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Allegory
Curated by Megan Goddard, artLAB Gallery Intern
Cohen Commons
March 31 – April 13, 2023
Reception: Friday, March 31 from 6–8PM
Bridget Koza, Chloe Serenko, Brittany Forrest, Isabella Springett, Grace Maier, Jack Cocker, Isabella Bruni, Marissa Slack, Timothy Wiebe
Allegory can be thought of as a way of seeing an object as something other than it seemingly presents itself, it points to a meaning beyond what is seen on the surface. What is so intriguing about allegory is its multifaceted way of understanding; going beyond what is literally displayed in an artwork and digging deep into meanings, thematic symbols, and the reasons behind certain personifications of abstract forms. Allegory is also aligned with thematics tied to the Baroque period; a time where gilded frames, optical illusion and grandiosity come to mind. Themes such as light and dark, investigation of self, femininity, or the passage of time are all explored in the works of Baroque artists. The blending of Baroque and allegory creates a unique space for artists to work within.
Allegory aims to give these nine artists a space to investigate whether allegory and visual aesthetics of the Baroque can in fact work together, and what that may look like in today’s world. The show hopes to present an analysis of how classical themes can be reworked and redefined visually. The artists within this show employ themes of self, femininity, passing of time, and spirituality in an effort to understand and depict life and identity through the lens of human experience. Some works are a translation of classical aesthetics as seen in the Baroque time period, others are contemporary studies of allegorical themes such as time. Artists included in this show presented works that went beyond the surface, analyzing different thematic symbols through various mediums such as ceramics, painting and textiles.
Read more about the artists: www.uwo.ca/visarts/artlab/current.html
Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2023; Department of Visual Arts; Western University
Symphony of Lights: An Exploration of Stained-Glass Windows in St. John the Evangelist Anglican Church, London, ON
Exhibition dates: February 8th - 19th, 2021
Artist: Anahí González
Curators: Iraboty Kazi and Anahí González
Editor: Dr. C. Cody Barteet
“Give light, and the darkness will disappear of itself.” - Desiderius Erasmus
This exhibition explores the visual and aural sensations of being inside St. John the Evangelist Anglican Church in London, Ontario. The parish community was founded in 1864. The present Gothic-inspired church (at the corners of Wellington and St. James Streets) was begun in 1888 and has remained an important feature in London’s Old North community for well over a century. Now part of the Bishop Helmuth Heritage District the church and its facilities are a hub of activity for the community.
The videos and photographs taken by artist Anahí González during visits to the church inspired our explorations of the stained-glass windows in relation to art and local history. Stained-glass windows that adorn the neo-Gothic building connect the church’s ambiance to medieval practices, reinforcing a line of contact from ancient history to our own. At the same time, the dynamic shifting of light based on the hour of the day is a reminder of the ephemeral beauty of our daily lives. We also explore the play between light, sound, and their effects on the visitor with recordings of bells and organ music played in St. John the Evangelist church.
Symphony of Lights focuses primarily on four fascinating ecclesiastical windows created by London- and Toronto-based artists and workshops: Meikle Stained Glass Studio, Sunrise Studios, Yvonne Williams, and Robert McCausland Limited. Combining modern technology with historical windows allows for exploration of the varying styles, techniques, colours, artist signatures, and details that would otherwise be overlooked.
This exhibition is a part of Dr. Cody Barteet’s research program: Preserving the Cultural and Artistic Heritage of St. John the Evangelist, London, Ontario as a Model for the Anglican Diocese of Huron, a project funded by the University of Western Ontario.
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab’s website.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
2nd day of workshop: presenter Kristin demonstrates how to use a micro attachments on a vacuum cleaner to surface clean delicate items and also with the aid of a tulle covered embroidery hoop
Allegory
Curated by Megan Goddard, artLAB Gallery Intern
Cohen Commons
March 31 – April 13, 2023
Reception: Friday, March 31 from 6–8PM
Bridget Koza, Chloe Serenko, Brittany Forrest, Isabella Springett, Grace Maier, Jack Cocker, Isabella Bruni, Marissa Slack, Timothy Wiebe
Allegory can be thought of as a way of seeing an object as something other than it seemingly presents itself, it points to a meaning beyond what is seen on the surface. What is so intriguing about allegory is its multifaceted way of understanding; going beyond what is literally displayed in an artwork and digging deep into meanings, thematic symbols, and the reasons behind certain personifications of abstract forms. Allegory is also aligned with thematics tied to the Baroque period; a time where gilded frames, optical illusion and grandiosity come to mind. Themes such as light and dark, investigation of self, femininity, or the passage of time are all explored in the works of Baroque artists. The blending of Baroque and allegory creates a unique space for artists to work within.
