Vancouver Art Gallery

Much dismay that the Vancouver Art Gallery is going to move out of its present location, the classical Rattenbury court house on Georgia Street, and into a new building on the site of the old bus depot on Cambie.  The streets don't mean much to those who don't know Vancouver well, but the bus depot site is at the end of Georgia that is accumulating large cultural edifices: the CBC building, Vancouver Public Library, the Queen Elizabeth Theatre, and now the art gallery.  

The QE Theatre — an opera and ballet hall – is in its original 1959 Affleck building, the library moved from its 1957 Burrard Street location and building into the 1995 Safdie coliseum-referenced library on Georgia: Library Square with huge public spaces in and out, often used by the CBC as performance space.  The CBC is in a 1975 Merrick building on Georgia, expanded in 2009 (Dialog and Bakker) to include a 4000 square-foot performance studio and a glassy public face on the street.  The 1958 McCarter Nairne Post Office building, also on Georgia, its future very much in danger, has been discussed as a possible home for the Vancouver Art Gallery: right location, large industrial spaces, although its massive structure would make changes almost prohibitively expensive, plus it was sold in March for $159 million to a developer.

The Vancouver Art Gallery's first building was built in 1931 on a 66'-wide lot (the original CPR survey grid based on chains for residential plots) a couple of blocks away on Georgia from the Hotel Vancouver.  It looked like a bank vault, which says something about the way art was perceived, as a precious commodity meant to be safeguarded.
Vancouver Art Gallery under construction, 1931. Art Deco single storey gallery on a 66' lot in a residential area - 1145 W. Georgia Street. CIty of Vancouver Archives AM54-S4-: Bu P401.1McCarter Naire Architects, Vancouver Art Gallery, 1931The building was given an International Style renovation and expansion in 1950 by Ross Lort: a part plate glass front wall, part slab, all offset planes and classic white gallery space behind.  It had become a small, exceptionally accommodating gallery that under the direction of Doris Shadbolt and Tony Emery, was at the centre of the explosion of art and performance, from N.E. Thing Co to Gathie Falk, in Vancouver in the 1960s and early 1970s. 

Ross Lort, architect. Vancouver Art Gallery, 1950.

Then, in 1983, the Vancouver Art Gallery moved to the Erickson-renovated 1911 court house building, made redundant by the 1980 Erickson-designed Law Courts complex and Robson Square which filled the two blocks to the west behind the court house.  It seemed appropriate in the ghastly post-modern 1980s when protests on the Court House steps were over, and museums, opera companies and symphonies turned to block-buster shows for survival, that the VAG be housed in the pomposity of a building shouting out its authority.

Vancouver Art Gallery, 1983-present.

Art goes on no matter what the official gallery is, artists challenge and change; where they do it and where you see it is worthy of attention.  In the 1980s artists were like the punk scene occupying marginal and arcane spaces, they certainly weren't in the main spaces of the new Vancouver Art Gallery in the way that they had fluidly slipped in and out of the old modernist unpretentious gallery down the street.  The more we pull access to art out of the everyday, the more inexplicable it becomes to the everyday.  Much like the original 1931 vault-like gallery, the court house gallery demanded, simply by the architecture itself, reverence for the exceptionalism of art.

I'm not unhappy to see the Vancouver Art Gallery leave the court house building, but one does worry about the current civic support, all over the country, for Bilbao-effect galleries and museums.  By their very spectacularity they become objects rather than fabric, appropriate one would think perhaps for programs such as justice, or health, or governance.  Historically, art is deemed to be one of these important conditions requiring separation in a significant architecture.

Might we have something more wabi-sabi: a necessary anchor for history, retrospectives, biennials and curation, plus the infiltration of the rest of the city, starting from that block, with a rootless, opportunistic, transient architecture that reflects the kind of programming most major galleries are engaged with today.  There must be some place for a gallery architecture to constantly renew and reconstruct itself if it is to be an embedded part of the processes of cultural renewal and reconstruction, and not just the place where, after the fact, such changes are displayed.

Zoë Keating: frozen angels, 2011

Rebecca Horn: les amants, 1991

Les Amants, 1991, Photo: Attilio Maranzano © 2009 Rebecca Horn. Les Amants consists of two glass funnels, ink, wine and motors of some unspecified sort that must spray the liquids about. Neue Nationalgalerie Berlin

Donald Kuspit's review of Rebecca Horn's drawings, both by hand and by machine, indicates something of his desires, found in Horn's sexual subtext: all the machines are metaphors for the coming together of bodily fluids.  Well, maybe; it is called Les Amants —is it blood, or is it wine?  However, one might also see in the desperate, cross throwing of ink in the corner of a room, the fan of a musical score there but ignored, les travails des amants.

