Works and installations by winners exhibited at the National Gallery Canada
view from October 13, 2022per January 29, 2023
Ottawa, ON, October 13, 2022 /CNW/ – National Gallery of Art Canada (NGC), in collaboration with the Canada Council for the Arts, is exhibiting the winners’ works and installations Governor General’s Awards in Visual and Media Arts 2022 up to January 29, 2022. The exhibition creates a dialogue between the winners’ practices and works from the gallery’s contemporary and historical collections.
The gallery spans across Indigenous and Canadian art, contemporary art, European art and public space, its installations and interventions. Brigitte ClavetJewelers and Metalsmiths, Fredericton, NBwinner Saidie Bronfman Award; Gerald McMasterCurator, Artist and Writer, Chelsea, QCwinner Outstanding Contribution Award; and its recipients Artistic Achievement Award, Carole Condé + Carl Beveridgevisual artist, Toronto, ON; Pierre Bourgaultvisual artist, Saint-Jean-Port-Joly, QC; Moira Frances Davyvisual artist, New York, NY; David Reuben Pictukunsculptor/artist, Plainfield, ON; Jocelyn RobertArtist, Québec City, QC and Monique Reimbald-ZeberVisual artist, Montreal, QC, disrupts and destabilizes narratives embedded in permanent collections and takes unexpected paths to create meaningful works.
Greg HillSenior Audine Curator, Aboriginal Art, NGC; Josée Drouin-BriseboisSenior Manager, National Outreach, NGC; Andrea Cunard, Senior Curator, Photographs, NGC; And Stephanie BardziThe Assistant Curator, Contemporary Art, worked closely with the NGC winners on the selection and placement of installations and interventions.
“We are proud to present the work 2022 Governor General’s Awards in Visual and Media Arts of the winners, In partnership with the Canada Council for the Arts. Throughout their long careers, these laureates have sparked reflection and discussion about the arts Canada and beyond,” said Angela CaseyInterim Director and CEO, National Gallery of Canada. “For the first time, the works of GGArts winners are placed in dialogue with the gallery’s collection. In this dynamic experience, we invite visitors to explore connections and interconnections and to consider different perspectives and perspectives.”
“The Canada Council for the Arts is proud to partner with the National Gallery Canada to honor the 2022 GGArts winners,” said Simon BraultDirector and CEO, Canada Council for the Arts. “The exhibition of their work provides an exceptional opportunity for the public to discover or rediscover the contributions of these artists to our own art history and to the evolution of society.”
About the National Gallery Canada
Ankosé — Everything is connected — Tout est relié
Its National Gallery Canada Dedicated to amplifying voices through art and expanding the reach and scope of its collections, exhibitions, and public activities to represent all Canadians, centered on Indigenous ways of knowing and being. in Ankos– an Anishinabemowin word meaning Everything is connected—reflects the gallery’s mission to create dynamic experiences that open hearts and minds and allow for new ways of seeing ourselves, each other, and our diverse histories through visual art. The NGC is home to a rich contemporary Aboriginal international art collection, as well as important collections of 14 historical and contemporary Canadian and European art.m From 21St The National Gallery was established in 1880 Canada has played an important role in Canadian culture for more than a century. Visit gallery.ca and follow us to learn more about the gallery’s programming and activities Twitter, Facebook, YouTube and Instagram. #Ankose #EverythingIsConnected #ToutEstRelié.
About the Canada Council for the Arts
Canada Council for the Arts Canada’s Public Arts Funder. The mandate of the Canada Council is to “encourage and promote the study and enjoyment of art, and the production of works of art.” The Canada Council’s Art Bank operates art rental programs and supports greater public engagement with contemporary art through exhibitions and outreach activities. The Canada Council’s investment fosters greater engagement in the arts among and among international audiences Canada. It contributes to the vibrancy of a creative and diverse arts and literature scene and supports the presence of this scene Canada and around the world. For more information, visit canadacouncil.ca.
Overview of winners’ works and installations at NGC
In Aboriginal and Canadian Art GalleryCuratorial work will be discovered by visitors Gerald McMasterrecipient Outstanding Contribution Award. In Gallery A101a, McMaster reproduces a painting by Wendt Chief Telari-O-Lin (1815-1886), a self-portrait of the artist. Zachary Vincent, in dialogue with trade silverware displayed in nearby glass cases. McMaster’s notes, superimposed on this image, provide additional detail and more general thoughts on the meaning, wampum, and political and cultural significance of Chief Telari-O-Lin. Also in the adjacent galleries are silver items in conversation with other artworks and objects of the same period, including two paintings that feature them: Joseph Orne (c. 1840) by Joseph Légaré and Thyndengea (Joseph Brant) (c. 1807) by William Barsey. Gallery A108 contains McMaster’s notebooks containing people, places, encounters and events as well as drawings and ideas that later became essays.
