Présences du littéraire dans l’espace public canadien - Photograph

There is no place like home

Marie-Claude Langevin — Wed, 29 Sep 2010 16:01:37 +0000

Artwork identification

Artwork creator(s):

Lum, Ken

Artwork creator(s):

Lum, Ken

Text author(s):

Lum, Ken

Text author(s):

Lum, Ken

Installation year:

2001

Artwork description

Source: Mois de la photo (2001). THERE IS NO PLACE LIKE HOME. (http://www.moisdelaphoto.com/2001/lieux/fr_bleury.html)

Source: Craddock, Sacha (2001). Ken Lum, There is no place like home. (http://www.mip.at/en/werke/464.html)

Description:

Giant banner featuring portraits of people from various backgrounds along with their personal thoughts.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Je pourrai jamais me
sentir chez moi ici
J'me sens pas chez moi ici

Wow, j'aime vraiment ça ici
J'vais jamais retourner chez moi!

J'suis écoeuré de vos idées
sur les immigrants
C'est aussi chez nous ici

Text theme:

Country of origin, nationality, "internationality", immigration

Artwork theme:

Country of origin, emotions related to immigration and differences between nationalities. Awareness that home (the place that welcomes you) can be anywhere, regardless of nationality or religion.

History

History:

This project was originally produced by the Museum in Progress for the facade of the Kunsthalle in Vienna, in association with the Canadian Embassy and the League for Human Rights. The text was in English.

Event date(s):

2001

Dimensions

Other information

Note(s):

This Canadian artist presents There is no place like home, designed for the facade of the Kunsthalle in Vienna. This work involves various protagonists, colours and opinions. The aim of the project is to give the public the means to consider the image differently depending on whether it is displayed in a public or private space. More specifically, he is interested in examining the way immigrants reconstruct their identity in their host country.

Artist's biography:

Ken Lum

Document(s):

THERE IS NO PLACE LIKE HOME

Ken Lum, There is no place like home

Vers tissés serré

Marie-Claude Langevin — Wed, 15 Sep 2010 19:38:15 +0000

Artwork identification

Artwork creator(s):

The Menkès Shooner Dagenais LeTourneux Team

Artwork creator(s):

L'équipe Menkès Shooner Dagenais LeTourneux / The Menkès Shooner Dagenais LeTourneux Team

Text author(s):

Beaulieu, Michel; Beausoleil, Claude; Brault, Jacques; Melançon, Robert; Brossard, Jacques; Caccia, Fulvio; Chamberland, Paul; D'amour, Stéphane; Miron, Gaston; Monette, Hélène; Nepveu, Pierre; Plourde, Danny; Théoret, France

Text author(s):

Beaulieu, Michel

Beausoleil, Claude

Brault, Jacques

Melançon, Robert

Brossard, Jacques

Caccia, Fulvio

Chamberland, Paul

D'amour, Stéphane

Miron, Gaston

Monette, Hélène

Nepveu, Pierre

Plourde, Danny

Théoret, France

Collaborator(s):

Campeau, Sylvain; La Maison de la poésie de Montréal

Installation year:

2010

Artwork description

Source : Photo transmited by Marie-Claude Langevin

Description:

Created by assembling hundreds of glass jars, the installation Vers tissés serré sends visitors on a poetic journey through Montreal, with help from words by Gaston Miron, Pierre Nepveu, Jacques Brault, Claude Beausoleil, Hélène Monette, Stéphane D’Amours, Paul Chamberland, Fulvio Caccia, Michel Beaulieu, Nicole Brossard, France Théoret and Danny Plourde. Each element distinguishes itself through the poetry it displays.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Excerpt:

Montréal tu me perds Montréal c'est bien toi

dans ces rues dénudées dans des blocs de verre

ces images et des livres te contant des histoires

les faux sans fond d'une ruelle où nul ne va

plus loin c'est encore toi plus avant dans le vide

tu bâtis pauvre ville pauvre enfance infinie

Text theme:

Poetic Montreal journey, city

Artwork theme:

Urban density. The city.

Text reference:

Variables

Sans fin Montréal

Montréal, tu t'en vas

Il n'y a plus de chemin

Au petit matin

Montréal

Vue du mont

Dans l'abstraction proliférance urbaine

Le mal du pays

Temps linéaire

Mi-juillet

Villeray

Monologue de l'aliénation délirante

La femme qui dort dans le métro

Vers quelque (sommes nombreux à être seul)

History

History:

From May 18 to October 31, 2010, in the entrance hall of the Grande Bibliothèque, Bibliothèque et Archives nationales du Québec (BAnQ) will be hosting the exhibition Architectures en vers, which consists of five architectural installations inspired by poetry. These installations were created by collectives of well-known and up-and-coming architects working with glass artists. The exhibition is presented as part of the “Montréal, 2010 City of Glass” program, under the direction of the Board of Montreal Museum Directors.

Event date(s):

2010

Dimensions

Other information

Note(s):

The Menkès Shooner Dagenais LeTourneux Team (architects) is concerned with the issue of urban density. The city, when it shows true density, is a viable alternative to urban sprawl and can be perceived from the perspective of sustainable development.

