Although not always visible, the AGGV is often supporting ongoing projects that extend well beyond its walls. One such project is Wa’witłala: The Pervasiveness of Water/Cannot Go Against the Tide.
Video installations by artists Rachel Echenberg, Kerri Flannigan, Farheen HaQ, Elisa Harkins, Lisa Jackson, Tiffany Joseph, Chase Joynt, Amanda Strong and Nicholas Vandergugten, invite us to reflect on the different ways in which we might think about tenderness.
Persimmon Blackbridge is an innovative Canadian artist, writer, and activist, who rocked Vancouver in the early 80’s with ground-breaking works exploring lesbian sexual politics, disability culture and mental health.
Listener-in-Residence is a collaborative project between the Art Gallery of Greater Victoria and the Luther Court Society, a non-profit society that cares for 120 seniors through subsidized independent suites, home support, assisted living, and long-term care. It is a four-month artist residency featuring emerging Victoria-based artist Libby Oliver.
This convening brings together professional artists, practising Buddhists, and scholars from a range of disciplines to better understand Buddhist influences in contemporary art in North America.
Enter the darkened Centennial Gallery at the AGGV and vicariously experience what it would be like to travel as a virtual camera moving around the sculptural looping installation that has been constructed out of tubular steel in the centre of the room. Film Path/Camera Path with under-titles is a conceptual multi-media artwork that combines the moving images of film with a sculptural expansion of a 35mm projector.
The artists involved in Imagining Fusang: Exploring Chinese and Indigenous Encounters were invited for a panel discussion in early July, where they revealed the motivation behind their individual interest in the concept of Fusang.
What Artists Bring to the Table gives individuals a chance to actually take part in non-traditional art practices, and explore how art can intersect with all forms of life.
My mom doesn’t talk much about what it was like to grow up in Vietnam anymore, and I’ve come to accept that this is a part of our history.
Opening at the Gallery in June is a body of new work by Victoria-based artist Megan Dickie. Blue Skies features video and sculpture installation that resist easy interpretations.
The exhibition Minimalism: Space. Light. Object. featured more than 150 works by artists from Europe, America, Australia and Asia, with the intention to document the history of this art movement that continues to inform the visual arts and contemporary practitioners today.
As a photographer, installing Fiona Tan: Ascent gave me the chance to think about images and videography in a new light, you know… to step back, reconsider and reimagine. Spending time with Fiona Tan’s work this week has broadened my understanding of the collective importance of Mount Fuji and I am humbled to have been a part of this exhibit. – Corey Bryson, AGGV Preparator/Technician.
Reflecting on the experience, thus far, working on Haema Sivanesan’s project, In the Present Moment: Buddhism, Contemporary Art, and Social Practice, and, learning what it means to be a curator.
In the 1950s, Mark Tobey, a Seattle artist with strong ties to Victoria, championed the work of Japanese-American artists, including Paul Horiuchi, also represented in AGGV’s collection. He later influenced major artists such as Jackson Pollock. As such, he’s a link between Buddhism and 20th Century abstract art.
AGGV Curator Haema Sivanesan is a recent recipient of a Robert H. N. Ho Family Foundation research grant in the amount of $150,000. She was also awarded a $50,000 curatorial research fellowship from the Andy Warhol Foundation for the Visual Arts. What is Sivanesan working on and why? Hint: it’s infinitely vast with neither a beginning nor an end. Therefore, let’s start with the present moment…
The Art Gallery of Greater Victoria is honoured to present Fiona Tan’s Ascent. This montage film is entirely made up of still photographic images depicting one of Japan’s most recognizable landmarks, Mount Fuji.
Ensô painted by the accomplished, 20th century, Zen master Inaba Shinden depicts a symbol central to Zen meditative practice. The ensô, meaning “circle”, is one of the most common subjects of Japanese calligraphy.