Kuspit does say 'her drawings are written by her machines': does the machine write, or does it make the marks it is designed to make?  In Alan Storey's drawing machines, below, does he build them to literally make the marks he already has written, or does he make them to make marks as an autonomous act?  He assigned up and down to wind force, not immediately a logical choice, so he must have wanted his recordings on the paper to register elevation, rather than planarity — biblical, this, every mountain and hill made low: the crooked straight and the rough places plain.  And then comes the wind.

Adrian Mitchell: tell me lies

The earliest filmed version of Adrian Mitchell performing his poem, To Whom It May Concern (tell me lies about Vietnam) at the Albert Hall, June 11, 1965:

And a film by Pamela Robertson-Pearce of Mitchell reciting Tell Me Lies just before his death in 2008.  He constantly adapted the last verse to pull the poem into the continual present, for about war some things never change. 

Edith Sitwell: poet, brick

The extremely generous Edith Sitwell, modernist poet, interviewed by the BBC in 1959:

And a younger version, in 1928:

Dame Edith Sitwell, 1928. National Portrait Gallery, London

Ann Hamilton: the event of a thread

at Park Avenue Armoury, New York, December 5 - January 6

Great Lake Swimmers: Your Rocky Spine :: land as love

We should make this the theme song for On Site 29: geology.

Great Lake Swimmers. Original album was Ongiara, 2007; here a performance from the neighbor's dog.

Call for articles for 29:geology here.

Bang on a Can: music for airports

Brian Eno's Music for Airports, in an airport, perfomed by Bang on a Can, 18 September 2011, part of the Altstadherbst Festival.

Värttinä: Kylä Vuotti Uutta Kuuta

Because, it is snowing today.

Kevin Harman: Skip 13

Kevin Harman's gallery, Ingleby Gallery, has emailed a link to the latest skip reorganisation, Skip 13, part of Frieze Art Fair 2012.  There is a nice vimeo; click on the photo to be transported there. 

Kevin Harman. Skip 13, York Way, London. October 6-7, 2012

These stacks of material remind me so much of the piles of construction debris found in Sudbury, which I wrote about last year in Destination Earth.  Is there some deep epistemological urge we have to separate, sort and re-present? Or does construction debris itself lead to this.  Unwillingly deconstructed, it longs to be a thing again. 

Kevin Harman: Skip 7

Kevin Harman. Skip 7. 2007 Mixed Medium Friday, take all contents out of skip, break down and place all debris back in skip for opening on Sunday night, leave.

Kevin Harman, Scottish sculptor, has a series of reorganised skips full mostly of construction debris. This is Skip 7, before and finished.

At once performance, community project, statement about density, found materials, deconstruction of the already deconstructed, reconstruction leading to a complete absence of inner space.  Rachel Whitread filled a small house full of plaster, then removed the mould – the structure of the house itself, leaving solid blocks of 'space'.  Kevin Harman takes the materials of a house and squeezes all the space out, leaving a small block of airless density.

The process is public and good natured. Here is an 11 minute 2009 film from Harman's website:  www.kevinharman.co.uk/skip11video.html

Below, Skip 11, a strangely romantic reorganisation.

Kevin Harman. Skip 11, 2011 Mixed Medium Friday, take all contents out of skip, break down and place all debris back in skip for opening on Sunday night, leave.

David Sylvian: The God of Small Caresses

Uncommon Deities poem (Punkt 2011) on music by Jan Bang, Erik Honore and David Sylvian.

Uncommon Deities appears to be a reconstruction of an audiovisual installation by David Sylvian at the 2011 Punkt Festival at the Sorlandets Kunstmuseum in Kristiansand, Norway.  For the cd, Sylvian's poems are read against settings by Jan Bang and Erik Honoré, Arve Henriksen and Sidsel Endreson.  

As all of this is alternative and for sale, the David Sylvian website has lots on information.  The piece that led me to this is The God of Small Caresses, of which one can hear an excerpt if you click on the image above.  

Otherwise, here is a rather beautiful video introduction to the cd with The God of Single Cell Organisms. 