Document(s):

Architecture en vers exhibition at Montreal's Grande Bibliothèque

Architectures en vers, présentée dans le cadre de Montréal, ville de verre 2010

Table-ronde - Exposition “Architectures en vers” à la Grande Bibliothèque

Untitled (It)

Marie-Claude Langevin — Wed, 18 Aug 2010 17:01:54 +0000

Artwork identification

Artwork creator(s):

Kruger, Barbara

Artwork creator(s):

Kruger, Barbara

Text author(s):

Kruger, Barbara

Text author(s):

Kruger, Barbara

Installation year:

2010

Remarks on location:

On the facade of the Art Gallery of Ontario

Artwork description

Source: Photo provided by Marie-Claude Langevin

Description:

The artwork consists of a series of found images and statements.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

LOVE IT

SHOVE IT

PRAISE IT

PLEASE IT

DOUBT IT

SHAME IT

BLAME IT

KISS IT

BUY IT

BELIEVE IT

Text theme:

Imperatives imposed on the public by advertisers

Artwork theme:

Explores how photography informs and transforms human behaviour, especially via the medium's connections to mass media, advertising, consumerism and propaganda.

How we are to one another

History

History:

The installation responds to CONTACT’s theme for 2010, “Pervasive Influence,” which considers how photography informs and transforms human behaviour, especially via the medium’s connections to mass media, advertising, consumerism and propaganda.

May 1 - August 30, 2010

Event date(s):

2010

Dimensions

Other information

Note(s):

“I work with pictures and words because they have the ability to determine who we are and who we aren’t.”

Barbara Kruger

Artist's biography:

Barbara Kruger

Document(s):

American Artist Barbara Kruger to Appropriate AGO Façade

Barbara Kruger - Scotiabank CONTACT

Making a statement

AGO paid to be wrapped in advertising

Questions & Artists: American artist Barbara Kruger shakes things up on the AGO's façade

A Tale of Two Children: A Work for Strathcona

Marie-Claude Langevin — Wed, 04 Aug 2010 14:20:01 +0000

Artwork identification

Artwork creator(s):

Lum, Ken

Artwork creator(s):

Lum, Ken

Text author(s):

Lum, Ken

Text author(s):

Lum, Ken

Installation year:

2005

Artwork description

Source : Photo transmited by Marc André Brouillette

Description:

Two large aluminum panels. On one side, an image; on the other, text. One shows an unhappy Caucasian boy. The other, a smiling young Asian girl and an adult woman.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

What an idiot!
What an idiot
you are!
What an utterly
useless idiot
you are!

You so smart.
You make me proud
you so smart.
I so proud
you so smart.

Text theme:

Conjunctions and disjunctions between visual and verbal imagery

Artwork theme:

Parenting
The anecdotal is pitted against stereotypes
Social criticism
The neighborhood

Dimensions

Other information

Note(s):

The artist grew up two blocks away from the works yard.

Artist's biography:

Ken Lum

Owner(s):

Vancouver

Document(s):

Ken Lum: A Tale of Two Children

Public Art in Vancouver. Angels Among Lions

Arboreus, after Rodchenko

Marie-Claude Langevin — Mon, 26 Apr 2010 02:21:22 +0000

Artwork identification

Artwork creator(s):

Metz, Jacqueline; Chew, Nancy

Artwork creator(s):

Metz, Jacqueline

Chew, Nancy

Text author(s):

Luis Borges, Jorge

Text author(s):

Luis Borges, Jorge

Installation year:

2008

Artwork description

Source: Photo provided by Jacqueline Metz & Nancy Chew

Description:

A 43’ high glass and glulam installation marks a public plaza and is visible from the library and all approaches. The glass has an abstracted, lifesize image of a cedar tree. Framed by this sculpture, and set on the concrete wall behind, is a text installation which interprets the meaning of the imagery - the two are read together.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

The original is unfaithful to the translation.
Jorge Luis Borges

Text theme:

Expression of the idea that culture and language evolve, always in reference to an earlier version, always becoming something else.

Artwork theme:

Arboreus is informed by the imagery of a giant cedar - a reference to the tree of knowledge, the historic logging industry of Lynn Valley, and the local forested landscape.

Dimensions

Height:

13.1m

Other information

Note(s):

Although the image appears to be a magnificent old grown cedar, lifesize, it is an abstraction, transformed in various ways (including scale, digital manipulation, media, transparency, sitting within an urban context) of an iconic historical photo: Pine Tree, Alexander Rodchenko, 1925.

A further use of text is the latin phrase layered over the image: the scientific name for the Western Red Cedar, Cupressaceae Thuja plicata - a mislabelling.

Artist's biography:

Metz & Chew

Author's biography:

Jorge Luis Borges

Document(s):

Art for art's sake

Au fil de ta promenade

Marie-Claude Langevin — Tue, 28 Jul 2009 15:16:41 +0000

Artwork identification

Artwork creator(s):

Riverin, Agnès

Artwork creator(s):

Riverin, Agnès

Text author(s):

Riverin, Agnès

Text author(s):

Riverin, Agnès

Installation year:

2003

Remarks on location:

The city of Port-Cartier, in the MRC des Sept-Rivières, is located along the North Shore of the St. Lawrence River and is characterized mainly by the immensity of the land and shores and by its abundance of natural resources. The Centre de santé des Sept Rivières includes a CLSC and a small medical centre that houses a long-term care facility.

The Work:

The coastal horizon stretches along the entire North Shore. Agnès Riverin chose to illustrate it in four ways, which can be found in the Centre de santé’s Place Publique (lobby) and its dining room.

Artwork description

Source : Photo transmited by Agnès Riverin

Description:

The Wreck:

Fascinated by the mysterious wreck of the Lady Era, which washed up on the shores of Port-Cartier over 20 years ago, the artist made it the focal point of this work. Thus, a steel silhouette of the wreck floats on the wall of the Place publique (lobby). Jutting out slightly, it hugs the curve of the wall. Corten steel, used in this project, has been oxidized without affecting its resistance. Its rich colours will intensify with time, just like those of the Lady Era.

The Boxes:

Facing the wall featuring the wreck, the small wall of the Place publique provided another opportunity to explore dreams and memories. A horizontal line made up of six cherry wood boxes with glass panels (40 x 40 x 15cm) separates the Place publique from the nurses’ station. Each box, featuring a glass panel on both sides, features a porthole printed in transparency on the interior panels, revealing its contents.

