and perhaps more willingly connected want to do - without giving way under the to negotiate a response that respectfully
ing bouts of the simple and the complex. It is
to networks in Europe, Asia, the UK and pressure to fit easily into accepted catego- engages with what they’ve been asked to often absurdly expansionistic and lacks clar-
America than they are to other cities in ries. At worst, the artist makes work that do. ity due to its chronic and programmatic mis-
Canada. Vancouver’s community has cer- plays directly into the desires of a system taking of one idea for another, for example.
tainly thrived in negotiating this complex that adores consistency and categoriza- It has not been our desire to force collabo- He has exhibited at CSA Space, Or Gallery,
Helen Pitt Gallery, Shudder Gallery, LES gal-
relationship to international exposure. tion. Experimentation is displaced in fa- rations or correspondence upon incon-
lery, Eyelevel Gallery (Halifax), Jeffrey Boone
vour of career stability. gruous subjects. The only communication Gallery, and has upcoming shows at Café for
In considering the taxonomical impulse we’ve facilitated between the artists as a Contemporary Art (North Vancouver), Min-
implicit in the desire to identify and In this case, the artists have been invited component of this exhibition has been istry of Casual Living (Victoria), and 2of2
group artists together according to re- to participate in an exhibition that asks the transmission of their instructional Gallery (Toronto). His work has appeared in
Pyramid Power and The Fillip Review. He was
gional identity, the parameters for this them to perform two tasks. documents. Neither have we wanted to also the recipient of the 2008 Painting on The
exhibition suspend comparative analysis flatten difference through idealistic uni- Edge grand prize.
of works that are exemplary of the par- Firstly, they have been asked to produce an ties. If distinct regional tendencies are
ticipating artists’ practices. Instead of an instructional document for an artist who visible in the approaches these artists Sara Mameni Born 29/03/1977; debts
$50000 (and growing); 2008 tax return
emphasis on what these artists usually is unknown to them. These documents have taken, then a space had to be made
$734.56; debit card # 5872971307****; mov-
make, this exhibition gives evidence of constitute the principal contribution of for the individuals participating in this ing to San Diego in September.
disparities in the way they think. each artist to this show and they vary show to misunderstand and reinterpret
in their approach and authoritativeness. one another. We could not assume that Born in West Flanders, Belgium, Isabelle
Restricted to the space of three standard Some are poetic, setting impossible or these artists share much in common, Pauwels lives and works in Vancouver, BC.
Transcontinental Divide letter sized pieces of paper, the five Van- loosely defined tasks. Others are almost apart from the need to approach artmak-
She studied sculpture at Emily Carr Univer-
sity in Vancouver, and completed her gradu-
Transcontinental Divide couver artists and five Ottawa artists in excessively step-by-step and diagrammat- ing exactly as they believe they should. ate studies at the School of the Art Institute
this show were asked to provoke, instruct, ical. It is typical in the working method- of Chicago where she integrated video into
direct or lead each other as unknown col- ologies of many contemporary artists for We would like to thank all participat- her practice. Recently she has shown at Black-
wood Gallery, Mississauga; Artspeak, Vancou-
leagues in the production of a new work. the idea of an artwork to be sketched out ing artists for generously and perhaps
ver; and Presentation House Gallery in North
From the outset, the participating artists before entering into the production stage. nervously relinquishing some authorial Vancouver.
were informed that both sets of these in- Typically, such instructions are passed control while simultaneously working so
structional documents would be displayed on to a craftsperson or labourer who is thoughtfully through this project. The Ron Tran was born in Saigon, Vietnam and
in the concurrent exhibitions. The work usually expected to execute them exact- complex responses they have contributed currently lives and works in Vancouver, BC.
