Wreck City Demo Tape thoughts

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A week ago this past Friday (June 19), I attended the opening evening of the newly opened incarnation of Wreck City. I got there late as the last band was packing up. I was only able to see a few things that evening and had to return to see the remainder the following day. Sadly, even though I began writing this on the second day, this project called Demo Tape has now ended.

The last project that this curatorial team called Wreck City was involved with was entitled Phantom Wing. It occurred in the fall of 2013 and I have written at least one or two posts about it. If you are curious, follow the Phantom Wing link to the right.

Phantom Wing (from what I understand) was under the direction of cSPACE (working in collaboration with the curators of the successful original Wreck City project in Sunnyside). I have written a few things about it during the time that the project was running. It was coordinated to kick off the impending demolition stage of the new wing of the King Edward School that is intended to be an arts incubator.

About a month or two ago, the official sod turning event happened at the King Edward School. Two years later (after Phantom Wing), it would appear as if the King Edward School project has finally began the building stage process. As stated optimistically in the press release above, occupancy is scheduled for mid-2016. But given how long it has taken to get to this stage, and with some knowledge of how long construction projects often take, it is my speculation that occupancy will be more likely occur at some point during 2017. But since I am not involved in this project, it is possible that I could be wrong.

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After my little introductory diversion, the curators of Wreck City put the word out in January and in February that they were looking to resurrect the concept once again.

At that stage, they indicated that they were looking for space in the inner city communities. From what I understand there were a number of options that came as a result, which is not surprising given the rapid gentrification and upgrading of older communities in the city. Obviously given that this concept occurred – they found a suitable space.

This event was held in the former Penguin Car Wash overlooking the Elbow River between Fort Calgary and the Esker. It has a fantastic view of downtown Calgary and the mountains behind.

It also has a connection to an art mystery.

Specifically, this mystery involves a series of Rembrandt letters which prove that two recently purchased Rembrandt paintings were indeed forgeries and also involve a murder that was tied to an incident to obtain these letters. Of course, this whole Rembrandt story is a complete fabrication. But it was a small piece of the plot for the movie Silver Streak (1976) featuring Gene Wilder, Jill Clayburgh, Patrick McGoohan and Richard Pryor.

The Penguin Car Wash connection takes place at the bottom of the small hill that the car wash is located upon. The CP railway bridge which crosses the Elbow River and is located directly below the carwash. See next photo, as it is quite possible that this scene was shot from this viewpoint (or nearby).

At the beginning of the third act of Silver Streak, Gene Wilder and Richard Pryor jump from the train into the Elbow River below. I tried to find a clip of the scene, but could not track it down. I guess that means you will have to watch the whole movie instead. It is possible that the Penguin Car Wash is visible in the movie. However, it has been so long since I have seen it, I am uncertain whether it is visible or not.  Now I have to track down a copy and view it again as well.

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After, yet another diversion, back to the Penguin Car Wash and Wreck City’s Demo Tape.

As stated earlier, I visited opening day toward the end of the night. The band that I heard while waiting for the freight train to pass, was already starting to pack up by the time I arrived. As a result, I only got to see some of the installations. However, I came back the following day when it was less busy and saw the remainder when there were less crowds.

It was interesting, however this version, did not have the same amount of buzz around it that I recall from the first iteration. Why that was, I am unsure. Maybe it was a bit more structured, formalized and probably a bit more thoughtful.

These are all good things, that are to be expected as an organization matures and changes.

Midway through the event, the organizers were forecasting that they would get 5000 attendees. Although the final numbers of those who attended have not been released, based on the following comments, a guesstimate can be made that probably somewhere between 2500 and 3000 people most likely attended. This is a solid attendance for an art event with little media support.