Three of these boxes contain historic elements referring to forestry (pulp and paper, lumber), the mining industry (iron minerals) and fisheries. The three others integrate old photos of three of the centre’s first residents, commemorating their passage in the institution. These men and women, seen in transparency, symbolize the process of Alzheimer’s disease: long-term memory, first seen as a ghostly presence, slowly overtakes short-term memory. A poetic text written by the artist can be read on both sides, linking the boxes together. The poem takes viewer-readers on a morning stroll by the sea to watch the sunrise.

Dining Room:

In the dining room, two series of portholes are hung across from each other; diners are seated aboard a virtual ship.

Six Pictorial Works:

On the first wall, measuring 9.75m, there are six paintings, each measuring 60cm in width. They represent six different views of the sea-river: from the beach, the harbour, the sea and the road. Painted in oil with large strokes, the chiaroscuro contrast highlights the play of light upon the water or the close-up of a wave.

Six Sculptural Works:

On the 7.75m wall near the windows, six sculpted wood pieces measuring 60cm each cast their shadows. The maritime theme is maintained. Close-ups of waves and the movement of the water are sculpted in linden wood and call to mind the forestry industry in Port-Cartier. They are the same size as the oil paintings and are hung at the same height on the wall; they evoke both the horizon and a series of portholes on the hull of a ship.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

L’horizon pour seul voyage

tu distends de mille coudées

les rumeurs lointaines

Baigné dans cette lumière

à dissoudre toute forme

le silence t’habite

chargé d’azur et de vent

Au fil de ta promenade

un journal délavé

fouillis d’eau et de mots

suspend brièvement l’errance matinale

ton regard s’interrompt

quelque chose d’autre appelle le présent

Conquis tu t’inclines

devant le plus beau des coquillages

et tes mains déposent un sourire sur le sable

où tu cueilles encore des ailleurs coutumiers

Derrière les bruits familiers

qui s’installent lentement

le mystère répété au jour le jour

une fois de plus te surprend

De retour chez toi

tu t’assieds près de la fenêtre

Il te reste un peu de café

la douceur du vent sur ta peau

et la sagesse des vagues

pour régler le sort de l’humanité

Souriant aux lueurs maritimes

témoins de tes rêveries

tu connais ce que peu de gens connaissent

dans les mille gestes quotidiens

la durée se loge au coeur de l’instant

Text theme:

The pronoun "Tu" is used to include the viewer in this stroll. It speaks of a stroll along the river to see the sunrise and more.

Artwork theme:

The artist’s mandate was to create a calming work of art aimed at older people suffering from Alzheimer’s disease while including elements of the region’s three main economic areas, i.e. the former pulp and paper mill, the iron mine and fishing.

Dimensions

Other information

Note(s):

La communication, la rencontre sont au coeur de ma recherche visuelle et tous les projets d’art public que j’ai réalisé furent de merveilleux cadeaux pour établir des ponts entre ma création et les spectateurs. Ils m'ont aussi donné l'opportunité de créer des oeuvres ouvertes à l'autre et ce, dans un langage visuel poétique à plusieurs niveaux de lecture. Chaque projet a été créé afin d'interpellet le spectateur et par l'effet multiplié des approches artistiques (peinture, sculpture, poésie), de lui offir la possibilité de s'identifier à une partie ou à l'ensemble de l'oeuvre de manière toute personnelle. - Agnès Riverin, conservation avec l'artiste juillet 2009

Artist's biography:

Agnès Riverin

Owner(s):

CLSC- Centre de santé des Sept-Rivières

Frozen Dreams

Marie-Claude Langevin — Wed, 15 Jul 2009 14:38:41 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Installation year:

2000

Remarks on location:

Spans the entire entrance corridor of the facility (Southeast Calgary)

Artwork description

Source: Photo provided by Blake Williams

Description:

The mural spans the entire entry corridor of the facility and acts as a welcoming icon .

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

walking down to the pond

all the memories

came crashing back

first goal

the mountains, the sky and ice would turn red

my dad...well...he’d build boards

out of old sheets of plywood

then at night

he’d flood the backyard

we’d wake up to our own rink

where the mountains meet the plains

we’d

drive to the rink

in the dark

she’d always

make me

hot chocolate

long free days with a stick and skates

pond hockey

new skates

Text theme:

Childhood memories

Artwork theme:

Hockey, winter, families

Dimensions

Height:

9.14m

Width:

12.8m

Other information

Note(s):

Commissioned by the City of Calgary’s Public Art Program for the Max Bell Centre

Artist's biography:

Blake Williams

Author's biography:

Artist : Blake Williams

Owner(s):

City of Calgary

Document(s):

Public Art : Frozen Dreams

From Frozen Ponds

Marie-Claude Langevin — Wed, 15 Jul 2009 14:10:57 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Installation year:

1999

Artwork description

Source: Photo provided by Blake Williams

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

From Frozen Ponds

On Frozen Ponds

To Spring Thaw

Lord Stanley

Oochamkanutk

Artwork theme:

Development of hockey in Canada; women’s hockey; history and love of hockey

Dimensions

Height:

7.31m

Width:

7.31m

Other information

Note(s):

From Frozen Ponds is a collage-like mural filling an entire wall [alongside a staircase].

The mural’s cool greys, blues and purples suggest the colours created by natural light refracting through cold ice. The "historical images" chosen by Williams for the project evoke professional competition, and, in the artist’s words, the “spirit, history and exhilaration of the game.” Images culled from the B.C. Archives and the City of Vancouver Archives.

