CANADA, MY HOW YOU’VE CHANGED: Shine A Light at the National Gallery of Canada illuminates landscapes dramatically transformed

Lawrence Paul Yuxweluptun Red Man Watching White Man Trying to Fix Hole in the Sky, 1990 (© NGC)

“Shine A Light, Cast A Shadow”

Canada is known for its tradition of depicting resplendent and majestic landscapes but the inspirational legacy passed down by artists like those in the Group of Seven aren’t echoed by the contemporary artists featured in the National Gallery of Canada’s show of new acquisitions.

The vignette of Lawren Harris’ North Shore, Lake Superior, as seen from the Gallery’s water court and framed by rose granite walls, shares with us a vision of the Great White North as a pristine place. Now the more North you go the more you experience the impact of global warming. The Inuit populations located in Northern Canada are the canaries in the coal mine of climate change. The situation is dire and artists in Canada have responded.

I entered the Shine A Light exhibit at a different point each time and each time I was confronted by works that overwhelmed me with a sense of dread. Artists used to celebrate this land. Now artists like Edward Burtynsky, David McMillan and Isabelle Hayeur scatter themselves across the globe to photograph how human populations are manipulating, extracting and polluting their environments often beyond the point of no return.

Edward’s work is by far the most familiar. His command of composition is always breathtaking, even exhilarating because of the scale of the photographs. They suck you in. They are cinematic making you feel a part of the terrain. He places you at ground zero, he’s like the Weegee of the environmental crime scene and you can’t look away.


Isabelle Hayeur, Death in Absentia II, 2011 (© NGC)

David McMillan and Isabelle Hayeur are lesser known but have equally challenging content. David photographs Chernobyl and Isabelle the dead waters of America. The discombobulating viewpoint of Isabelle’s photographs drown you. David’s work brings back the ghosts of the cold war, the stuff of children’s nightmares and threats of nuclear winters. Glasnost saved us from a global moment of disaster but nuclear technology was still devastating for many Russians. His work provides a document of disaster that irradiates how our modern material culture is forever stuck in some plastic purgatory that’s going to be hard to get out of.


David Hartt, Awards Room at the Johnson Publishing Company Headquarters, Chicago, Illinois, 2011 (© NGC)

The content of David Hartt‘s photography in Stray Light, also about location documentation, is aesthetically more palatable, you could even say seductive. Instead of cold war ghosts you feel a guilty sense of nostalgia for that time before the OPEC crisis, a time when North Americans thought there was no real harm in living large. The video component of Stray Light takes us into the building of the Johnson Publishing Company (JPC) former home of Ebony Magazine. As the video transitions smoothly from room to room, accompanied by the lush music of jazz flutist Nicole Mitchell, because of what I witnessed en route to David’s work I can’t shake off a sense of foreboding.

The African sculptures made of wood and stone seem confined in the plastic fantastic world of JPC. People move in and out of the scenes hedged in by office structures that conflict with the softer movements of their bodies proceeding through the space. Watching the final moments of the iconic Ebony in it’s place of conception is like entering a crypt in a necropolis that lures you with its beauty. It feels like the oxygen is going to be sucked out of the building and eventually the space will become a time capsule shrink wrapped for the archive and searching for its final resting place.

Geoffrey Farmer, Leaves of Grass, 2012, Courtesy of the artist, Catriona Jeffries Gallery, Vancouver and Casey Kaplan, New York (© NGC)

My initial response to Geoffrey Farmer‘s Leaves of Grass was “this is obscene.” After more time spent with the work my response was still “this is obscene.” His process (a team spending countless hours cutting and pasting), the content (17,000+ cut outs from 5 decades of Life Magazine) and the final presentation (100+ feet of archivally problematic paper, grass and glue) illustrate the absurdity by which we hold on to the past. We collect, categorize and create hierarchies of meaning that allow for justifications of all kinds. We trap ourselves in a constructed story from which we can no longer budge. Leaves of Grass is an absolutely breathtaking piece but as stunning as it is, the work is suffocating. There is too much to take in with no place for the eye to rest; a well executed entanglement of wicked questions. Do our strategies for classification make perfect sense? Are they nonsense? How do they really help?