Allegory aims to give these nine artists a space to investigate whether allegory and visual aesthetics of the Baroque can in fact work together, and what that may look like in today’s world. The show hopes to present an analysis of how classical themes can be reworked and redefined visually. The artists within this show employ themes of self, femininity, passing of time, and spirituality in an effort to understand and depict life and identity through the lens of human experience. Some works are a translation of classical aesthetics as seen in the Baroque time period, others are contemporary studies of allegorical themes such as time. Artists included in this show presented works that went beyond the surface, analyzing different thematic symbols through various mediums such as ceramics, painting and textiles.
Read more about the artists: www.uwo.ca/visarts/artlab/current.html
Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2023; Department of Visual Arts; Western University
Annual Juried Exhibition: March 2 – 16, 2023
Opening: Thursday, March 2 from 6–8PM
People’s Choice voting: 6:00-6:45pm
AJE Award Announcements: 7:00pm
Celebrating twenty-one years the "Annual Juried Exhibition" continues to be one of the Department of Visual Arts most highly anticipated undergraduate exhibitions. This diverse show supports the production of new work made in a variety of mediums including painting, sculpture, print, video, and photography. Exhibited works were selected by a professional jury who consider creativity, concept, materiality and technique. This year’s show is indicative of the resilience and dedication our students continue to demonstrate.
Featuring work by: Tammy Abela, Bridget Beardwood, Laila Bloomstone, John Cocker, Giulia Commisso, Stefania Dragalin, Kate Dunn, Sebastian Evans, Cheyne Ferguson, Megan Goddard, Morea Haloftis, Katelyn Halter, Emma Hardy, Emily Kings, Bridget Koza, Victoria Kyriakides, Myles Lynch, Darcy McVicar, Grace Maier, Amy Murray, Venus Nwaokoro, Dhra Patel, Olivia Pattison, Bridget Puhacz, Michaela Purcell, Hilary Rutherford, Chloe Serenko, Abbygale Shelley, Marissa Slack, Maggie Shook, Madison Teeter, Timothy Wiebe, Sophie Zhang
Jury Members: Anna Madelska (Faculty), Jessica Karuhanga (Faculty), Dickson Bou (Artlab Gallery Preparator) Liza Eurich (Artlab Gallery Manager), by proxy Teresa Carlesimo (FCG Director)
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2023; Department of Visual Arts; Western University
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Artlab conservator Anne Dineen demonstrates how to remove a waterlogged print from the simulated flood situation using a piece of Reemay material for support.
Vernissage: 26. September 2014, 20 Uhr
Laufzeit: 27. September – 30. November 2014
Öffnungszeiten: Fr-So, 14-18 Uhr (und nach Vereinbarung), 31.10. bis 21 Uhr geöffnet.
Sonntag, 28. September, 15 Uhr - Künstleringespräch
Sonntag, 30. November, 15 Uhr - Workshop mit Anna Dumitriu
Die dritte Ausstellung der Reihe [macro]biologies & [micro]biologies wird in Form einer Soloausstellung die britische Künstlerin Anna Dumitriu vorstellen, die sich in ihren Arbeiten im Bereich Kunst und Naturwissenschaft sowohl historischen Narrativen und avantgardistischen biomedizinischen Forschungsfragen widmet als auch mit großem Interesse ethische Aspekte thematisiert.
Dumitriu ist sehr bekannt geworden durch ihre Arbeiten The VRSA Dress und The MRSA Quilt , die beide aus dem sogenannten 'Superbazillus' gemacht wurden. Für diese Arbeiten hat Dumitriu Bakterien auf Textilien wachsen lassen und benutzte dann natürliche und klinische Antibiotika, um mit diesen Muster entstehen zu lassen (vor der Ausstellung selbstverständlich sterilisiert).
„Normal Flora“ ist eine Untersuchung allgegenwärtiger Bakterien, Schimmel und Pilze, die einen wesentlichen Teil unseres komplexen Ökosystems um uns herum ausmachen – unserer Körper, unserer Heimstätten sowie unseres Planeten. Bed and Chair Flora umfasst einen bearbeiteten Stuhl, in welchen Abbildungen von Bakterien geschnitzt wurden, die sich ursprünglich bei ihm angesiedelt haben. Die gemeinschaftlich entstandene Häkelarbeit geht auf elektronenmikroskopische Bilder jener Bakterien zurück, die im Bett der Künstlerin gefunden wurden.
