The works and installations of the winners presented at the National Gallery of Canada

To see from October 13, 2022at January 29, 2023

OTTAWA (ON), October 13, 2022 /CNW/ – The National Gallery of Canada (NGC), in collaboration with the Canada Council for the Arts, exhibits the works and installations of the winners of the Governor General’s Awards in Visual and Media Arts 2022 until January 29, 2022. The exposure creates dialogues between the practices of the laureates and the works of the contemporary and historical collections of the Gallery.

Divided into Indigenous and Canadian art, contemporary art, European art and the Gallery’s public spaces, installations and interventions by Brigitte Clavettejeweler and goldsmith, Fredericton, N.B.winner of Saidye Bronfman Award; Gerald McMastercurator, artist and author, Chelsea, QCwinner of Outstanding Contribution Award; and the recipients of Artistic Achievement Award, Carol Condé + Karl Beveridgevisual artists, Toronto, ON; Pierre Bourgaultvisual artist, Saint-Jean-Port-Joli, QC; Moyra Frances Daveyvisual artist, New York, NY; David Ruben Piqtoukunsculptor/artist, Plainfield, ON; Jocelyn Robertartist, Quebec, QC and Monique Regimbald-Zeibervisual artist, Montreal, QC, disrupt and destabilize the narratives embedded in the permanent collection and take unexpected paths to create meaningful works.

Greg HillAudain Senior Curator, Indigenous Art, NGC; Josee Drouin-BriseboisSenior Manager, National Outreach, NGC; Andrea Kunard, Senior Curator, Photographs, NGC; and Stephanie BurdzyAssociate Curator, Contemporary Art, NGC worked closely with the winners for the selection and placement of installations and interventions.

“We are proud to present the work of 2022 Governor General’s Awards in Visual and Media Arts winners, in partnership with the Canada Council for the Arts. Throughout their prolific career, these laureates have sparked reflections and exchanges on the arts in Canada and beyond,” said Angela CassieActing Director and Chief Executive, National Gallery of Canada. “For the first time, the works of the GGArts laureates have been 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 points of view.”

“The Canada Council for the Arts is proud to partner with the National Gallery of Canada Canada to honor the 2022 GGArts winners,” said Simon BraultDirector and CEO, Canada Council for the Arts. “The exhibition of their works is 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 of Canada

Ankosé — Everything is connected — Everything is connected

The National Gallery of Canada is dedicated to amplifying voices through art and expanding the reach and breadth of its collection, exhibition program and public activities to represent all Canadians, while centering the ways of knowing and be indigenous. Ankose—an Anishinaabemowin word meaning Everything is connected— reflects the Gallery’s mission to create dynamic experiences that open hearts and minds and enable new ways of seeing ourselves, each other and our diverse histories, through the visual arts. The NGC is home to a rich international collection of contemporary Indigenous art, as well as significant collections of historical and contemporary Canadian and European art from the 14e at 21st centuries. Founded in 1880, the National Gallery of Canada has played a key role in Canadian culture for over a century. To learn more about the Gallery’s programming and activities, visit gallery.ca and follow us on Twitter, Facebook, Youtube and instagram. #Ankose #EverythingIsRelated #EverythingIsRelated.

About the Canada Council for the Arts

The Canada Council for the Arts is from Canada public arts funder. The mandate of the Canada Council for the Arts is to “encourage and promote the study, enjoyment and production of works of art”. The Canada Council Art Bank manages art rental programs and helps increase public engagement with contemporary arts through exhibitions and outreach activities . Investments by the Canada Council for the Arts foster greater engagement in the arts among international audiences and within Canada. This contributes to the dynamism of a creative and diverse artistic and literary scene and supports the presence of this scene through Canada and around the world. For more information, visit councilofcanada.ca.

BACKGROUNDER

Overview of works and installations by NGC laureates

In Indigenous and Canadian peoples Art Galeriesvisitors will discover the curatorial work of Gerald McMasterrecipient of Outstanding Contribution Award. In Gallery A101a, McMaster places a reproduction of a painting by Wendat Chief Telari-o-lin (1815-1886), a self-portrait of the artist Zachary Vincent, in dialogue with the trade in silver objects exhibited in neighboring showcases. McMaster’s notes, superimposed on this image, provide additional details and more general thoughts on money, wampum, and the political and cultural significance of Chief Telari-o-lin. Also exhibited in the adjacent galleries are pieces of silverware in dialogue with other works of art and objects from the same period, including two paintings that present them: Josephte Ourne (circa 1840) by Joseph Légaré and Thayendanegea (Joseph Brant) (circa 1807) by Guillaume Berczy. Gallery A108 presents McMaster’s notebooks containing his reflections on people, places, encounters and events as well as drawings and ideas that later became essays.