Images of women playing hockey emphasize the long, rich tradition of a sport often overshadowed by the male-dominated NHL; in fact, the game is now the fastest growing female sport in the country.

Artist's biography:

Blake Williams

Author's biography:

Artist : Blake Williams

Owner(s):

City of Surrey Public and Community Art Collection

Document(s):

Public Art Program. Public & Community Art Projects & Locations

Public Art : From Frozen Ponds

(un)coverings

Marie-Claude Langevin — Wed, 08 Jul 2009 03:19:31 +0000

Artwork identification

Artwork creator(s):

Neumark, Devora

Artwork creator(s):

Neumark, Devora

Text author(s):

Neumark, Devora

Text author(s):

Neumark, Devora

Installation year:

1995

Artwork description

Source: Carlevaris, Anna (2008). Light Year : A Festival of Photographies, Winnipeg : Floating Gallery

Description:

Photographic installation placed on the grass

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1: detail. Plate 1 / 4. Image 2: installation view.

Text of the artwork:

who controls the silence?

[plaque]

somehow I learned to
separate the experience
from the feeling: this way
I wouldn't be present
when the bad stuff
happened.

I'm still trying to put
myself back together
and so
I mourn.

[diptych]

living with the memories the
terror guilt shame pain hurt
ever present (even if they
now say they're sorry)

what truths must I tell my children?

[plaque]

when I was little, my father told me
that each person is given a certain
number of words to use during their
life. when the words are used up, the
person dies. I remember counting each
word I spoke, afraid I would die young.

I promised I wouldn't do that to my daughter.

Artwork theme:

Child (sexual) abuse, trauma, memory

History

History:

Event: Light Year: A Festival of Photographies

Date: Sept. 30-Oct. 28, 1995

Event date(s):

1995

Dimensions

Other information

Artist's biography:

Devora Neumark

Document(s):

Works. (un) veilings

Monumental Amnesia: Devora Neumark’s recent installations

Archeologies of Light

Anonymous Gay and Lesbian Portraits

Marie-Claude Langevin — Tue, 30 Jun 2009 14:43:51 +0000

Artwork identification

Artwork creator(s):

Glawson, Larry

Artwork creator(s):

Glawson, Larry

Text author(s):

Glawson, Larry

Text author(s):

Glawson, Larry

Installation year:

1995

Remarks on location:

Plug In's billboard in the Safeway parking lot; non-literary photographic components in storefront windows throughout the Osborne village business district

Artwork description

Source: Lessard, Denis (1998). A Queer Space Between Fiction and Politics, Winnipeg : Floating Gallery

Description:

In cooperation with Floating Gallery's Festival of Light, Glawson presented two large-scale photographic portraits on Plug In's billboard at River and Osborne. Each portrait suggested the gay/lesbian portraits transcend simple definitions based on stereotyping.

Mention(s) légale(s) des illustrations:

Photo credits:

Artwork theme:

Denominations of gays and lesbians, human identity

History

History:

The project took three forms:

History: 11 images (11 x 20 inches each)
Event: Fractured Spaces, Winnipeg Art Gallery

Date: February 1995

History: large wall arrangement of 8 images (8 x 10 inches each)

Event: Quiver, Light Gallery
Date: June 1995

Floating Gallery had 20,000 visitors visit the exhibition of this work.

Event: Light Year: A Festival of Photography, organized by Floating Gallery
Date: September 30-October 28, 1995

Dimensions

Other information

Artist's biography:

Glawson, Larry

Document(s):

Light Year : A Festival of Photographies

Archives. 1995

Jardins aux racines d'argent

Marie-Claude Langevin — Fri, 17 Apr 2009 02:53:42 +0000

Artwork identification

Artwork creator(s):

Vincent, Bill (William)

Artwork creator(s):

Vincent, Bill (William)

Text author(s):

Vincent, Bill (William)

Text author(s):

Vincent, Bill (William)

Installation year:

2003

Artwork description

Source: Bill Vincent (2009). Art public. (http://www.pagede.com/artistes/vincent_bill/artpublic_BillVincent.htm)

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Texts taken from the archives of the city of Charlesbourg (birth certificates, baptismal records, wedding certificates).

Text theme:

Life cycle, the passage of time

Artwork theme:

Life cycle

Dimensions

Other information

Artist's biography:

Bill Vincent

Source:

vincbill@sympatico.ca

Document(s):

Chair et mues

Flood of Memories

Marie-Claude Langevin — Tue, 07 Apr 2009 16:14:36 +0000

Artwork identification

Artwork creator(s):

Anholt, Jill

Artwork creator(s):

Anholt, Jill

Text author(s):

Anholt, Jill

Text author(s):

Anholt, Jill

Installation year:

2005

Remarks on location:

At the entrance to the Museum and Discovery Centre

Artwork description

Source: City of Surrey (2008). Public Art Program. (http://www.surrey.ca)

Source: Jill Anholt Studio (2008). Projects. Flood of Memories. (http://www.jillanholt.ca/projects/flood-of-memories)

Source: City of Surrey (2008). Public Art Program. (http://www.surrey.ca)

Description:

A form reminiscent of a dyke remnant rests on the grassy plane. On one side, deposits of text and images are left on the wall, almost like watermarks from the recession of high water held back by the form in the past. The phrases and images recall multicultural and multigenerational memories from residents related to their past experiences with Surrey’s waterways. On the other side, a vibrant growing garden reveals the fertility of Surrey’s land that has resulted.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

In French, Chinese, German, Hindi, Punjabi, English

rivière = river
terre fertile = fertile land
eau salée = saltwater
inondation = flooding
construction de digue = dyke building

Text theme:

Water

Artwork theme:

Long history of the community’s dyke building efforts to control local rivers; multicultural and multigenerational memories from residents related to their past experiences with Surrey’s waterways; the fertility of Surrey’s land that has resulted from the controlled waterways.

