In 2019, the AGGV welcomed Heng Wu as the new Curator of Asian Art. We catch up with her three years on to get an update on her role and the evolution of the Gallery’s diverse collection of Asian art.
By Karen Cooper, Art Rental & Sales Consultant
With September bringing the winds of change, we start to feel something in the air. The sky is somehow bluer, the leaves begin to turn, and the breeze becomes a bit cooler. For many of us, these sensations evoke all those memories from the first day of school: anticipation, nervousness, excitement, longing, and possibility.
Hamilton based artist Bryce Kanbara is not only the guest curator for AGGV’s upcoming exhibition Start Here: Kiyooka, Nakamura, Takashima, Tanabe, but also the recipient of a 2021 Outstanding Contribution Governor General’s Award in Visual and Media Arts (upcoming exhibition presented by the AGGV in collaboration with the Canada Council for the Arts). In anticipation of these two fall shows, the artist has agreed to share with us a little bit more about his work in an e-interview.
By Nabidu Taylor
Trigger Warning: Residential Schools, MMIGW&2S, graphic descriptions.
The Holding Ground exhibition at the Art Gallery of Greater Victoria (July 17 – Oct 17 2021) was an opportunity for Indigenous women and 2S people to come together as a collective to contribute our own personal perspectives on Indigenous resistance and current issues we are faced with today. I am very grateful for the group of beautiful, powerful and gentle individuals, I had the absolute pleasure and honour of collaborating with on this exhibition.
By Mel Granley, Guest Curator
A few months ago, in the historic Spencer Mansion where AGGV employees work, I set up my laptop and logged onto a Zoom call to record a #WIP Podcast episode between three artists from the exhibition Reverberations: Emily Geen, Estraven Lupino-Smith, and James Summer. For the next hour and a half, although we were each in our own rooms looking into a screen, we came together and had a vibrant and endearing conversation about how relationships influenced the show, our shared experiences as emerging art practitioners, and ideas of institutional memory.