive
Detail of Deanna Bowen, "Abolition." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen The branded hand of Captain Jonathan Walker, 1845, 2020. Inkjet print on archival paper. Courtesy of the artist and MKG127.
Deanna Bowen, "The branded hand of Captain Jonathan Walker, 1845," 2020. Inkjet print on archival paper. Courtesy of the artist and MKG127.
Deanna Bowen. “1911 Anti Creek-Negro Petition” from Immigration of Negroes from the United States to Western Canada 1910-1911, 2013. Inkjet print on archival paper, digitally sourced from original documents held in the Collection of Library and Archives Canada. Installation view of Deanna Bowen, "Black Drones in the HIve." Photo by: Blaine Campbell.
Deanna Bowen. “1911 Anti Creek-Negro Petition” from Immigration of Negroes from the United States to Western Canada 1910-1911, 2013. Inkjet print on archival paper, digitally sourced from original documents held in the Collection of Library and Archives Canada. Installation view of Deanna Bowen, "Black Drones in the HIve." Photo by: Blaine Campbell.
Deanna Bowen. “1911 Anti Creek-Negro Petition” from Immigration of Negroes from the United States to Western Canada 1910-1911, 2013. Inkjet print on archival paper, digitally sourced from original documents held in the Collection of Library and Archives Canada. Installation view of Deanna Bowen, "Black Drones in the HIve." Photo by: Blaine Campbell.
Installation view of 'Black Drones in the Hive." Deanna Bowen. “1911 Anti Creek-Negro Petition” from Immigration of Negroes from the United States to Western Canada 1910-1911, 2013. Inkjet print on archival paper, digitally sourced from original documents held in the Collection of Library and Archives Canada. Photo by: Blaine Campbell.
Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Interview with Deanna Bowen & Crystal Mowry. Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, installation view of "Taps." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell. Performed by Charles Ellison and filmed on location at OBORO, Montréal.
Esker Foundation - Deanna Bowen: Black Drones in the Hive
Deanna Bowen, "Black Drones." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Detail of Deanna Bowen, "Black Drones." Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, installation of "Black Drones" constellation. installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
"Horns" & “Moses Brantford Jr. Leading an Emancipation Day Parade Down Dalhousie Street, Amherstburgh, Ontario.” 1894, Black & white print. Collected by Alvin D. McCurdy. Collection of Archives of Ontario. Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
"Horns" & “Moses Brantford Jr. Leading an Emancipation Day Parade Down Dalhousie Street, Amherstburgh, Ontario.” 1894, Black & white print. Collected by Alvin D. McCurdy. Collection of Archives of Ontario. Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, detail of horns in Black Drones in the Hive, 2020. Courtesy of the artist and the Kitchener-Waterloo Art Gallery. Photo: Toni Hafkensheid.
Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell. Deanna Bowen, installation view of Sophia Pooley and John Francis in A North-Side View of Slavery: The Refugee: Or the Narratives of Fugitive Slave in Canada, Related by Themselves with an Account of the History and Condition of the Colored Population of Upper Canada by Benjamin Drew, 1856.
Deanna Bowen installation of the exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Esker Foundation - Deanna Bowen: Black Drones in the Hive
Deanna Bowen, installation view of "Double Consciousness," & Deanna Bowen, "After Wilhelm I." Fabrication by Britt Sostar. Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, installation view of "Double Consciousness," & Deanna Bowen, "After Wilhelm I." Fabrication by Britt Sostar. Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, "After Wilhelm I." Fabrication by Britt Sostar, & installation view of "Eugenics." Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Installation view of "Eugenics," & "After Wilhelm I." Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Installation view of "Eugenics." Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Detail of "Eugenics." Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, installation view of "Double Consciousness," & Deanna Bowen, "After Wilhelm I." Fabrication by Britt Sostar, & installation view of "Eugenics." Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Deanna Bowen, installation view of "Double Consciousness," & Deanna Bowen, "After Wilhelm I." Fabrication by Britt Sostar. Installation view of Deanna Bowen's exhibition "Black Drones in the Hive." Photo by Blaine Campbell.
Installation view of Deanna Bowen's
Installation view of Deanna Bowen's "Black Drones in the Hive." Photo by Blaine Campbell.
Crystal Mowry, courtesy of the curator.
Deanna Bowen, courtesy of the artist.

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.
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: "Parting Gift for Quarantine Blues," 2024. Photo by: Blaine Campbell.
Leonard Suryajaya: "Parting Gift for Quarantine Blues," 2024. Photo by: Blaine Campbell.
Esker Foundation - Leonard Suryajaya: Parting Gift for Quarantine Blues
Esker Foundation - Leonard Suryajaya: Parting Gift for Quarantine Blues
Esker Foundation - Leonard Suryajaya: Parting Gift for Quarantine Blues
Esker Foundation - Leonard Suryajaya: Parting Gift for Quarantine Blues
Esker Foundation - Leonard Suryajaya: Parting Gift for Quarantine Blues
Esker Foundation - Leonard Suryajaya: Parting Gift for Quarantine Blues
Esker Foundation - Leonard Suryajaya: Parting Gift for Quarantine Blues
Leonard Suryajaya: "Parting Gift for Quarantine Blues," 2024. Photo by: Blaine Campbell.
Leonard Suryajaya, Family Tree, 2023. Courtesy of the artist.
Leonard Suryajaya, Quarantiine Blues, 2023. Coutesy of the artist.
Rhonda Weppler and Trevor Mahovsky: "Edelweiss," 2024. Photo by: Blaine Campbell.
Rhonda Weppler and Trevor Mahovsky: "Edelweiss," 2024. Photo by: Blaine Campbell.
Rhonda Weppler and Trevor Mahovsky: "Edelweiss," 2024. Photo by: Blaine Campbell.
Rhonda Weppler and Trevor Mahovsky: "Edelweiss," 2024. Photo by: Blaine Campbell.
Rhonda Weppler and Trevor Mahovsky: "Edelweiss," 2024. Photo by: Blaine Campbell.
Rhonda Weppler and Trevor Mahovsky: "Edelweiss," 2024. Photo by: Blaine Campbell.
Rhonda Weppler and Trevor Mahovsky, "Ring" from Edetweiss. 2023.
Rhonda Weppler and Trevor Mahovsky, "Camera" 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.