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Grant Barnhart’s new solo exhibition, a collection of acrylic paintings and a couple of sculptures, is simultaneously excessive and withholding. The handling of paint is light, combining a natural, at times muted, palette with subject matter that is heavy on narrative. Both conventional and absurd, Barnhart’s imagery tempts us with familiar categories of narrative while simultaneously needling us with absurd scenarios and incongruous elements – as we attempt to reconcile the familiar with the strange, we are incessantly reminded to ask, just what is the “it” we are begging for?

One of art history’s best told tales recounts how artists learnt to convincingly render reality, hinging, of course, on the 15th century “discovery” of linear perspective and its potential for remarkable illusionism. Contrary to what the five following centuries of artistic practice might suggest, the success of Australian-born, London-based artist Ron Mueck proves that verisimilitude and technical virtuosity still holds us very much in thrall today. Organized by the National Gallery of Canada, and in large part comprised of works in their permanent collection, Real Life brings Mueck together with acclaimed Israeli and Berlin-based artist Guy Ben-Ner, to probe the philosophical territories of reality, artifice and everyday existence. Originally shown at the National Gallery’s satellite exhibition venue in Shawinigan, Quebec, in 2008, Real Life has since toured to several venues across Canada, including where I took it in, at Calgary’s Glenbow Museum

Same Same / SHOW

Video artist Breitz examines screen icons and pop culture then delves into the world of twins with edited and constructed interviews.

SHOW

Creating feelings of nostalgia in his recent exhibition at East Vancouver’s LES Gallery.

RAGNAR KJNARTANSSON

wordsby nicholas brown

In weighing my decision whether or not to attend the 53rd Venice Biennale, I did what many do: balance financial and scheduling considerations against the professional and personal lure of (arguably) the biggest art exhibition in the world, held in (arguably) the most magical place in the world. Doing so in the midst of a recession made it all the more difficult, but always lingering in the back of my mind was the anxious injunction to go to Venice now before it sinks into the ocean. Well, I went. And in spite of a rather tepid overall exhibition – more on that in a minute – it turns out I had the right idea. Not only did Venice flood unseasonably during my brief visit, but I got to attend Ragnar Kjnartansson’s The End, an appropriately apocalyptic show that represents Iceland’s participation within the national pavilions at the Biennale. Taking place in the Palazzo Michiel dal Brusa by the Canale Grande, the work forms a kind of terminal location for weary art viewers.

Five world-renowned Vancouver artists showcase their craft in Nomads, a group exhibition presented by the National Gallery of Canada. Nicholas Brown examines the art these world-wanderers brought home.

The Drunkard’s Walk, 2008 by myfanwy macleod
ink jet print, 87 × 155.6cm

wordsby nicholas brown

“The National Gallery of Canada’s recent group exhibition features some of Canada’s best-known emerging to mid-career artists whose practices are international in both recognition and trajectory. That all five artists originate from Vancouver is neither a surprise nor an easy pill to swallow for many Canadians on the other side of the country. The Lower Mainland is renowned for producing artists who shuttle back and forth between Europe and other international locations, bringing prestige and attention back to their home town…”

FUNKAESTHETICS:

Justina M. Barnicke Gallery, Toronto ON

(February 12 – March 23, 2009)

words by nicholas brown

QUISQUEYA HENRIQUEZ

wordsby nicholas brown imagescourtesy david castillo gallery

By the time this issue hits the rack, it will be the worst time in decades to be an art dealer. In the wake of the global financial crisis, there was an initial calm in the art world, as people began to speculate just how long it could remain unaffected by the events on Wall Street. But on December 3, 2008, when I entered the exhibition centre at Art Basel Miami – North America’s answer to Switzerland’s Art Basel, the largest and most prestigious international art fair – things were looking decidedly grim. Functioning as both a trade show and a site of quick commerce, where eager buyers line up to view booths manned by dealers looking to market and sell works by leading international artists, art fairs are costly to participate in but promise massive sales for savvy salespeople. This year rumours swirled: nothing was selling, it was a buyer’s market for those collectors that were still in the game (ie. no more hedge fund investors), and the massive cost of participating was bringing diminished returns. But outside of the convention centre, others were content with displaying their artists without much care for the short-game tactics of the main fair.

GEOFFREY FARMER

wordsby joni murphy

imagescourtesy of Musee d’art contemporaian de Montreal

The play of ghost and fake, low budget facades. The discussion of what’s really real and what’s really far-out are all things addressed in Vancouver-based artist Geoffery Farmer’s work. His recent show at the Musée d’art contemporain de Montréal is reviewed by Joni Murphy aiming to expand your mind when you read and digest Farmer’s work…

GEOFFREY FARMER

wordsby joni murphy

imagescourtesy of Musee d’art contemporaian de Montreal

The play of ghost and fake, low budget facades. The discussion of what’s really real and what’s really far-out are all things addressed in Vancouver-based artist Geoffery Farmer’s work. His recent show at the Musée d’art contemporain de Montréal is reviewed by Joni Murphy aiming to expand your mind when you read and digest Farmer’s work…

JAMEL SHABAZZ

wordsby leah turner photoscourtesy thrush holmes empire

Billed as a “mini-retrospective,” Seconds of My Life at TorontoÂ’s Thrush Holmes Empire presents a selection of work by Brooklyn-based photographer Jamel Shabazz. Representing a career that spans over thirty years, Seconds of My Life includes approximately two dozen photographs – indicative of ShabazzÂ’s long-time commitment to documenting urban life, hip hop and street culture in New York City. A twenty-year veteran of the New York City Department of Correction, as well as an activist, philanthropist and youth mentor, Shabazz has dedicated much of his life to working with inner city communities…

SAID AND DONE: ORGANIZING CHAOS

by dustin koop and john antoski interviewsby apefluff photoby graeme owsianski

The Said and Done project was created as a means of uniting artists from communities around the world. The project to date consists of 225 original serigraph prints (7×11”), produced in collaboration. These prints were distributed to select artists encouraging them to collaborate in any way that they choose, using whatever media and creative approach they find suitable.

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