Junk culture. That is what we are left with and this is the legacy that many of the contemporary artists in this show are trying to illuminate.

David Armstrong Six, The Radiologist, 2012 (Courtesy of the artist and Parisian Laundry. Photo: Matthew Koudys)

The shadowside of Readymades

“Combining found objects with a variety of materials – plaster, plywood, steel, rebar – his sculptural explorations merge the raw and the readymade into aesthetically intriguing and ambiguous compositions.” (sited from Shine A Light catalogue)

David Armstrong Six continues in the tradition of the readymade but Duchamp and the Dadaists weren’t working at a time when people had to be concerned about an impending environmental crisis. Bricolage takes on a different meaning when we are at risk of burying ourselves alive in a rubble pile of our own making. Maybe ‘l’art pour l’art’ is no longer enough to redeem the materials.

An Te Liu, Aphros, 2013 (© An Te Liu. Photo: Dustin Yu)

This is the question that An Te Liu seems to be trying to tease out as he works with casting the materials that accumulate from our post-modern predicament with packaging. Arranged like collection of Brâncușis, the five pieces are beautiful to behold but lack the life force that Brâncuși’s pieces, made of wood and stone, exhale. Rendered in ceramic and metals they give the impression of impotence like the materials they reference, materials that will persist in the environment without the capacity to be generative.

From the room with the David Armstrong Six’s readymades and An Te Liu’s towers you can look out across the Donald R. Sobey Family Gallery and view Luke Parnell’s Phantom Limbs from above. Here yet another graveyard is encountered. The 48 wood carvings laid on the ground are made to represent the homecoming of the ancestors when the Haida Repatriation project succeeded in having ceremonial objects and human remains returned to Haida Gwaii from private and public collections. Luke gave each carving a different expression. Contained under cases of plexi some look understandably pissed.

The Shine A Light catalogue, arranged alphabetically with each artist’s name, ends with the work of Lawerence Paul Yuxweluptun and a 2 page spread of his painting Red Man Watching White Man Trying to Fix Hole in the Sky (see above). This work hasn’t been publicly viewed for nearly 2 decades. Now seems like the requisite moment to bring it out again to remind us that in those 20 years we haven’t transitioned forward with many solutions. Instead we see a global trend to become more entrenched with ‘pie in the sky’ ways of living. Suffering with the collective trauma of watching our world come to the brink of disaster do we brush off our artists as Chicken Littles? Because the sky is indeed falling, our ozone layer is literally breaking apart into pieces.

large abstract drawing of large round shapes in a dark background

On the back wall of the 2nd floor is The Arsenal, a work by Jutai Toonoo. It is a large scale oil stick drawing of T cells. He created the work at a moment when he was trying to understand the pathology of the cancer his mother was stricken with. The helpful T cells fight against viruses, bacteria and diseases.

Our material culture is replicating faster than stage 4 cancer. It metastasizes in places as topographically different as Chernyobyl, Nunavut and India. The micro T cells, as the subject of Jutai’s work, are metamorphosed into a macro landscape that covers a large expanse across the Gallery’s wall. The allied cells shine like a phosphorescence glow in an inky black sea. After the challenging content of Shine A Light his work highlights hope. We are in need of an arsenal of solutions to push back the chaos. Encoded in the DNA of the planet are the cellular memories that can transform a landscape in crisis.

Above images by Leah Snyder for Mixed Bag Mag unless otherwise noted.

CLOSING THIS WEEKEND: Carbon 14 – Climate is Culture Exhibition at the ROM

Science meets art and inspires activism for the environment at the ROM!