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Of course this cannot compare with the approximately 8000+ that attended the original project. We can attribute this variance to any number of reasons, given that both took place over a similar time period. Some of these reasons are:

  • Public transit accessibility – original was two blocks from a C-Train platform vs. Demo Tape had little transit infrastructure nearby and about a kilometre away from the nearest C-Train platform.
  • Time of year – the original event occurred at the end of university/college school term (last week of April) vs. Demo Tape occurred at the end of primary school term and the beginning of summer holidays for many.
  • Cultural awareness – the original event ramped up in the fading days of the year-long Calgary 2012 event when awareness of cultural events was high (with Calgary 2012 receiving seed money and support from organizations such as the federal government’s Department of Heritage, Calgary Arts Development Authority, Calgary Stampede, Calgary Public Library, Calgary Parks and Recreation and others) vs. Demo Tape which depended upon the connection to Sled Island and Wreck City’s own base who attended previous events.
  • Number of artists – original had approximately 150 artists vs. Demo Tape which had approximately 50
  • Cohabitation – to my recollection the original had more cohabitation happening between artists in the same (this is probably the nature of the more intimate nature of the buildings used, where the spaces were smaller and artwork would cross over perceptually even though they were placed in separate spaces in each house) vs. Demo Tape where each artist had more distinctly separated physical spaces for their artwork and larger spaces in general.
  • Newness – the original concept had the perception that it was new (in some ways it was, and for many attendees it was definitely something new. In other important ways it was not. I state this because it was a derivation of a previous project one or more of the curators were involved with a project that occurred in 2011 a few blocks away from the original Wreck City project in the community of West Hillhurst) vs. Demo Tape being the third project by the Wreck City collective after a two-year hiatus.

Were these reasons enough to make a difference?

Maybe. Maybe not.

These will all be factors that the curators will need to figure out when they do their post-event analysis, debriefing and reporting (if they actually do that). Potentially, I am actually doing it for them (or at least giving the curators something to think about).

Audiences can be very fickle and it is hard to determine what the root cause is that will prompt attendance in one case and not the other.

Media

I also have to mention media. Even the news outlets, didn’t get behind this event like they did for the Sunnyside project. During the 10-day run of the project, I believe that only the Calgary Herald actually reported on the project. There also was an interview with a number of the curators on CJSW radio. Both happened on the first day and nothing else happened afterwards.

To be fair, there was certainly coverage leading up to the week leading up to the event, In addition, the media really helped put the word out about the collective’s search for space back in February.

Whatever happened, and why it was not covered as it was previously, I suppose will remain a mystery.

Of course, it is worth mentioning once again, that the visible absence of arts reporting through the vehicle of FastForward Weekly is still noticeable, especially for special events such as this.

This has subsequently made the act of talking about visual arts and exhibitions, somewhat like talking to an audience (that may or may not be there) in a steel drum. I have said it before. I will say it again. Local arts reporting is critically important for an artist’s career and development. It is the same reason why music reporting is important, why theatre coverage is important and sports coverage is important. At the end of the day, they all serve the same type of purpose – to a point.

But, I guess removing visual arts coverage entirely, and/or having said coverage take place from a different geographical location is all done in the name of progress and it is not my call to make. I just try to add my little bit from time to time – and when my own time allows this luxury (since I don’t get paid to write this blog).

The actual event

I must be honest. Although I went, my heart was not overly engaged. The first night I came immediately after work and spent more time talking to people I knew than looking at art. The second day I spent more time relaxing on site and talking to an art teacher who travelled by herself from Madison, Wisconsin to volunteer at the Demo Tape event. I feel bad, because I spent at least an hour or more talking to her – and now I have forgotten her name. She had never visited Canada before, but came with the intent to volunteer, see some scenery, but also to see the two performances of Godspeed You! Black Emperor and a few other groups she wanted to see as part of Sled Island before heading back to Wisconsin. She was a very interesting person to talk to and it was a very enjoyable time.

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There were a number of interesting projects, however overall it gave the appearance of a glorified art school project focusing on installation-based work.

This is understandable, due to the nature of the event. So this is not necessarily a criticism. The majority of work was slated to be destroyed along with the building at the end of the actual event. By that very nature, the works will have an unfinished and raw quality to them. As a result, it will rarely be like something one would see in a gallery setting.