He graduated from Emily Carr Institute of Art
resultant from the received instructions, ingly if not unquestioningly. (Consider help to sustain rather than resolve the and Design in 2004 and has exhibited at Law-
however, would be displayed only in the the history of minimalist sculpture and questions engendered by the conceptual rence Eng Gallery, Vancouver; Neon Gallery,
artist’s “home” gallery. In other words, the many instances in which industrial parameters of this exhibition. Sweden; Artspeak, Vancouver; the Seattle Art
should a viewer see this show at Gallery manufacture was absolutely essential to Museum; Western Front, Vancouver; Nor-
wich Gallery, England; Charles H. Scott Gal-
101 in Ottawa, they would see facsimiles the materialization of an artist’s idea.) Paul Kajander
lery, Vancouver; The Power Plant, Toronto;
of both the Ottawa and Vancouver artist’s Director/Curator Saidye Bronfman Centre, Montreal, PQ.
instructions, but only what an Ottawa The second role these artists have taken
artist has made of a Vancouver artist’s on is to evaluate and in some sense rescue
ideas. each idea from the unadulterated labour Raymond Boisjoly works in Vancouver, BC.
Transcontinental Divide work, Robert Filliou’s hopeful term for of its execution. Granted the autonomy He has participated in recent group exhibi-
tions at the Vancouver Art Gallery (Vancou-
HELEN PITT GALLERY ARTIST RUN CENTRE
interconnectedness and exchange. It is not unusual for artists to work at the to reject, salvage, interpret or submit to The Helen Pitt Gallery would like to acknowledge the
ver), Crawl Space Gallery (Seattle), the Mor-
The Helen Pitt Gallery Artist Run Centre behest of a curatorial agenda. I am gen- the received instructions, what is finally ris and Helen Belkin Art Gallery (Vancouver)
following for their generous support of this exhibition:
Joshua Bartholomew, Leanne L’Hirondelle, Maki Mi-
is pleased to be hosting this exhibition in Vancouver has long played an important erally wary of those instances where an produced in either exhibition space is and Organ Gallery (Chongqing, China). He yano, the BC Scene, and, as always, the Canada Council
for the Arts, the City of Vancouver Office of Cultural
conjunction with Gallery 101 in Ottawa as role in nurturing a diversity of artists artist is engaged in the process of their not the result of co-operative collabora- has also published visual and written work in Affairs, the British Columbia Arts Council, the BC
part of BC Scene and gratefully acknowl- and practices through its pioneering Art- own instrumentalization. Increasingly at tion. In fact, these pairings might more Pyramid Power and Woo. Raymond studied at Gaming Commission as well as our members, co-op
The University of British Columbia and Emily students and volunteers.
edges the participation of Raymond Bois- ist Run Centres. International attention the mercy of bureaucrats and arts profes- accurately be described as a form of criti-
Carr Institute. Images courtesy of Raymond Boisjoly and Isabelle Pauwels.
joly, Karina Bergmans, Jennifer Cook, through the past few decades has not only sionals, the work that is generally funded, cism. The discrepancy between each set
Steven Hubert, Roy Lu, Sara Mameni, made artists and arts professionals else- exhibited or collected has often already of instructional documents and the works Steven Hubert is a Kelowna-born Vancouver- Artist Run Centre
Isabelle Pauwels, Minh Nguyen, Stefan where more aware of us, this attention succeeded in establishing its own cultural they have spurred is an indication of the based artist who graduated from Emily Carr
Institute in 2007. Bearing the imprint of Tuesday to Saturday 12 to 5pm
Thompson and Ron Tran. The work in has also had the effect of making us more legitimacy. The entrepreneurial model in points of departure each artist has taken Wednesdays 1 to 7pm
previous study in English literature, his work
this show is tangentially informed by a aware of activities in the broader world which the artist must repeatedly produce in making the idea align with their own in painting, sculpture, drawing, photogra- 102-148 Alexander Street
Vancouver, B.C. V6A 1B5
history of correspondence art, which, of contemporary art. Our geographical works that are consistent with their artis- artmaking process. The space between phy, and video takes cues from poetics with Canada
tic identity dominates the cultural field. thought and materialization (or thinker (604) 681-6740
from the point of view of Vancouver also location has often meant that arts profes- a backsplash of history that is partly logical,
includes the notion of the Eternal Net- sionals working from this city are sooner At best, artists do their work – what they and maker) allows each artist the room partly mystical, and perforated by alternat- helenpittgallery.org