“In 2001 the artist David Buckland founded Cape Farewell to instigate a cultural response to climate change. Cape Farewell is now an international not-for-profit programme based in the Science Museum’s Dana Centre in London and with a North American foundation based at the MaRS centre in Toronto.”

Now Cape Farewell has partnered with the ROM: Contemporary Culture to produce the exhibit Carbon14: Climate is Culture and ask ” how does landscape change a culture and how does culture change a landscape?”  Utilizing photography, film, multi-media and performance this question is explored with the audience.

Because of the mandate of promoting dialogue, the programming for Carbon14 has included public talks, discussions and conferences around the issues of climate change, sustainability and our cultural responses to them.

Last Sunday the ROM hosted The Changing Arctic Landscape: Day of Dialogue that brought together environmental experts along with Inuk activist Sheila Watt-Cloutier and artist Susan Aglukark. The day ended with Inuk throat singer Tanya Tagaq.

“Both ancient and modern, Tanya Tagaq’s performances with long-time collaborator Michael Red fuse her highly personalized throat singing style with Red’s electronic sound art. When the two perform, Tagaq’s powerful, fervent vocals enmesh with layered rhythms and melodies built from Red’s collection of natural Arctic sonic elements (wind, ice, birds, etc.). The collaboration yields a fascinating, highly improvised mix of digital effects, dance and dub-inspired beats and bass, and shape shifting soundscapes.” Read more on Tanya…

This Sunday Staging Sustainability, a conference whose aim is to “focus on ways in which performance can positively affect our planet”, begins and runs until Wednesday, February 5.

To register for Staging Sustainablity click here…

Don’t miss out on the final days of Carbon 14! For more information visit the Carbon 14 website and follow on Cape Farewell’s Facebook Page.

Image from the Cape Farewell’s Carbon 14 website.

Global Warming by Jaco Ishulutaq

“Using media from the land — soapstone, bone and ivory — Ishulutaq’s carving explores global warming and its impacts on glaciers, ice, wildlife, and weather, while encouraging the cultures of the North and South to join hands in taking care of the environment and each other.”  Read more…

Image from the Cape Farewell’s Carbon 14 website.

Qapirangajuq: Inuit Knowledge and Climate Change by Zacharias Kunuk + Ian Mauro

“Qapirangajuq is the world’s first Inuktitut language film on climate change and includes the traditional knowledge and experience of Inuit elders and hunters from across Nunavut. Travelling on the land, the viewer sees firsthand the Arctic and its people, and how they are interconnected and affected by a warming world.” Read more…

Image from the Cape Farwell’s Carbon 14 website.

Deep Time by Melanie Gilligan + Tom Ackers

“Deep Time, a new multi-screen work by Melanie Gilligan and Tom Ackers, blends fiction, animation, and documentary to investigate the complex relationships between systemic phenomena created by humans (such as global warming, ocean chemistry change, and capitalism) and ocean ecosystems, the often-forgotten foundation of life on this planet.” Read more…

Image from the Cape Farwell’s Carbon 14 website.

 Beekeeping for All by Myfanwy MacLeod + Janna Levitt

“In every bee colony, thousands of individuals work in a highly intelligent, co-dependent and hierarchical manner to build hives, and in the act of doing so, provide a fundamental service to all of nature and, almost incidentally, to human survival. Without pollination, there is no agriculture. Without bees transmitting genetic information triggering the creation of new life, new food, new beauty, and growth, we as humans cannot nourish successive generations or ourselves.” Read more…

Image from the Cape Farwell’s Carbon 14 website.

The Potential Project by Mel Chin

“A collaborative presentation by Mel Chin, with the people of the Western Sahara, Ahmed Boukhari, Dr. Richard Corkish, Markus A. R. Kayser, Mohamed Sleiman Labat, Jonathan Teo, with thanks to Robin Kahn, Kirby Gookin, and Representative Mohamed Yeslem Beissat.” Read more…