That is both the blessing and curse of this type of event. Expectations potentially can be high, when they shouldn’t be. And the reverse is also true.

As mentioned previously, much of this show had much more conceptual bent than was the case with the two previous iterations – Wreck City (the original) and Phantom Wing. I am unsure why this is the case (and it is certainly not an issue), maybe it was partly curatorial; maybe it was the artist’s interests who applied; maybe it was the nature of a long lead time, with limited amount of time with access to the space; maybe it was just delivery (and how it was perceived); or maybe it was a combination thereof. In the end it doesn’t matter.

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For me, some of the highlights of this event were (and there were certainly more):

J.D. Mersault’s installation/performance/story entitled Forty-Four Fragments for a Car Wash (see http://fortyfourfragments.tumblr.com/).

At first I did not pay much attention to what was going on, when I saw the artist sitting at a desk writing, since it was the first piece I encountered upon entering the site and wanted to head straight in knowing that I only had a limited amount of time.

However, once I realized that this was part of the exhibition, and the more I looked at this work, and thought about it – the more I found it fascinating. It was a multi-disciplinary piece that was not static, but combined elements of durational performance, installation, memory, poetry and more. I was very intrigued by what he was attempting to do.

Obviously, what I encountered on the first night was a work in progress. What intrigued me was the dialogue that the artist had with two works that I was previously familiar with – 1.) John Scott’s piece Trans Am Apocalypse No. 2 (1993) which is in the collection of the National Gallery of Canada; and 2.) Joan Cardinal Schubert’s The Lesson (1989) which was first shown at Articule Gallery in Montreal.

In Cardinal-Schubert’s work (which was included in the Glenbow’s Made in Calgary: The 1990s large group exhibition. In this Made in Calgary show it was recreated and incorporated as part of that exhibition a little over a year ago. In that installation Cardinal-Schubert installed school desks, chalk boards and other related ephemera as it talked about residential school for aboriginal students. There is an image to her work as installed at the Glenbow in 2014 here. Of course, this is timely given the recent release of the Truth and Reconciliation Commission of Canada Report. It however should be stated that Mersault’s work does not have the same political edge that Cardinal -Schubert’s has.

In John Scott’s piece, the artist transcribed and etched the complete Book of Revelations of St. John the Evangelist into the entire surface of a black Trans Am. In JD Mersault’s piece he was in the process of writing the contents of a new book onto a steel desk. This was intended to cover the surface of the desk in a manner similar to John Scott’s piece mentioned above. I am somewhat disappointed that it was only the top surface, and the not the entirety as in the case with Scott’s Trans Am. But I also understand, that it is a time-exhaustive process with only a limited amount of time – so I cannot be too disappointed. This work was being written during the duration of the Demo Tape event in his position as writer-in-residence – a piece entitled Forty-Four Fragments for a Car Wash (see hotlink above) which he would like to publish at the end of the event. I am very intrigued and curious to see where this work will lead.

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Palmer Olson’s installation My Favourite Buildings. Here the artist deconstructed the office space, catalogued the items; and packed it up. He then attached a packing slip with all the contents of the office listed; provided instructions and renderings, ready for reinstallation elsewhere.

The dialogue involved with this work engaged with the larger concept of gentrification; adaptive re-use of historical spaces; demolition of marginal space; sustainability; and other issues surrounding construction waste as a result of new development (in both greenfield and brownfield areas) which all adds to our landfills.

It is an interesting dialogue to have in the city with all the rapid gentrification (although not to the same extent as was happening even a year ago); and the generally prevailing concept that new is better than old, bigger is better than small.

This dialogue is an important one to have and it lends itself well to this type of project.

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Lane Shordee’s and Desiree Nault’s installation With Sprinkles.

This installation which was located directly beside Palmer Olson’s was a two part installation. I hate to use the word beautiful (and maybe even a bit magical), but sometimes these terms fit.