Seen in Gallery A102, four works by the jeweler and silversmith Brigitte Clavet Challenge the function and ornamentation of a bygone era and connect silver more directly with the living world. In Clavet’s hand this sensual material, long associated with domestic luxury, takes surprising forms in envelopes, from decaying food to animal remains. Like at work wasted2017, a table2012, and untitled2020, raised silverware, vessels and organic matter explores participation in today’s world of excess and waste, scarcity and abundance. Sacrifice, 2002-2004/2022, a ceremonial censer modeled after the 18th-century Guillaume Loire, reveals a confluence of ideas. Pierced by nails, the vessel, like a religious ritual, is both beautiful and forbidding, comforting and wounding—thorny beauty. The object is presented surrounded by 16th-century liturgical silver.
Dance on the Moon II2016, a bronze by the artist David Reuben PictukunMichael and Sonja Korner in the family atrium scene in the heart of Aboriginal and Canadian Art Gallery, A Sculptural Interpretation of Inuvialuit Oral Tradition. Piqtoukun highlights the concept of spiritual flight and creativity. Referring to shamans flying to the moon, the piece depicts a female figure who was neither born nor initiated as a shaman, yet trained rigorously and persevered until she was able to achieve cosmic flight. The artist reminds us that anything is possible and conveys the sense of exhilaration that comes from achieving a rare feat.
Fred Ok is seen hanging on the balcony wall Elizabeth Fountain Garden By doing two things Carole Condé + Carl Beveridge: Carroll’s Garden2021, and water fall, 2006–2007. The first is reminiscent of a medieval altarpiece with a triptych window that foretells an impending environmental catastrophe as a result of capitalist and corporate culture. The second reconfigures the biblical story of the fallen angels depicted by Pieter Bruegel Fall of the Rebel Angels (1562) to address the dynamics of water politics. In their works, Condie and Beveridge use theatrical techniques, political tactics, collage, pastiche, text and image manipulation to unravel the social fabric that sustains social inequality.
On the first level of the contemporary art gallery, two large-scale installations Pierre Bourgault can be seen Fletch [Arrow], 1986, inspired by automatic drawing and children’s games of chance, consists of 75 painted wooden planks tied end to end and anchored to the bed of the Rivière du Goufre. The drawing-sculpture floated for 12 days before being released by the current. Pillars of salt [Pillars of Salt]2005/2012, records the passage of time, the concept of horizontality, and its powerful forces. Saint Lawrence. The artist’s salt pillar intervention is a ephemeral, luminous monument of an essential substance that evokes purification, rebirth and renewal.
is near Jocelyn Robertits installation my father and me, 2019, from which two portraits slowly emerge. On the floor, an old piano activated by a small motor hesitantly dropped a few notes. This is the portrait of the father who died. On the back wall, Robert’s face appears in a series of self-portraits. The artist superimposed the faces of criminals found through Google searches using his passport photos. He blurs the notion of a true or accurate image that we can have of a person. Revealing a subtle, almost silent entanglement between father and son, the artist looks at what has been, and what could be.
Also on the first level of the Contemporary Art Gallery (B108), Moira DavyIts video works Horse opera2020-2022, contemporary legend follows his protagonist Ellie at a dance party. New York. Stories of collective experience in these utopian, youthful spaces contrast with themes of physical surrender to age and time. When she’s not partying, Eli Hilton unleashes an inner monologue fueled by a reading list of authors including Als, Ann Bower And Elizabeth Hardwick. Music punctuates the cyclical progression of the narrative, also interrupted by the need for social distancing and its subsequent isolation. Davey’s work is placed in dialogue with the work Sarah Ann Johnson.
Monique Regimbal-Zeiberits work after Europe: Torn painting, 1984-2022, is presented upstairs and occupies a wall in Gallery B204. In 2013, the artist stopped buying materials. He likes to recycle all kinds of scraps and reuse his old works, as he has done here with painted canvases from 1984. By rearranging strips of torn canvas, Regimbal-Zeber creates an innovative production that is both figurative and abstract, embodying the idea of a painting that echoes the decision of Agnes Martin—whose work is on view nearby—to turn her back on large-scale academic painting. to leave New York To isolate himself and continue his own search for a new form.
Discover the 2022 winners: https://en.ggarts.ca/
Source: National Gallery Canada
For more information: For media only: Photos For more information, or to set up an interview, please contact: Josée-Britanie Mallet, Senior Officer, Media and Public Relations, National Gallery of Canada, [email protected]; Denise Seeley, Senior Manager Communications, National Gallery of Canada, [email protected]