Bakterien tragen aufwendige Kommunikationsfähigkeiten in sich, die heutzutage als eine Form sozialer Intelligenz untersucht werden. Dies wird in der Arbeit The Communicating Bacteria Dress erforscht. Dumitriu verbindet in diesem Zusammenhang die Bereiche Bio Art, historische textile Techniken, wie zum Bespiel die sogen. Weißstickerei, und 3D Video Mapping. Dabei haben sich die verwendeten Stoffe verfärbt, indem pigmentierte Bakterien ihre Farbe änderten, sobald sie Kommunikationssignale ausgesendet oder empfangen haben.
Die Ausstellung wird auch Arbeiten ihrer Serie Romantic Disease zeigen, welche die Geschichte der Krankheit Tuberkulose (TB) aus künstlerischer, sozialer sowie wissenschaftlicher Perspektive untersucht. Dabei werden literarische Bezüge zu TB und Aspekte des Aberglaubens hinsichtlich der Krankheit beleuchtet, aber auch die Entwicklung der Antibiotika und jüngste Forschungsergebnisse über die Erbgut-Entschlüsselung von Mykobakterien zur Debatte gestellt. Dumitriu hat mit ForscherInnen des “Modernising Medical Microbiology Project“ zusammen gearbeitet, um neue Arbeiten in Verbindung mit dieser medizinisch sowie kulturell signifikanten Krankheit entstehen zu lassen.
Anna Dumitriu ist derzeit Artist in Residence im Kontext des Projekts „Modernising Medical Microbiology Project“ an der University of Oxford und Visiting Research Fellow: Artist in Residence an der University of Hertfordshire.
Exhibition Dates: October 5 - 15, 2020
Anahí González, Rebecca Sutherland, Declan Hoy, Tommy Bourque, Faith Patrick
An exhibition of works by the Department's second-year MFA candidates.
Artlab Gallery will be open by appointment only in Fall 2020. Please note non-medical face coverings are required and you will be asked to complete a questionnaire before entering the gallery.
Please contact Ruth Skinner at artlab@uwo.ca to schedule your visit.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2020; Department of Visual Arts; Western University
Allegory
Curated by Megan Goddard, artLAB Gallery Intern
Cohen Commons
March 31 – April 13, 2023
Reception: Friday, March 31 from 6–8PM
Bridget Koza, Chloe Serenko, Brittany Forrest, Isabella Springett, Grace Maier, Jack Cocker, Isabella Bruni, Marissa Slack, Timothy Wiebe
Allegory can be thought of as a way of seeing an object as something other than it seemingly presents itself, it points to a meaning beyond what is seen on the surface. What is so intriguing about allegory is its multifaceted way of understanding; going beyond what is literally displayed in an artwork and digging deep into meanings, thematic symbols, and the reasons behind certain personifications of abstract forms. Allegory is also aligned with thematics tied to the Baroque period; a time where gilded frames, optical illusion and grandiosity come to mind. Themes such as light and dark, investigation of self, femininity, or the passage of time are all explored in the works of Baroque artists. The blending of Baroque and allegory creates a unique space for artists to work within.
Allegory aims to give these nine artists a space to investigate whether allegory and visual aesthetics of the Baroque can in fact work together, and what that may look like in today’s world. The show hopes to present an analysis of how classical themes can be reworked and redefined visually. The artists within this show employ themes of self, femininity, passing of time, and spirituality in an effort to understand and depict life and identity through the lens of human experience. Some works are a translation of classical aesthetics as seen in the Baroque time period, others are contemporary studies of allegorical themes such as time. Artists included in this show presented works that went beyond the surface, analyzing different thematic symbols through various mediums such as ceramics, painting and textiles.
Read more about the artists: www.uwo.ca/visarts/artlab/current.html
Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2023; Department of Visual Arts; Western University
Second session on the second day of workshop: Handling, Storing and Displaying costume and textiles led by Kristin Phillips from Artlab.
Different sorts of padded coat hangers are passed round, used for storing, displaying costume. Can be hand made or bought
Artlab conservator Anne Dineen shows participants the rudiments of 'restrain drying' a piece of waterlogged vellum. First get as much excess water out by placing piece of blotting paper over it.
April 19-May 7, 2021
“In my telling, the Cyclops’ story is a revenge story….