One of the rooms, presumably an office space of some sort was enclosed and it was possible to only look into it. Above this room was a windmill made from materials salvaged from the car wash. Using this windmill, 24 kg of iridescent confetti was ground up and passed through a hand-made sieve and allowed to descent into the room below like snow. Presumably through wind-currents in the room it created this magical space that had a sense of otherworldliness, but yet at the same time was very familiar. Because the photo was taken quite early on the iridescence is not as visible as it would be toward the end of the 10 days.

When I visited the space earlier today to get a photo of the CP Rail bridge, the windmill was still operational. It is visible in a photo that I took on opening day and have placed near the top of this posting. It is somewhat easy to overlook, but you can see it in the image with bicycles in the front and the building behind. It is on top of the building to the left of the sign that states “The Club is Open”

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Lane and Desiree’s installation tied in well with another magical space created by Ben Nixon and Rachelle Quinn entitled Perhaps this Sound.

I was fortunate enough to have been asked to leave (along with everyone else at closing time on opening night) as I was just entering the room where this installation was located. I say fortunate, because had I actually visited it, I might otherwise have missed what made the space interesting.

The following day, on Saturday, I was the only one in that room.

As a result, I was able to interact with the keyboard that was part of the installation and play around with it without feeling pressure to move on. The interactive element, and there were other installations that were interactive and interesting such as The Cave were interesting as well, but in that case, I encountered it with lots of people around. Perhaps the Sound installation appealed to me on a more personal level and the other may have been different if I was the only one there. With the immersive music; the ability to control lights and sounds (somewhat, even though the outcomes may be unpredictable); and the immersive nature of the space with multiple senses being activated was a very enjoyable diversion and short-term escape that I enjoyed.

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Overall, this iteration was different, and had a more thoughtful feel to it, than was my recollection and perception of the previous two iterations.

* * *

Now that the space is vacant, what is the plan moving forward?

This is something that has not really been talked about to the best of my knowledge.

From sources that I believe to be knowledgeable, the space is slated to be demolished (which is probably common knowledge given the nature of the project).

This is being done to make way for a new residential complex. Unlike most recent constructions of late, this will be built as a rental property. This is potentially an interesting location for a new residential development as recent news has had a fair amount of conversation about the new LRT Green Line expansion.

This all gets back to my initial comments about Gene Wilder and Richard Pryor in the movie Silver Streak in a round-about way. Let me explain.

Recently, the federal government made a $2.6 billion announcement of new federal infrastructure funds for transit infrastructure in Toronto made by the current Prime Minister in Toronto, the day before Wreck City Demo Tape opened. No doubt, as the journalists who penned the Globe and Mail story intoned in the opening paragraph, this was timed to create warm fuzzy feelings amongst the voting electorate in the critically important Toronto battleground for the upcoming federal election in mid-October. Cynically, but also recognizing the nature of electoral politics (it is a fair assumption, that each party running wants to form government, or at least that is the theory. Otherwise, why would they run?). To do so they will each make announcements to entice voters to vote for them. Because of that, I am sure there will be further announcements in the near future that will be equally as transparent.

Currently there are 23 ridings which are currently split almost evenly in terms of representation between the three major federal parties (9 CON, 7 NDP, 7 LPC). From what  read as well, the polling for the GTA is very, very tight with only a few percentage points between each party. With the new electoral district redistribution the city of Toronto will get two new ridings (and the province of Ontario as a whole will get half of the 30 new seats), it will make Toronto that much more important, for any political party that wants to form the next government, but I digress. As someone who is very interested in the political process (not so much party politics), and given these facts, to my mind, it made perfect sense that the current government made this new funding announcement in Toronto.

Of course, this prompted Calgary to also get on track (I know, I know – bad pun) to immediately seek it’s share of the newly announced federal transit infrastructure funding for the Green Line expansion and the Green Line North (aka North Central LRT) which is part of the 30-year plan RouteAhead project.

