Kyler Zeleny’s “Found Polaroids” (2011– ongoing) is a project that began with the collection of a few Polaroids at various flea markets in Canada.
photography
Philippe Deneault: What have been your most recent projects, or what have you been currently working on?
Traffic sounds like the heartbeat of a city—the hum of an engine, the clicking of pedestrian crosswalks.
Wendy Red Star and I have only met once in real life.
I came to know Wendy Red Star initially through her social media presence. Her Instagram feed is a collection of historical photographs of Crow life, documentation of her process with materials from Crow and powwow culture (elk teeth, Pendleton blankets, family beadwork), #forestbath walks she takes with her small dog Jasper in Oregon backcountry, documentation of her dresses, prints and photographs in museums and performances sometimes accompanied by her daughter, Beatrice.
Cyprien Gaillard’s most recent 3D video installation Nightlife (2015) is a riveting visual and auditory experience. Moved by gusts of wind, the elongated branches of Hollywood Juniper trees sway in slow motion, dancing ecstatically as though rejoicing in their emergence.
The act of representation is a process of mediation, of formalizing ideological frameworks, of exercising power dynamics, and of producing relationships between subjects and objects. An apparatus for self-imaging, representation both permits and precludes the naming and seeing of ourselves and others in the public realm, often resulting in dissonance, differentiation and exclusion.
PAVED Arts, the new media artist-run centre born out of the Saskatoon Photographers Gallery, has been a longtime advocate and supporter of local artists with contemporary practices in photography. PAVED brings a conceptually rich addition to the 2016 festival with an exhibition of local Saskatoon photographers working in film photography, “Resolution,” curated by artistic director David LaRiviere.
In-Between Worlds is an ongoing series by Ottawa-based artist Meryl McMaster that grapples with complex questions of identity; addressing the ways contemporary Indigenous and cross-cultural identities are represented.
Figures falling apart into pixelated existence.
Broken down.
Disintegrated.
Ed Spence and Dana Claxton embrace this technological way of digesting or reading, absorbing or even understanding the information held within images. Divided from their original context, in a way, images reverted to analog form illustrate more of a division than a unification of knowledge.
The first time the Vancouver Capture Photography Festival was held was in October of 2013. In a city known for its rich and dedicated photography culture, it was extremely well received. Two years later, it’s back; a soon-to-be annual event, Capture aims to “increase knowledge and appreciation of photography and lens-based art by emphasizing the cultural importance of photography in all its forms,” a mission succinctly described by festival executive director, Kim Spencer-Narin.
“Untitled (new visions)” curated by executive director Tarin Hughes, is the second collaboration between artists Barbara Hobot and Maggie Groat. Their objects in the AKA exhibition space are generally small-scale works, brightly colored in rainbow or natural hues.