While Odysseus is happily restored at home and publicly celebrated, the Cyclops’ story continues. She walks the vastness of his kingdom, slowly becoming a ghost. Her emptied socket becomes a mask. Her revenge feeds her, making her opaque, anti-gravity, a black hole. Odysseus is blind to her, no longer able to see the Cyclops as when he coveted her land and food. She hides in plain sight and crafts her haunting. She will orphan Odysseus as she has been orphaned, but not of family, land or body. She will strand Odysseus in constant unease, bereft of his cherished and clever reason. His house will leak. The walls will sag. He will dream of sheep. He and everyone around him will forget his name; he will become an unremarkable shadow of Nob’dy, the clever alibi and source of his fame.”
Eve Tuck and C. Ree. “A Glossary of Haunting.”
His House Will Leak is created by students in Professor Kirsty Robertson's graduate seminar, "Museum/Decay."
---Following Ontario's provincewide lockdown (beginning on April 3), the Artlab will be closed to in-person appointments. For ongoing coverage of COVID-19 protocol and operations at Western University, visit www.uwo.ca/coronavirus/
Artlab Gallery & Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Symphony of Lights: An Exploration of Stained-Glass Windows in St. John the Evangelist Anglican Church, London, ON
Exhibition dates: February 8th - 19th, 2021
Artist: Anahí González
Curators: Iraboty Kazi and Anahí González
Editor: Dr. C. Cody Barteet
“Give light, and the darkness will disappear of itself.” - Desiderius Erasmus
This exhibition explores the visual and aural sensations of being inside St. John the Evangelist Anglican Church in London, Ontario. The parish community was founded in 1864. The present Gothic-inspired church (at the corners of Wellington and St. James Streets) was begun in 1888 and has remained an important feature in London’s Old North community for well over a century. Now part of the Bishop Helmuth Heritage District the church and its facilities are a hub of activity for the community.
The videos and photographs taken by artist Anahí González during visits to the church inspired our explorations of the stained-glass windows in relation to art and local history. Stained-glass windows that adorn the neo-Gothic building connect the church’s ambiance to medieval practices, reinforcing a line of contact from ancient history to our own. At the same time, the dynamic shifting of light based on the hour of the day is a reminder of the ephemeral beauty of our daily lives. We also explore the play between light, sound, and their effects on the visitor with recordings of bells and organ music played in St. John the Evangelist church.
Symphony of Lights focuses primarily on four fascinating ecclesiastical windows created by London- and Toronto-based artists and workshops: Meikle Stained Glass Studio, Sunrise Studios, Yvonne Williams, and Robert McCausland Limited. Combining modern technology with historical windows allows for exploration of the varying styles, techniques, colours, artist signatures, and details that would otherwise be overlooked.
This exhibition is a part of Dr. Cody Barteet’s research program: Preserving the Cultural and Artistic Heritage of St. John the Evangelist, London, Ontario as a Model for the Anglican Diocese of Huron, a project funded by the University of Western Ontario.
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab’s website.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
2nd day of workshop: presenter Kristin shows Beth from Parndana Soldier Settlers Museum how to clean the school bag using micro attachments on the vacuum cleaner
ARYEN HOEKSTRA
Untitled (moving objects)
Artlab Gallery
October 8 - October 21, 2021
Walter Benjamin’s 1929 essay Surrealism: The Last Snapshot of the European Intelligentsia suggests that a central feature of Surrealist work was the perceptual experience he named ‘profane illumination.’ Benjamin describes the process by which, sometimes but not always drug induced, a person might be distracted into perceiving the most ordinary, overlooked objects of everyday reality as uncanny, supernatural, and irrational. According to Benjamin, Surrealism’s ability to disorient and estrange through this ‘profane illumination’ made it a potentially revolutionary operation. A few years later in his Artwork essay Benjamin identifies an analogous trait in the work of Dadaist painters and poets, writing that “their poems are 'word salad’ containing obscenities and every imaginable waste product of language. The same is true of their paintings, on which they mounted buttons and tickets. What they intended and achieved was a relentless destruction of the aura of their creations, which they branded as
reproductions with the very means of production.” While the latter essay suggests that it is the reproducibility of buttons and tickets that destroys this aura I prefer to think that Benjamin was simply too sober in his appraisal of these works, leaving himself perceptually untuned to the profane character immanent to their everyday objectness.
The separation of the sacred from the profane is one art’s most strictly maintained divisions, extending even to the architectural standard now ubiquitous in nearly all contemporary art galleries. This is described in detail in Olav Velthius’ Talking Prices, a comparative analysis of the business practices and pricing logic of art dealers in Amsterdam and New York in the early 2000’s.
