BeatRoute Magazine BC Edition February 2019

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Spring 2019 Exhibition February 16 to June 15 Catherine Opie 700 Nimes Road (2010-2011) (one of ) 50 archival pigment prints on Canson platine paper 310 gsm, two letterpress inserts, silk lined linen box with embossed text | each 24 7/8 x 30 3/8 x 1 3/4 in ( 63 x 77 x 4.5 cm ) framed Rennie Museum | 51 East Pender St | Vancouver
AFFINITIES VISUALS OF THE PAST DEMAND RELEVANCE TO THE MODERN AGE JAMILA POMEROY Photos by Rodney Graham Affinities showcases the ways French artists influenced Canadian art in the 20th century. CONSIDERING CONSTRAINTS ARTIST ZANDI DANDIZETTE IS A SPECTRUM OF COLOUR MIA GLANZ Drawn from the Vancouver Art Gallery’s permanent collection, Affinities: Canadian Artists and France explores the significance of French modernism, cultural theory, and the impact these cultural and visual revolutions have had on Canadian art. Tracing a century of avant-garde art making, the exhibition displays art informed by French intellectuals of the mid-to-late 20th century. “The exhibition looks at the affinities: the Canadian artist’s [connection to] France, in terms of the art that was produced there, but also in terms of the philosophy and thinking that has come out of France over the last 120 years,” says curator Grant Arnold. Broken into three sections, viewers explore impressionism, post-impressionism, the art of 1950s Montreal, and both French and French-Canadian surrealism. “The first section focuses on artists who studied in France in the late 19th or early 20th century who were influenced by impressionism and postimpressionism,” explains Arnold. This visual exposé of French art touches on Montreal’s relationship with France: in this, we discover these artists of true innovation were merely inspired by their French forefathers, far from the misconceptions that they were only replications and transplants of the revolutionary scene. Featuring the likes of James Wilson Morrice, Maurice Cullen, A. Y. Jackson, and Emily Carr, we are able to see the direct impact French culture has had on Canadian technique and the statements these works CITY superimpose. The second section of the exhibit explores the abstract: in response to the French surrealist poet André Breton, Paul-Émile Borduas and Jean-Paul Mousseau undertake visual revolutions based on automatic writing. “It looks at painting in Montreal in the ‘40s and ‘50s,” says Arnold, who sees the France-to-Montreal exodus as paramount to current Canadian artistic culture. “At that time, the discussions of art-making in Montreal were probably the most advanced in the country, or at least the most up to date in terms of modernism. There were a number of artists, Alfred Pellan being one of them, who had been in France for quite a long time. Alfred Pellan came back to Montreal at the beginning of the Second World War, after living in Paris for 14 years. He was very familiar with cubism and surrealism and recent developments of French painting.” With more recent works of the exhibit largely informed by French theorists, and aligned deeply with the post-modernist feminism of that time, viewers obtain a deeper understanding of just how interdependent these visual movements were with the voice of the people, and further, statements reacting on the societal and political states of the time. With artists such as Mary Scott and Lucy Hogg, we are given visual waves of French theorists such as Jacques Lacan and Julia Kristeva. Affinities: Canadian Artists and France runs from February 16-May 20 at the Vancouver Art Gallery. Pink, purple and blue are Zandi Dandizette’s colours. Not only in terms of dress: even their lips, hair, and eyebrows are painted in a Care Bear palette. Every morning, Dandizette steps out of their bedroom at the James Black Gallery, of which they are founder and artist-resident, and into the “transition” room, where the walls and ceiling are plastered in amorphous conglomerations of pink, blue, and purple. Colour associations are immediate, but not instinctive. “In the past, pink was considered a really loud colour, and a totally masculine colour,” Dandizette explains. They use colour to explore identity in their exhibition and curatorial work, the latter being “an extension of [their] thought process.” Beyond Dandizette’s work as an artist, a curator, and a part of the James Black Gallery and residency program, they are Programs Coordinator for CARFAC and on the Board of Directors at VIVO Media Arts Centre. Don’t be fooled by notions of pink – colourful Dandizette is a force. Expect more figurative colourations at Dandizette’s upcoming exhibition, Considering Constraints, at Conduit Gallery. The project has installation and performance components, and the space will be transformed with “a lot of baby foam mats, and then polyurethane blobs coming out and interrupting the strict grid pattern.” The baby foam mats reference childhood as the period when humans are, Dandizette explains, “forced into gender constraints.” A video loop of hundreds of people’s faces, close-ups without contextual markers of gender, will play on the gallery walls. At the closing show on February 21, Dandizette will wear a morphsuit inviting people to draw on them in order to “ascribe their own meaning and how they view the body.” The presence and reaction of people whose faces play in the video loop will add to an experience of the space. For Dandizette, today we are constantly interacting with visual tropes. In old films, the pacing was different. “At the time they needed to develop the character,” they say. “Nowadays, we have all this film history and these tropes in place so we can immediately identify that character.” In their practice, they seek to use and highlight visual language to “discuss, subvert, and hopefully make people question why they think the way they do,” – starting with pink, purple, and blue. Considering Constraints runs from February 7-21 at the Conduit Gallery. Zandi Dandizette uses colour to explore identity in both their exhibition and curatorial work. February 2019 13
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