Dimensions

Other information

Note(s):

• Budget: $38,000

Artist's biography:

Jill Anholt

Owner(s):

City of Surrey Public and Community Art Collection

Source:

Jill Anholt 304 – 207 West Hastings St, Vancouver BC V6B 1H7 t 604.669.0490 f 604.669.0496 jill@jillanholt.ca 2. Public & Community Art Coordinator Surrey Arts Centre 13750 - 88 Avenue Surrey, BC V3W 3L1 604-501-5561 arts@surrey.ca

Document(s):

Projects. Flood of Memories

Five Billboards for Banff

Marie-Claude Langevin — Mon, 06 Apr 2009 18:52:51 +0000

Artwork identification

Alternate title:

Those Who Know Will Say Least; Qui en a Connaissance se taira, etc.

Artwork creator(s):

Gerz, Jochen

Artwork creator(s):

Gerz, Jochen

Text author(s):

Gerz, Jochen

Text author(s):

Gerz, Jochen

Installation year:

1984

Remarks on location:

Posters were placed on the façades of buildings along the main street in Banff, Alberta.

Artwork description

Source: Walter Phillips Gallery (1984). Jochen Gerz : 5 Billboards for Banff. Banff : Walter Phillips Gallery

Description:

The posters show 5 upside down images of landscapes of the subboreal forest, accompanied by the following text in English, French, Hebrew, Russian and German: "Those who know will say least" (Hapkemeyer, Andreas et al. Jochen Gerz, Res Publica. The Public Works 1968-1999, Ostfildern-Ruit (Germany): Hatje Cantz, 1999).

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

QUI EN A CONNAISSANCE SE TAIRA

TE KTO ЭHAET CKAЖYT MEHЬШE BCEΓO

DIE DAVON WISSEN WERDEN SCHWEIGEN

THOSE WHO KNOW WILL SAY LEAST

History

History:

Intervention in public space
Event: Jochen Gerz: 5 billboards for Banff, organized by the Walter Phillips Gallery, The Banff Center
July 12-27, 1984

Event date(s):

1984

Dimensions

Height:

1.2m

Width:

2.1m

Other information

Document(s):

Billboard. Art on the Road. A Retrospective Exhibition of Artists' Billboard of the Last 30 Years

Jochen Gerz : 5 Billboards for Banff

Jochen Gerz, Res Publica. The Public Works 1968-1999

Trading

Marie-Claude Langevin — Mon, 06 Apr 2009 18:13:30 +0000

Artwork identification

Artwork creator(s):

Muirhead, Ross

Artwork creator(s):

Muirhead, Ross

Text author(s):

Muirhead, Ross

Text author(s):

Muirhead, Ross

Installation year:

1988

Remarks on location:

Bus shelter on the Southwest Corner of Burrard at Robson Streets

Artwork description

Source: Culley, Peter (1988). Adverse Practises. Vancouver: The Vancouver Association for Noncommercial Culture, p. 16

Description:

Photography in a bus shelter

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Stock Sales High Low Ch’ge

Gibi alerti 3500 18 18 18

Globai dat ¡ 27 27 -3

Globl strt a 15½ 15½

GMN gspi ¡ 100 100

Gld seekr ¡ 14 15 +4

Gold star i 9 9 -1

Gld texas ¡ 850 400 +50

Gld medal ¡ 25 25

Goldbelt 31900 99 90 99 +9

Goldbrae ¡ 230600 25 +5

Goldn bnd 5000 85

Gldn eye ¡ 500

Gldn hope 3000 90 -5

Goldn lion ¡ 10000 50

Gldn nv ¡ 14400 70 -10

Golden pr ¡ 3000 65

Golden pyr 3000 21 21 21

Gldn quail 2000 35 35 35 -6

Gldn quen ¡ 100 200 200 200 -10

Gldn rim ¡ 5712 35 35 35

Gldn sev ¡ 10000 81 80 80

Gldn sevii ¡ 1500 76 76 76 +3

Gld sitka ¡ 9336 90 85 90

Text theme:

Stock list

Artwork theme:

Illegal act of insider trading, commentary on the public sphere (by means of private advertising in public space) within the city of Vancouver, urbanization, deconstruction of opposing ideologies in the public realm, multiplicity of public discourse, street audience issues.

History

History:

Negotiating with the City of Vancouver, a double-sided bus shelter advertising display case was secured at the Southwest corner of Burrard and Robson Streets, between February 29 and June 13, 1988. Participating artists produced new work specific to the conditions of the project and exhibited for five consecutive three-week periods.

Trading by Ross Muirhead and Squid the most intelligent of the invertebrates by Don Gill are set simultaneously on the front and back of the bus shelter's advertising case.

Event: Adverse Practices

March 21-April 11, 1988

Event date(s):

1988

Dimensions

Other information

Artist's biography:

Muirhead, Ross

Source:

Vancouver Association for Non Commercial Culture, centre d’artistes (1984-1998) (Fonds Vancouver Association for Non Commercial Culture fonds) en la possession de la Morris and Helen Belkin Art Gallery University of British Columbia <table border="0" cellpadding="0"> <tbody> <tr> <td valign="top" style="padding: 0.75pt"> Contact: </td> <td style="padding: 0.75pt"> Krisztina Laszlo , Archivist </td> </tr> <tr> <td valign="top" style="padding: 0.75pt"> Address: </td> <td style="padding: 0.75pt"> University of British Columbia, 1825 Main Mall, Vancouver, B.C. V6T 1Z2 </td> </tr> <tr> <td valign="top" style="padding: 0.75pt"> Phone: </td> <td style="padding: 0.75pt"> (604) 822-0001 </td> </tr> <tr> <td valign="top" style="padding: 0.75pt"> Fax: </td> <td style="padding: 0.75pt"> (604) 822-6689 </td> </tr> <tr> <td valign="top" style="padding: 0.75pt"> EMail: </td> <td style="padding: 0.75pt"> <a href="mailto:klaszlok@interchange.ubc.ca" target="_blank">klaszlok@interchange.ubc.ca</a> </td> </tr> </tbody> </table> <div class="im"> </div>