In some cases, the back is sealed off hermetically, suggesting that the exhibition space is all there is to the gallery. Other gallery owners allow the public at least a partial view of the back space through open doors or glass windows. In small galleries … the back space may be limited to a single room or even a niche of the gallery space, where a small number of artworks are stored and a desk space is located for the owner and her assistant. In the largest New York Galleries … the back of the gallery consists of several corridors and spaces with unique functions. These spaces may include the following: offices for the directors or dealers and, in some cases, their personal assistants; a private viewing room, furnished with comfortable seats, where potential buyers can look in full comfort at a small number of works they are interested in; a stock room, where (part of) the inventory of the gallery is stored — the everyday territory of the art handler, who is responsible for the shipping and installation of artworks. A general office room may have a large table where staff meetings take place, and where deals may be negotiated and arranged between the dealer and a collector, away from the works of art.
Velthius describes this as a Durkhemian separation that functions to remove any trace of commerce (ie. the profane) from the sacred space of the exhibition. The need for this is made clear by the Italian philosopher Giorgio Agamben in his essay In Praise of Profanation, in which he recalls the legal definition of the profane in Ancient Rome.
The Roman jurists knew perfectly well what it meant to "profane." Sacred or religious were the things that in some way belonged to the gods. As such, they were removed from the free use and commerce of men; they could be neither sold nor held in lien, neither given for usufruct nor burdened by servitude. Any act that violated or transgressed this special unavailability, which reserved these things exclusively for the celestial gods (in which case they were properly called "sacred") or for the gods of the underworld (in which case they were simply called "religious"), was sacrilegious. And if "to consecrate" (sacrare) was the term that indicated the removal of things from the sphere of human law, "to profane" meant, conversely, to return them to the free use of men.
And it can be an uncanny and irrational experience to enter that profane space which lies just beyond the walls of the gallery. My own research is particularly interested in the ways that contemporary art objects are traded, the logistics of the art business, the storage and shipping of artworks, their care and
circulation. This often finds me considering artworks in those moments that they are removed from their intended site of operation; out of the white-cube exhibition space and in the storage racks of the gallery’s back room. This is also the space that inverts Benjamin’s misunderstanding of Surrealism as it sees artworks transformed into art objects, which is a true profanation.[1] And it is only as objects that these works may then be handled by gloved technicians, wrapped in cushioning, and readied for transport.
That which has been ritually separated can be returned from the rite to the profane sphere. Thus one of the simplest forms of profanation occurs through contact (contagione) during the same sacrifice that effects and regulates the passage of the victim from the human to the divine sphere. One part of the victim (the entrails, or ex ta: the liver, heart, gallbladder, lungs) is reserved for the gods, while the rest can be consumed by men. The participants in the rite need only touch these organs for them to become profane and edible. There is a profane contagion, a touch that disenchants and returns to use what the sacred had separated and petrified.
Perhaps what is potentially radical about the buttons and tickets Benjamin wrote about in Dadaist works, and in the Readymade more generally, is that they not only point their own mechanical (re)production, but also possess a haptic indexicality that conjures their handling as objects prior to their consecration as artworks.
Untitled (moving objects) (2021) is an installation of provisional sculptures created from 12 moving blankets and a number of objects found in the gallery that have previously had direct contact with artworks. The blankets, wrap and gloves acknowledge the materially fragile nature of the works that have and will enter this exhibition space, their dual existences as both artwork and object, and their always potential profanation.
[1] Everyday objects already exist within profane sphere, so don’t require further intoxication to be perceived as such.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
February 10 - March 3, 2022
Artlab and Cohen Commons Gallery
VASA People's Choice Award: VOTING Thursday, February 10 - Wednesday, February 16
Come by the Artlab Gallery to vote for your favorite work! Ask one of the gallery attendants at the front reception desk for instructions any time during gallery hours: M-F 12-5PM.
Virtual Awards Ceremony: Thursday, February 17 at 6PM
Register for the webinar:
westernuniversity.zoom.us/webinar/register/WN_FBMUfRFXTXC...
Celebrating its 20th year, the Annual Juried Exhibition continues to be one of the Department of Visual Arts most highly anticipated undergraduate exhibitions. This diverse show supports the production of new work made in a variety of mediums including painting, sculpture, print, video, and photography. Exhibited works were selected by a professional jury who consider creativity, concept, materiality and technique. This year’s show is indicative of the resilience and dedication our students continue to demonstrate.