Tales from the Bridge

Millenium Bridge, London.

The Millennium Bridge crosses the Thames from the Tate Modern to St Paul's Cathedral.  During the Olympics it was the site of a sound installation, Tales from the Bridge, by Martyn Ware and David Bickerstaff: a one hour loop composed of music and a poetry narrative for two voices about the Thames by Mario Petrucci.   Speakers were placed the length of the foot bridge creating a vast ambient sound environment: music spatialised in Ware's terms.  Plus Daniel Hirschman's interactive component means that walkers themselves trigger other tracks so that the experience is never the same twice.  The poetry narrative is about the river, its role in London, its poets, its economic lifeline, its anecdotes, its history.  The music is Water Night, written by Eric Whitacre and performed by Whitacre's Virtual Choir.

Not only does the sound literally come from and spread out in all directions, the technology and the content too come from all directions.  The immersive nature of the new urban sound works are both beautiful and sophisticated, complex and content-heavy.  It isn't just ambient music anymore, but something much more sited, in space and time.  We can listen to Tales from the Bridge, below, but it will be a much different experience than listening to it over the water, in London, on that bridge. 

Illustrious Company

prince valiant

A flaming figure of a cyclist enters the Olympic Stadium. Photograph: Dennis Grombkowski/Getty Images

seeing without eyes

The TopFoto caption: EU001059.jpg Chariots of Fire legend, Harold Abrahams, sprints blindfolded against a totally blind man at St Dunstan's. Abrahams lost the race, 20 June 1920. c. TopFoto

This is the banner photo that TopFoto is using during the Paralympics.  Clearly Harold Abrahams has lost himself spatially.  Without his eyes, he can't focus his mind and body in a straight line, despite the interesting guide flag thing.  
This is what was so interesting about the Paralympics – it is so much about the mind, and the intellect, driving everything forward.  Even the body, perfect and imperfect.

paralympic beauty

Supposedly the big bang, but so often whatever was going on looked like drawings, in this case a smudged Boullée. London 2012 Paralympic Games Opening. AP PhotographThe opening for the 2012 Paralympics, staged by Jenny Sealy, the artistic director of Graeae, was astounding.  Unlike the paean to seemingly eternal but tired British pop culture that dominated the regular Olympics' opening and closing, the Paralympic opening was narrated, alternatively, by Stephen Hawking and Ian McKellan as Prospero: books flew, people flew, apples fell: one realised that paralympians live in the world of science and technology in a way that non-paralympians do not.  Meanwhile, atoms collided, dark matter surged, Handel was sung, and it was beautiful.  

Not least, perhaps most, beautiful was David Toole, who dances like water down a river to his very fingertips.

Douglas Gordon: The End of Civilisation, 2012

The End of Civilisation is one of the True Spirit projects co-commissioned by Great North Run Culture, Locus+ and funded by Arts Council England for the Cultural Olympiad.  The site overlooks the Scotland-England border, in Cumbria.

David Borden: tribute to Ruth St Denis and Ted Shawn

from the YouTube blurb:  'The Dawns.01 with Ted Shawn and his Male Dancers. This is a live performance by Mother Mallard in Ithaca, New York, September 2007.  Video by Noni Korf Vidal and Franck Vidal.  Shown are David Borden, kbd and Conrad Alexander, MalletKat. Out of camera view are keyboardists Blaise Bryski and David Yearsley. Everyone is playing sounds stored on Apple Laptops and triggered by USB connections.'

dancing

Ruth St Denis on the beach, 1916. NYPL digital gallery Image ID: DEN_0543V

This is Ruth St Denis dancing on the beach in 1916.  Unlike classical ballet where energy flows off the body in smooth waves, St Denis, who changed dance radically with Ted Shawn in the 1920s, flings off energy from her body but then snaps it back with a tweak of her wrists.  

It is similar to what one sees in some of the drawings of Patkau Architects in the 90s: a retaining wall shoots across the plan and then, when normally it would subside with a sigh into the ground where the topography finally meets the level, the Patkaus would crank the end and all the energy of the weight behind that retaining wall would jerk back toward the house.

It is a powerful ploy, no less in dance than in architecture, to embody resistance.  What was Ohm's Law?  resistance = voltage/current?  This is the problem with going with the flow, no voltage, no resistance, no energy.  Things change when energy is interrupted.

Giuseppe Penone, finding younger trees

Giuseppe Penone. Versailles Cedar, 2000-2003