Document(s):

Adverse Practises (Practises Zealously Pursued Pass Into Habits)

Squid the most intelligent of invertebrates

Marie-Claude Langevin — Mon, 06 Apr 2009 18:09:13 +0000

Artwork identification

Artwork creator(s):

Gill, Don

Artwork creator(s):

Gill, Don

Text author(s):

Gill, Don

Text author(s):

Gill, Don

Installation year:

1988

Remarks on location:

Bus shelter on the Southwest Corner of Burrard and Robson Streets

Artwork description

Source: Culley, Peter (1988). Adverse Practises. Vancouver: The Vancouver Association for Noncommercial Culture, p. 16

Description:

Photography in a bus shelter

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

SQUID

THE MOST

INTELLIGENT

INVERTEBRATES

Text theme:

Intelligence (questioning the notion of )

Artwork theme:

Intelligence (questionning the notion of), commentary on the public sphere (by means of private advertising in public space) within the city of Vancouver, urbanization, deconstruction of opposing ideologies in the public realm, multiplicity of public discourse, street audience issues.

History

History:

Negotiating with the City of Vancouver, a double-sided bus shelter advertising display case was secured at the Southwest corner of Burrard and Robson Streets between February 29 and June 13, 1988. Participating artists produced new work specific to the conditions of the project and exhibited for five consecutive three-week periods.

Squid the most intelligent of invertebrates by Don Gill and Trading by Ross Muirhead are simultaneously exposed on the front and back of the bus shelter's advertising case.

Event: Adverse Practices

March 21-April 11, 1988

Dimensions

Other information

Note(s):

There exists more than one version of this piece.

Owner(s):

The artist

Source:

mailto:don.gill@mac.com

Document(s):

Adverse Practises (Practises Zealously Pursued Pass Into Habits)

Call Home

Marie-Claude Langevin — Sun, 05 Apr 2009 23:36:50 +0000

Artwork identification

Artwork creator(s):

Morgan, Joey

Artwork creator(s):

Morgan, Joey

Text author(s):

Morgan, Joey

Text author(s):

Morgan, Joey

Installation year:

1990

Artwork description

Source: Joey Morgan (2008). Other Works. Call Home. (http://www.dreamlab.org/otherwork/call.htm#)

Description:

Photographic image placed in a billboard

Mention(s) légale(s) des illustrations:

Remarks on image:

View of the installation

Text of the artwork:

and you know how

sometimes
You try to explain how you are
when the phone rings
tired of making pretty
and you decide
pictures and how you are
that you’re not going
trying to make something useful
to answer it
or meaningful or political-
because
even propaganda
you already know
if it came down to that
who it is
like when we cut sugar in Cuba
but
before everything changed
while it’s still ringing

it’s almost like
He tells you that
you’re already talking
you don’t have to get so excited that
to each other
nowadays
anyway
just making any art could be
and then when it finally stops
considered a political act
you feel disappointed.

It sounds really easy. Anyway
How come that is?
It doesn’t seem like the right answer

at the time.

CALL
HOME
CALL
HOME
CALL
HOME

Text theme:

Searching for an answer; disappointment; uncertainty

Artwork theme:

One of three exhibition themes: advertising

History

History:

The Transpositions exhibition was created over a 3-year period. Works are divided into 3 categories: portraiture; landscape and flora (nature); and advertising. Created for the advertising platform posters at the SkyTrain stations. The work of 20 Canadian artists extends 24 km along the SkyTrain route from Vancouver to Surrey. Four to seven works are installed randomly amongst the advertising at the following seven stations: Waterfront, Burrard, Grandville, Broadway, Metrotown, New Westminster and Scott Road.

Event: Transpositions: A Public Exhibition of Contemporary Canadian Photography, organized by the Active ARTIFACTS Cultural Association. Commissioners: Don S. And Todd A. Murray Davis.

April 2-May 31, 1990

Event date(s):

1990

Dimensions

Height:

1.82m

Width:

1.21m

Other information

Note(s):

• Exhibition posters provided by Colorific Photo Labs Ltd

• Exhibition Space donated by Trans Ad

• All images were worked either from original negatives or transparencies, enlarged and mounted on styrene board.

Artist's biography:

Joey Morgan

Source:

1. Joey Morgan joey.dreamlab@gmail.com 2. Active ARTIFACTS Cultural Association 1816 East 4th Avenue, Vancouver, BC, V5N 1K1 3. BC Transit, Vancouver Regional Transit System (Corporate Office) 520 Gorge Road East, Victoria, BC, V8W 2P3 Phone: 250-385-2551 (8:00 a.m. to 4:30 p.m.) Fax: 250-995-5639 TransLink Head Office Monday to Friday 8:00 am to 4:00 pm 1600 - 4720 Kingsway, Burnaby, BC V5H 4N2 (604) 453-4500 SkyTrain Head Office 6800 14th Ave, Bu

Document(s):

Transpositions : A Public Exhibition of Contemporary Canadian Photography

We Are the World

Marie-Claude Langevin — Sun, 05 Apr 2009 21:26:45 +0000

Artwork identification

Artwork creator(s):

Lewis, Mark

Artwork creator(s):

Lewis, Mark

Text author(s):

Lewis, Mark

Text author(s):

Lewis, Mark

Installation year:

1988

Remarks on location:

Bus shelter Southwest corner of Burrard at Robson Street

Artwork description

Source: Culley, Peter (1988), Adverse Practises, Vancouver : The Vancouver Association for Noncommercial Culture

Description:

Photographic image in a bus shelter

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

We Are The World
You Are The Third World

Text theme:

Industrialized countries, Third World

Artwork theme:

Industrialized countries, Third World, injustice and economic imbalance, poverty and capitalism, overconsumption.