Artists: Rain Bloodworth, Michaela Purcell, Hilary Rutherford, Julia Fawcett, Cosette Gelinas, Timothy Wiebe, Jacqueline Lebiadowski, Saskia Orr, Darcy Howe, Abbygale Shelley, Man Nga Ting, Megan Goddard, Hannah Verster, Delaney Philip, Jacqueline Lian, Maggie Charbonneau, Bridget Koza, Isabella Bruni, Rowan McCready, Aidan Takeda-Curran, Xiaoyi Cao, Shane Ackerley, Shelby Sammut, Sebastian Evans, Meg Smith, Yuqing Chen and He Huang
Jury Members: Anna Madelska (Faculty), Teresa Carlesimo (FCG Director), Marla Botterill (Fanshawe Faculty), Dickson Bou (Artlab Gallery Preparator) Liza Eurich (Artlab Gallery Manager)
Artlab and Cohen Commons Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
February 10 - March 3, 2022
Artlab and Cohen Commons Gallery
VASA People's Choice Award: VOTING Thursday, February 10 - Wednesday, February 16
Come by the Artlab Gallery to vote for your favorite work! Ask one of the gallery attendants at the front reception desk for instructions any time during gallery hours: M-F 12-5PM.
Virtual Awards Ceremony: Thursday, February 17 at 6PM
Register for the webinar:
westernuniversity.zoom.us/webinar/register/WN_FBMUfRFXTXC...
Celebrating its 20th year, the Annual Juried Exhibition continues to be one of the Department of Visual Arts most highly anticipated undergraduate exhibitions. This diverse show supports the production of new work made in a variety of mediums including painting, sculpture, print, video, and photography. Exhibited works were selected by a professional jury who consider creativity, concept, materiality and technique. This year’s show is indicative of the resilience and dedication our students continue to demonstrate.
Artists: Rain Bloodworth, Michaela Purcell, Hilary Rutherford, Julia Fawcett, Cosette Gelinas, Timothy Wiebe, Jacqueline Lebiadowski, Saskia Orr, Darcy Howe, Abbygale Shelley, Man Nga Ting, Megan Goddard, Hannah Verster, Delaney Philip, Jacqueline Lian, Maggie Charbonneau, Bridget Koza, Isabella Bruni, Rowan McCready, Aidan Takeda-Curran, Xiaoyi Cao, Shane Ackerley, Shelby Sammut, Sebastian Evans, Meg Smith, Yuqing Chen and He Huang
Jury Members: Anna Madelska (Faculty), Teresa Carlesimo (FCG Director), Marla Botterill (Fanshawe Faculty), Dickson Bou (Artlab Gallery Preparator) Liza Eurich (Artlab Gallery Manager)
Artlab and Cohen Commons Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Open to all undergraduate students currently registered in a Visual Arts course, the AJE exhibits a diverse selection of artworks in various mediums. Prizes will be awarded for works that exemplify originality, creativity, and viewer engagement.
Everyone is welcome to attend the opening reception on Thursday, January 30 from 5:00 - 7:00 pm
Don't forget to vote for the People's Choice Award!
Take a look at other photos from the Department of Visual Arts here: www.flickr.com/photos/103286126@N08/collections/721576366...
Practical session in afternoon of the second day of workshop: Applying storage and display techniques and the cleaning of collection items.
Kristin demonstrating how a pool noodle can be used to store a flat textile (in this case a 1930s signature table cloth). The noodle would need to be covered with fabric first and acid free tissue used to interleave the object. The whole could be encased in a Tyvek cover and tied at ends with tape.
February 10 - March 3, 2022
Artlab and Cohen Commons Gallery
VASA People's Choice Award: VOTING Thursday, February 10 - Wednesday, February 16
Come by the Artlab Gallery to vote for your favorite work! Ask one of the gallery attendants at the front reception desk for instructions any time during gallery hours: M-F 12-5PM.
Virtual Awards Ceremony: Thursday, February 17 at 6PM
Register for the webinar:
westernuniversity.zoom.us/webinar/register/WN_FBMUfRFXTXC...
Celebrating its 20th year, the Annual Juried Exhibition continues to be one of the Department of Visual Arts most highly anticipated undergraduate exhibitions. This diverse show supports the production of new work made in a variety of mediums including painting, sculpture, print, video, and photography. Exhibited works were selected by a professional jury who consider creativity, concept, materiality and technique. This year’s show is indicative of the resilience and dedication our students continue to demonstrate.