To see in gallery A102, four works by jeweler and goldsmith Brigitte Clavette challenge the functionality and ornamentation of a bygone era and connect money more directly to the living world. In Clavette’s hands, this sensitive material, long associated with domestic luxury, envelops surprising shapes, from rotting food to animal remains. In works such as Wasted2017, A table2012, and Untitled2020, raised silver vessels, utensils and organic materials explore participation in today’s world of excess and waste, scarcity and abundance. Sacrifice, 2002–2004/2022, ceremonial incense burner replacing an 18th century monstrance by Guillaume Loir, expresses a confluence of ideas. Pierced with nails, the vessel, like religious ritual, is both beautiful and intimidating, comforting and hurtful – a beauty with thorns. The object is presented surrounded by liturgical silverware from the 16th century.

Dance on the Moon II2016, an artist’s bronze David Ruben Piqtoukunon view in the Michael and Sonja Koerner family atrium, the heart of the Indigenous and Canadian community Art Galeries, is a sculptural interpretation of the Inuvialuit oral tradition. Piqtoukun highlights the notions of spiritual flight and creativity. Referring to the shamans who flew to the moon, this piece depicts a female figure who was not born or initiated as a shaman, but trained hard and persisted until she could achieve cosmic flight. The artist reminds us that anything is possible and expresses the feeling of euphoria that comes from achieving a rare accomplishment.

Hanging on the balcony wall overlooking the Fred & Elizabeth Fountain Garden are two works by Carol Condé + Karl Beveridge: Carol’s garden2021, and The waterfall, 2006–2007. The first is a triptych window reminiscent of a medieval altarpiece that predicts impending environmental catastrophe resulting from a capitalist and corporate culture. The second reconfigures the biblical story of fallen angels as depicted in the work of Pieter Bruegel The fall of the rebel angels (1562) to address the dynamics of water policy. In their works, Condé and Beveridge use theatrical techniques, political strategies, collage, pastiche, manipulation of texts and images to expose the social fabric that maintains social inequalities.

On the first level of the contemporary art galleries, two large-scale installations of Pierre Bourgault can be viewed. Arrow [Arrow], 1986, inspired by automatic drawing and children’s games of chance, consists of 75 painted wooden planks tied end to end and anchored in the bed of the Gouffre river. This drawing-sculpture floated in place for 12 days before being released with the current. pillars of salt [Pillars of Salt]2005/2012, refers to recordings of passing time, the notion of horizontality and the powerful forces of Saint Laurent. The artist’s salt pillar interventions are ephemeral and luminous monuments of an essential substance that evoke purification, rebirth and renewal.

Nearby is Jocelyn Robertinstalling My dad and me, 2019, from which two portraits gradually emerge. On the ground, an old piano driven by small motors hits a few notes hesitantly. 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 a Google search from his passport photo. It blurs the notion of the true or exact image that one can have of a person. The artist looks at what has been and what could have been, revealing a discreet, almost silent complicity between father and son.

Also on the first level of the Contemporary Art Galleries (B108), Moyra Daveythe video work of Western2020-2022, follows its protagonist, Elle, in legendary dance parties New York. Narratives of collective experiences in these utopian spaces of youth contrast with themes of bodily abandonment to age and passing time. When she’s not partying, Elle reveals an inner monologue powered by a playlist of authors including Hilton Als, Anne Boyer and Elizabeth Hardwick. The music punctuates the cyclical progression of the story, also interrupted by the need for social distancing and the resulting alienation. Davey’s work is placed in dialogue with works by Sarah Anne Johnson.

Monique Regimbal Zeiberwork After Europe: Torn paint, 1984-2022, is presented on the upper floor and occupies one wall of gallery B204. In 2013, the artist stopped buying equipment. She prefers to recycle scraps of all kinds and reuse her old works, as she has been doing here with canvases painted since 1984. By rearranging strips of torn canvases, Régimbal-Zeiber creates an innovative production that is both figurative and abstract, embodying the idea of ​​a painting. This gesture of turning her back on the great academic painting echoes the decision of Agnès Martin, whose work is exhibited nearby, to leave New York isolate themselves and pursue their own quest for a new form.

Discover the 2022 winners: https://en.ggarts.ca/

SOURCE National Gallery of Canada

Quote

Show original content: http://www.newswire.ca/en/releases/archive/October2022/13/c2217.html