History

History:

Exhibition We Are the World / White Noise, YYZ Gallery, Toronto, ON, 1988 (Wednesday, April 27-Saturday, May 21). This version of the work was in three languages: Korean, English and Afghan Farsi

Exhibition Adverse Practices, Vancouver, BC, 1988.
Following negotiations with the city of Vancouver, the exhition was booked on the front and back of the advertising box in the bus shelter located at the Southwest corner of the intersection of Burrard and Robson Streets, from February 29 to June 13, 1988. The participating artists created specific new works for the project. Five three-week exhibitions followed.

We Are the World by Mark Lewis and Perhaps She Was So Wicked... by Jil P. Weaving simultaneously occupy the front and back of the advertising box in the bus shelter.

Event: Adverse Practices, February 29-March 21, 1988

Event date(s):

1988

Dimensions

Other information

Artist's biography:

Mark Lewis

Source:

Mark Lewis info@marklewisstudio.com 2. Vancouver Association for Non Commercial Culture, centre d’artistes (1984-1998) (Fonds Vancouver Association for Non Commercial Culture fonds) en la possession de la Morris and Helen Belkin Art Gallery University of British Columbia Contact: Krisztina Laszlo , Archivist Address: University of British Columbia, 1825 Main Mall, Vancouver, B.C. V6T 1Z2 Phone: (604) 822-0001 Fax: (604) 822-6689 EMail: klaszlok@interchange.ubc.ca

Document(s):

Adverse Practises (Practises Zealously Pursued Pass Into Habits)

Perhaps She Was So Wicked...

Marie-Claude Langevin — Fri, 03 Apr 2009 03:44:08 +0000

Artwork identification

Artwork creator(s):

Weaving, Jill P.

Artwork creator(s):

Weaving, Jill P.

Text author(s):

Weaving, Jill P.

Text author(s):

Weaving, Jill P.

Installation year:

1988

Remarks on location:

Bus shelter on the Southwest corner of Burrard at Robson Street

Artwork description

Source: Culley, Peter (1988), Adverse Practises, Vancouver : The Vancouver Association for Noncommercial Culture

Description:

Photography installed in a bus shelter

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Perhaps she was so wicked because she had to wear those
shoes (February 1988, Glamour)
rings on her fingers and bells on the toes
position (s) in language
fetishistic functions of representation
non of the above
all of the above

Artwork theme:

Definition of self, construction of femininity in advertising, questionning of advertising practices, commentary on the public sphere (by means of private advertising in public space) within the city of Vancouver, urbanization, deconstruction of opposing ideologies in the public realm, multiplicity of public discourse from street audience

History

History:

February 29-March 21, 1988

Event date(s):

1988

Dimensions

Other information

Note(s):

Two black and white photographs are placed one above the other in the center of the poster. The red vinyl letters are superimposed over the photographs. The upper photograph comes from the film The Wizard of Oz (1939, MGM) and shows the legs of the deceased Wicked Witch of the East. Under that appears an advertisement for shoes in Glamour magazine from February 1988. Two actual size portraits are drawn on either side of the photographs. On the left is Billie Burke in the character of Glinda the Good Witch of the North (from The Wizard of Oz, 1939, MGM), and on the right, a self-portrait drawn from a wedding photograph taken in 1986.

Artist's biography:

Weaving, Jill P.

Source:

2. Vancouver Association for Non Commercial Culture, centre d’artistes (1984-1998) (Fonds Vancouver Association for Non Commercial Culture fonds) en la possession de la Morris and Helen Belkin Art Gallery University of British Columbia Contact: Krisztina Laszlo , Archivist Address: University of British Columbia, 1825 Main Mall, Vancouver, B.C. V6T 1Z2 Phone: (604) 822-0001 Fax: (604) 822-6689 EMail: klaszlok@interchange.ubc.ca

Document(s):

Adverse Practises (Practises Zealously Pursued Pass Into Habits)

Linkage

Marie-Claude Langevin — Fri, 03 Apr 2009 03:31:02 +0000

Artwork identification

Artwork creator(s):

Hassan, Jamelie

Artwork creator(s):

Hassan, Jamelie

Text author(s):

Hassan, Jamelie

Text author(s):

Hassan, Jamelie

Installation year:

1993

Artwork description

Source: Reed, Joyce Whitebear (1993), The post-colonial landscape: a billboard exhibition, Saskatoon: Mendel Art Gallery

Description:

Photography placed in a billboard

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

40 TONS of nuclear waste was fired by
the
coalition
forces
into
Iraq
during
the
Gulf
War…
---
Adam’s tree
---
leukemia
---
palm forest
---
children
---
mysterious disease

Text theme:

Invasion of Iraq, war victims, health of the Iraqi population, contamination and environmental devastation through nuclear pollution

Artwork theme:

Invasion of Iraq, war victims, health of the Iraqi population, contamination and environmental devastation through nuclear pollution

History

History:

1. General History: Exhibited in Canada, England, Germany and India, thanks to grants in the following communities: Center for Studies Baalgisian, Ontario New Democratic Party (London North Central), Canadian Education Opportunities, Islamic Center of Southwestern Ontario, Palestinian Cultural Center, London (ON), and People of Conscious.

