CAPTURE PHOTOGRAPHY FESTIVAL HIGHLIGHTS
Capture Photography Festival enters its third year with its best line-up yet. The Vancouver-wide festival focuses on — you guessed it — photography, a medium most beloved in the city that has produced internationally-renowned photo-based artists such as Rodney Graham, Stan Douglas, Ken Lum, Ian Wallace, Jeff Wall, and the like. But Capture does not merely rest on past laurels. As you will see, its lens is turned decisively towards the future, as galleries, institutions, and public spaces showcase the best and brightest of emergent and established photographers today.
Colin Smith, Inside Out
Brody Albert, Dana Claxton, Alexis Dirks, Jason Gowans, Maggie Groat, Lili Huston-Hetereich, Laurie Kang, Colin Smith, and Ed Spence, Wayward
Winsor Gallery
Opening at Winsor Gallery this week are Inside Out, a solo exhibition by photographer Colin Smith, and Wayward, a group exhibition curated by Kimberly Phillips as part of Capture Photography Festival. The works in Inside Out bring the radiant outdoors into the motel rooms, trailers, and hotel suites situated within it. In its intimate instability, the medium operates as an allegory for experiential memory. Inside Out is a marvel of slowness in image making that runs counter to the instantaneousness of digital photography today.
Wayward, curated by Kimberly Phillips, presents the work of nine contemporary artists—based in Toronto, St. Catharines, Yellowknife, Los Angeles, and Vancouver—who trouble our presumptions about “fixedness” of the photograph. "In the first decade of its existence, the photographic image was understood not as “captured” or “taken” but rather as something “received from the world.” A certain anxiety was detectable in the writings of the new technology’s practitioners, who confessed their inability to fully control or “fix” the medium, both chemically and psychically. As theorist Kaja Silverman suggests in a new study that radically rethinks the history of photography, it was as though the photograph itself had its own intentionality, through which the world might conspire to assert its presence."
Angela Grossmann, Models of Resistance
Marion Scott Gallery
Angela Grossmann presents a new series of intimate and erotic portraits at the Marion Scott Gallery. "Though primarily black and white, the limited use of bright tufts of orange hair, bits of doll’s clothing, or scraps of pink lace creates a provocative set of associations. These portraits “play” with erotica, using voyeurism and exploitation as a starting point but ultimately transforming this into potent images of female empowerment."
Evann Siebens, deConstruction
Burrard Arts Foundation
"Referencing Jacques Derrida’s semiotic text, deConstruction is an ongoing series of photographs and short films that capture the dismantling of the historic city. What might have been inhabited for half a century can be demolished in a day. The bulldozers are like surgical tools: they hesitate and meander before digging in, creating a dance, a conversation between static structure and the choreography of change."
Dana Claxton, Elk for c̓əsnaʔəm and Tatanka Wanbli Chekpa Wicincala
Public installation: Marine Drive and City Centre stations
Dana Claxton brings the pre-colonial landscape to the city with two installations that reference the elk. "Elk form a crucial aspect of First Nations subsistence and spiritual economy. In the Lakota Sioux community, they hold power as sources of sacred mana, integral to ceremonial life. Elk were plentiful in this area for thousands of years, yet have disappeared in less than two hundred." Claxton questions our present relationship to the animal world "as we look through the grey concrete forest to see the aestheticized elk, alive in a celebration of colour, where it once may have been standing."
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| Ed Spence, Careful! You're Falling Inside of Yourself Again |
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| Colin Smith, Poplar Boler |
Colin Smith, Inside Out
Brody Albert, Dana Claxton, Alexis Dirks, Jason Gowans, Maggie Groat, Lili Huston-Hetereich, Laurie Kang, Colin Smith, and Ed Spence, Wayward
Winsor Gallery
Opening at Winsor Gallery this week are Inside Out, a solo exhibition by photographer Colin Smith, and Wayward, a group exhibition curated by Kimberly Phillips as part of Capture Photography Festival. The works in Inside Out bring the radiant outdoors into the motel rooms, trailers, and hotel suites situated within it. In its intimate instability, the medium operates as an allegory for experiential memory. Inside Out is a marvel of slowness in image making that runs counter to the instantaneousness of digital photography today.
Wayward, curated by Kimberly Phillips, presents the work of nine contemporary artists—based in Toronto, St. Catharines, Yellowknife, Los Angeles, and Vancouver—who trouble our presumptions about “fixedness” of the photograph. "In the first decade of its existence, the photographic image was understood not as “captured” or “taken” but rather as something “received from the world.” A certain anxiety was detectable in the writings of the new technology’s practitioners, who confessed their inability to fully control or “fix” the medium, both chemically and psychically. As theorist Kaja Silverman suggests in a new study that radically rethinks the history of photography, it was as though the photograph itself had its own intentionality, through which the world might conspire to assert its presence."
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| Angela Grossmann, Underwear |
Marion Scott Gallery
Angela Grossmann presents a new series of intimate and erotic portraits at the Marion Scott Gallery. "Though primarily black and white, the limited use of bright tufts of orange hair, bits of doll’s clothing, or scraps of pink lace creates a provocative set of associations. These portraits “play” with erotica, using voyeurism and exploitation as a starting point but ultimately transforming this into potent images of female empowerment."
 |
| Evann Siebens, deConstruction |
Burrard Arts Foundation
"Referencing Jacques Derrida’s semiotic text, deConstruction is an ongoing series of photographs and short films that capture the dismantling of the historic city. What might have been inhabited for half a century can be demolished in a day. The bulldozers are like surgical tools: they hesitate and meander before digging in, creating a dance, a conversation between static structure and the choreography of change."
 |
| Dana Claxton, Elk for c̓əsnaʔəm |
 |
| Dana Claxton, Tatanka Wanbli Chekpa Wicincala |
Public installation: Marine Drive and City Centre stations
Dana Claxton brings the pre-colonial landscape to the city with two installations that reference the elk. "Elk form a crucial aspect of First Nations subsistence and spiritual economy. In the Lakota Sioux community, they hold power as sources of sacred mana, integral to ceremonial life. Elk were plentiful in this area for thousands of years, yet have disappeared in less than two hundred." Claxton questions our present relationship to the animal world "as we look through the grey concrete forest to see the aestheticized elk, alive in a celebration of colour, where it once may have been standing."
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