Wednesday, May 25, 2011
Monday, May 16, 2011
Inspired by Rainer Herrn’s 2008 group exhibition Sex brennt/Sex Burns at The Charité Hospital in Berlin, PopSex! showcases 12 artists from Berlin and Calgary. Pauline Boudry and Renate Lorenz, David Folk, Jean-René Leblanc, Kurtis Lesick, Wednesday Lupypciw, Anthea Black and Mr. and Mrs. Keith Murray, Mireille Perron and Heather Stump, Benny Nemerofsky Ramsay and RICHard SMOLinski were brought together by the curators to respond to the remnants of Magnus Hirshfield’s archive from the Institute for Sexual Science.
The exhibition was an extension of a related conference that took place at ACAD, which focused on the role of media and sexuality in early 20th-century Germany, the subject of Hirshfield’s Institute. Founded in Berlin in 1919, Hirshfeld’s Institute for Sexual Science was a place of research, political advocacy, counseling, and public education — decades ahead of what Alfred Kinsey would go on to accomplish in America in the 1940s and 50s. Inspired by the world’s first gay rights organizations, the institute was a close ally for several groups fighting for sexual reform and women’s rights. In 1933, during the infamous Nazi book burnings, the bulk of the Institute’s archives were destroyed. At the same time, Hirschfeld’s scientific research was co-opted and turned around by Nazi Germany to argue for racial and biological purity . . .
Read the review in full in the Spring issue of FUSE Magazine. FUSE 34.2. can also be downloaded, and will be the last free downloadable issue
Thursday, May 5, 2011
Feature: Shary Boyle's Flesh and Blood, CAG, Vancouver, First published in Galleries West, Summer 2011*
|Image credit: Shary Boyle, "The Lute Player" 2009|
Fueled by her own unstoppable imagination, Shary Boyle’s work shatters life into visually stunning narrative shards, breaking down hierarchies between humans and animals, men and women, and transforming the fi gurative genre into a form that eerily looks back at its viewers.
For 20 years, Boyle’s work has eluded being categorized into any one medium or genre. Long heralded as an outsider in terms of her non-referential, anti-institutional methods, Boyle is now coming off a landmark year — and she shows no signs of slowing down. She took home the 2009 Gershon Iskowitz Prize, which came with a $25,000 award and a solo exhibition at the Art Gallery of Ontario. The highly lauded Flesh and Blood was curated by Louise Dery of the Galerie de l’UQAM in Montreal, where the show ran earlier this year. This summer, Flesh and Blood travels to Contemporary Art Gallery in Vancouver.
While future projects include a 2012 live presentation for children in Toronto, Boyle’s work has long been aptly described as “intense”. Little has been said about the root of that intensity, an energy that is dark, yet highly imaginative, if not joyfully absurd. Her work boils down to a highly attuned and perceptive sensitivity to the state of being alive, and inherent in each piece is an innate curiosity that emerges from a sense of being different. As an artist, she doesn’t hold back in expressing a sensuality and honesty rarely visible on the surface of contemporary art. From wistful drawings of strange and vulnerable young women to haunting porcelain sculptures sprung directly from a wild imagination, Boyle intervenes into the arc of art history with a potentially polarizing feminist narrative . . .
*To read the article in full, pick up the Summer 2011 issue of Galleries West