Artists: Rain Bloodworth, Michaela Purcell, Hilary Rutherford, Julia Fawcett, Cosette Gelinas, Timothy Wiebe, Jacqueline Lebiadowski, Saskia Orr, Darcy Howe, Abbygale Shelley, Man Nga Ting, Megan Goddard, Hannah Verster, Delaney Philip, Jacqueline Lian, Maggie Charbonneau, Bridget Koza, Isabella Bruni, Rowan McCready, Aidan Takeda-Curran, Xiaoyi Cao, Shane Ackerley, Shelby Sammut, Sebastian Evans, Meg Smith, Yuqing Chen and He Huang
Jury Members: Anna Madelska (Faculty), Teresa Carlesimo (FCG Director), Marla Botterill (Fanshawe Faculty), Dickson Bou (Artlab Gallery Preparator) Liza Eurich (Artlab Gallery Manager)
Artlab and Cohen Commons Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Vernissage: 26. September 2014, 20 Uhr
Laufzeit: 27. September – 30. November 2014
Öffnungszeiten: Fr-So, 14-18 Uhr (und nach Vereinbarung), 31.10. bis 21 Uhr geöffnet.
Sonntag, 28. September, 15 Uhr - Künstleringespräch
Sonntag, 30. November, 15 Uhr - Workshop mit Anna Dumitriu
Die dritte Ausstellung der Reihe [macro]biologies & [micro]biologies wird in Form einer Soloausstellung die britische Künstlerin Anna Dumitriu vorstellen, die sich in ihren Arbeiten im Bereich Kunst und Naturwissenschaft sowohl historischen Narrativen und avantgardistischen biomedizinischen Forschungsfragen widmet als auch mit großem Interesse ethische Aspekte thematisiert.
Dumitriu ist sehr bekannt geworden durch ihre Arbeiten The VRSA Dress und The MRSA Quilt , die beide aus dem sogenannten 'Superbazillus' gemacht wurden. Für diese Arbeiten hat Dumitriu Bakterien auf Textilien wachsen lassen und benutzte dann natürliche und klinische Antibiotika, um mit diesen Muster entstehen zu lassen (vor der Ausstellung selbstverständlich sterilisiert).
„Normal Flora“ ist eine Untersuchung allgegenwärtiger Bakterien, Schimmel und Pilze, die einen wesentlichen Teil unseres komplexen Ökosystems um uns herum ausmachen – unserer Körper, unserer Heimstätten sowie unseres Planeten. Bed and Chair Flora umfasst einen bearbeiteten Stuhl, in welchen Abbildungen von Bakterien geschnitzt wurden, die sich ursprünglich bei ihm angesiedelt haben. Die gemeinschaftlich entstandene Häkelarbeit geht auf elektronenmikroskopische Bilder jener Bakterien zurück, die im Bett der Künstlerin gefunden wurden.
Bakterien tragen aufwendige Kommunikationsfähigkeiten in sich, die heutzutage als eine Form sozialer Intelligenz untersucht werden. Dies wird in der Arbeit The Communicating Bacteria Dress erforscht. Dumitriu verbindet in diesem Zusammenhang die Bereiche Bio Art, historische textile Techniken, wie zum Bespiel die sogen. Weißstickerei, und 3D Video Mapping. Dabei haben sich die verwendeten Stoffe verfärbt, indem pigmentierte Bakterien ihre Farbe änderten, sobald sie Kommunikationssignale ausgesendet oder empfangen haben.
Die Ausstellung wird auch Arbeiten ihrer Serie Romantic Disease zeigen, welche die Geschichte der Krankheit Tuberkulose (TB) aus künstlerischer, sozialer sowie wissenschaftlicher Perspektive untersucht. Dabei werden literarische Bezüge zu TB und Aspekte des Aberglaubens hinsichtlich der Krankheit beleuchtet, aber auch die Entwicklung der Antibiotika und jüngste Forschungsergebnisse über die Erbgut-Entschlüsselung von Mykobakterien zur Debatte gestellt. Dumitriu hat mit ForscherInnen des “Modernising Medical Microbiology Project“ zusammen gearbeitet, um neue Arbeiten in Verbindung mit dieser medizinisch sowie kulturell signifikanten Krankheit entstehen zu lassen.
Anna Dumitriu ist derzeit Artist in Residence im Kontext des Projekts „Modernising Medical Microbiology Project“ an der University of Oxford und Visiting Research Fellow: Artist in Residence an der University of Hertfordshire.
Visit of Atelier Graphoui at La Bellone. Guided tour led by Don Verboven during Open House in Brussels, 17-18 May 2012.