2. Background: Organized by Mendel Art Gallery, Saskatoon, Saskatchewan. The exhibition features the works of artists Edward Poitras, Grant McConnell, Jamel Hassan and Kay WalkingStick. Guest: Joyce Whitebear Reed.
Event: Exhibition The post-colonial landscape: a billboard exhibition, Saskatoon, Saskatchewan, May 31-September 20, 1993. Exposure Hassan billboard: July-August 1993.

3. History: exhibition of the work coordinated by Sue Malvern, cultural critic, and the British Council.

Event: University Art Association Conference, University of Newcastle, Newcastle (England), 1996

4. History: exhibition of the work when American troops were poised to invade Iraq.
Event: domain of the Parliament, Ottawa, Ontario, 2001

5. History: exhibition of the work coordinated by Berlin members of the German Peace Council
Event: International Conference on Depleted Uranium (DU), Hamburg, Germany, 2003

Dimensions

Other information

Note(s):

The artwork envelope can be easily stowed in a box and transported.

Artist's biography:

Hassan, Jamelie

Source:

1. Jamelie Hassan jamelieh@sympatico.ca 2. Mendel Art Gallery 950 Spadina Crescent East P.O.Box 569 Saskatoon, Saskatchewan S7K 3L6 Tél: 306-975-7610 Fax: 306-975-7670

Document(s):

The post-colonial landscape: a billboard exhibition

War Zones

Billboard. Art on the Road. A Retrospective Exhibition of Artists' Billboard of the Last 30 Years

Domicile (Neighbourhood Series)

Marie-Claude Langevin — Wed, 01 Apr 2009 14:17:44 +0000

Artwork identification

Artwork creator(s):

Campbell, Kati

Artwork creator(s):

Campbell, Kati

Text author(s):

Campbell, Kati

Text author(s):

Campbell, Kati

Installation year:

1988

Remarks on location:

Downtown. Signs placed in windows.

Artwork description

Source: Sherrin, Bob (1988). Urban Subjects, Vancouver : The Vancouver Association for Non Commercial Culture

Description:

Illuminated posters installed on billboards

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1: details. One of the four panels of the artwork. Image 2: detail. Three of the four panels of the artwork. Picture 3: detailed. The work in context (overview from the street)

Text of the artwork:

[panel 1]

Common morning   activities   accom-
plished within a few seconds : turn off the
tap,   open   the   curtains, take   off   the
kettle, pour the water, open the fridge,
pour the milk, replace the carton, close
the   fridge,   close    the    bathroom   door.
Once    inner   adhesions    give    way,
Common    motions    break    down,    are
Significant   tasks   in   themselves.

The man chased the woman out onto
the deck. He flailed at her with a long
plank of wood; she held her own with a
metal coat rack.
The deck doors are constantly left
open. Often he has his son or daughter
down on the living room floor while he
pummels and kicks them, screaming
hoarsely. Or else the woman is chasing
them with a cooking pot. Squalls of
words swirl about them.

[panel 2]

Although small and plain, the backyard
is used to its fullest capacity. Many
nights in summer, the whole family sleeps
outside, the man, the woman, the three
teenaged sons, the young daughter. Each
has their own cot, blankets and sheets.
An electric alarm on an extension cord
wakes them up for work.

Two motions deliberated carefully and
then she must sit down, exhausted, beside
the window. She can just see the heads
of two people in another house carrying
on a conversation. Nodding civilly back
and forth. Normality.

[panel 3]

The law required them to build a two
car garage and put in a driveway. This
left little space for a garden. The week
before they moved in, the grandmother,
old and tiny, almost doubled over, built
up a garden in the driveway. They parked
their car on the street.

Several times each year, the young girl
can be heard screaming, over and over,
“Why don’t you just kill me you bastard,
oh I want to die, I want to die”. When
the police come, the mother and daughter
are helped out of the house and they
drive away.
Recently the young girl came home
from the hospital with a baby. The
stepfather has since bought a new car
and dresses more respectably.

[panel 4]

Last year they tried to get rid of the son,
dangerously full grown now and as sour
as the father, by paying his way back to
the homeland. He came back after a few
months; no change.

This was in mid-November and she had
a miraculous garden of giant bok choy
and cabbage under plastic. She tended
it every day; with slow, precise move-
ments, she would lift the plastic, the
wind blowing, then prune and weed and
water. Meanwhile the other houses’
legitimate garden spaces lay fallow, open
to the winter weather.

Text theme:

(Dysfunctional) domestic suburban life

Artwork theme:

Lack of direct interchange amongst city dwellers; exposes fraud of neighbourhood; dislocation, alienation from our neighbours; home as a hideaway from the urban, public sphere

History

History:

Home (Neighborhood Series). Screenprint on plexiglass, fir, fluorescent fixtures, paint. Collection of the Museum of Fine Arts Vancouver

Exhibition Urban Subjects, September 26-October, 15, 1988.

Event date(s):

1988

Dimensions

Height:

109m

Width:

38m

Other information

Artist's biography:

Campbell, Kati

Source:

Vancouver Association for Non Commercial Culture, centre d’artistes (1984-1998) (Fonds Vancouver Association for Non Commercial Culture fonds) en la possession de la Morris and Helen Belkin Art Gallery University of British Columbia Contact: Krisztina Laszlo , Archivist Address: University of British Columbia, 1825 Main Mall, Vancouver, B.C. V6T 1Z2 Phone: (604) 822-0001 Fax: (604) 822-6689 EMail: klaszlok@interchange.ubc.ca

Document(s):

Urban Subjects

Privé/public: art et discours social = Private/Public : Art and Social Discourse