Photo: Samantha Souris
Vernissage: 26. September 2014, 20 Uhr
Laufzeit: 27. September – 30. November 2014
Öffnungszeiten: Fr-So, 14-18 Uhr (und nach Vereinbarung), 31.10. bis 21 Uhr geöffnet.
Sonntag, 28. September, 15 Uhr - Künstleringespräch
Sonntag, 30. November, 15 Uhr - Workshop mit Anna Dumitriu
Die dritte Ausstellung der Reihe [macro]biologies & [micro]biologies wird in Form einer Soloausstellung die britische Künstlerin Anna Dumitriu vorstellen, die sich in ihren Arbeiten im Bereich Kunst und Naturwissenschaft sowohl historischen Narrativen und avantgardistischen biomedizinischen Forschungsfragen widmet als auch mit großem Interesse ethische Aspekte thematisiert.
Dumitriu ist sehr bekannt geworden durch ihre Arbeiten The VRSA Dress und The MRSA Quilt , die beide aus dem sogenannten 'Superbazillus' gemacht wurden. Für diese Arbeiten hat Dumitriu Bakterien auf Textilien wachsen lassen und benutzte dann natürliche und klinische Antibiotika, um mit diesen Muster entstehen zu lassen (vor der Ausstellung selbstverständlich sterilisiert).
„Normal Flora“ ist eine Untersuchung allgegenwärtiger Bakterien, Schimmel und Pilze, die einen wesentlichen Teil unseres komplexen Ökosystems um uns herum ausmachen – unserer Körper, unserer Heimstätten sowie unseres Planeten. Bed and Chair Flora umfasst einen bearbeiteten Stuhl, in welchen Abbildungen von Bakterien geschnitzt wurden, die sich ursprünglich bei ihm angesiedelt haben. Die gemeinschaftlich entstandene Häkelarbeit geht auf elektronenmikroskopische Bilder jener Bakterien zurück, die im Bett der Künstlerin gefunden wurden.
Bakterien tragen aufwendige Kommunikationsfähigkeiten in sich, die heutzutage als eine Form sozialer Intelligenz untersucht werden. Dies wird in der Arbeit The Communicating Bacteria Dress erforscht. Dumitriu verbindet in diesem Zusammenhang die Bereiche Bio Art, historische textile Techniken, wie zum Bespiel die sogen. Weißstickerei, und 3D Video Mapping. Dabei haben sich die verwendeten Stoffe verfärbt, indem pigmentierte Bakterien ihre Farbe änderten, sobald sie Kommunikationssignale ausgesendet oder empfangen haben.
Die Ausstellung wird auch Arbeiten ihrer Serie Romantic Disease zeigen, welche die Geschichte der Krankheit Tuberkulose (TB) aus künstlerischer, sozialer sowie wissenschaftlicher Perspektive untersucht. Dabei werden literarische Bezüge zu TB und Aspekte des Aberglaubens hinsichtlich der Krankheit beleuchtet, aber auch die Entwicklung der Antibiotika und jüngste Forschungsergebnisse über die Erbgut-Entschlüsselung von Mykobakterien zur Debatte gestellt. Dumitriu hat mit ForscherInnen des “Modernising Medical Microbiology Project“ zusammen gearbeitet, um neue Arbeiten in Verbindung mit dieser medizinisch sowie kulturell signifikanten Krankheit entstehen zu lassen.
Anna Dumitriu ist derzeit Artist in Residence im Kontext des Projekts „Modernising Medical Microbiology Project“ an der University of Oxford und Visiting Research Fellow: Artist in Residence an der University of Hertfordshire.
Projet "Oreiller pour insomniaque" : deux fermetures éclairs sont ajoutées à un coussin. entre elles est projeté un jeu de Pong. Chaque joueur actionne une fermeture éclair. Le mouvement des fermetures éclair est traduit en mouvement des palets du jeu de Pong.
Etudiantes : Sarah Bachimont & Alice Fauquet
Matériel : Arduino, fil de couture conducteur, picoprojecteur, trépied, coussin, tissu.
Artlab conservator Anne Dineen demonstrates how to lift a waterlogged book with coated paper cover safely from a simulated flood situation. First, ensure all excess water poured out.
Anne Dineen, Preventative Conservator at Artlab Australia, demonstrating how to wrap a waterlogged book with Glad Bake ready for freezing at the Disaster Preparedness workshop held at Naracoorte, South Australia 12 April 2012
Artlab Australia
70 Kintore Avenue
Adelaide SA 5000
Australia
Ph: 08 8207 7520