If this expansion moves forward, it will be adjoining or certainly within close proximity to this new residential development. I say this, as my understanding is that the Green Line is proposed to follow (at least in the inner city portion) the current CP Rail line which is located only a few metres from the Demo Tape site (a jumping off site, if you will pardon the lame joke that references the Silver Streak movie).

Of course this new redevelopment may potentially reduce the current view of the downtown core from the Esker Foundation space. This is interesting given the recent Calgary Herald story earlier this month, which talks about the purchase of the former Farmer Jones auto dealership which was located across the side street from the Atlantic Avenue Art Block which houses the Esker to save the view from the gallery.

It is probably doubtful as I have included an image from beside the CP Rail bridge (the Gene Wilder and Richard Pryor jump off site) which shows the Atlantic Avenue Art Block which houses the Esker (the four story building that the rail beside the tracks points to in this photo) and the Demo Tape space (Penguin Car Wash site) to the right of the two trees in the photo below. And ironically the jump-off point is right in the middle of the two.

As with all new higher density developments, it will be interesting to see how the new development changes the nature of the communities of Inglewood and Ramsay.

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* * *

24 July 2015 @ 12:45MDT edit:

Further to my comments above regarding the GreenLine LRT and RouteAhead expansion, I read with interest that there was a Federal government announcement made this morning with regards tot his project. According to this posting made earlier this morning in the City of Calgary’s news blog, this announcement is the “single largest infrastructure investment in Alberta’s history.” This project will run from the as yet undeveloped community of Keystone Hills in the far north end of the city through to Seton in the deep south which is still undergoing development surrounding the newly established South Calgary medical centre.

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Yarn-bombed house in Sunnyside

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I know that I have been somewhat negligent about posting new stories on this blog, since March. It has certainly not been for lack of ideas of things to write about.

During a six-week portion of that two or three month period, I had a very time sensitive contract with very long hours required. Usually what that meant is that I would wake up, go to work shortly after the sun was up, come home after dark and go to sleep (repeating daily).

So now I have time to write once again – sorta.

The project I want to write about tonight, is something that I mentioned last summer (August 12). In that post, I indicated that this project was to take place last September. It did not occur. However, it was not forgotten, only the timeline moved and came together later. This is what I stated about this project at that time:

An organization I have written about in the past, This is My City Art Society is partnering with the Calgary Homeless Foundation to create an art event. Together they are trying to draw attention to this issue and as part of this, they are going to yarn-bomb the recently purchased house slated for demolition, which is located in a prominent NW location during September.

The wrapping of this house in a giant quilt, is meant to symbolize the warmth and comfort of a home.

In my absence, the yarn-bombing project moved forward and is located at 832 – 10 Street NW (at the bottom of the hill below SAIT and Alberta College of Art and Design, and across the street from Riley Park).

The organizers also involved the Hillhurst-Sunnyside Farmer’s Market. Obviously, a number of knitted or crocheted items were collected at the sale this past week. I am sure that there were other methods of collecting items to wrap the house as well, probably some of which were collected last summer as mentioned in my initial post.

I have no idea, and I could be corrected on this, but I would assume that they would still be very interested in collecting more items for the house. I am sure if someone deposited more squares on the porch of the house, It would be my assumption that the items would eventually find a way onto the side of the building.

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Fortunately I have a few friends who have posted photos about the project on my personal facebook. They volunteered to help install quilts onto the house today. The photo at the top came courtesy of one of these people – Georgie. This lovely detail of a stairway (see above) came from yet another – Angela.

The Calgary Homeless Foundation issued a press release about this projecta couple weeks ago. In it they indicted what their plans are for this space, which reads as follows:

CHF has purchased a home that has been slated for demolition; in its place, a brand new, fully accessible apartment building will be built and become home for 25 Calgarians exiting homelessness. . .

Construction of Aurora on the Park was made possible through funding from the Government of Alberta, and local Calgary Home Builder, StreetSide Developments: A Qualico Company, as part of the RESOLVE Campaign

This project involves This is My City Art Society, which is a relatively new organization (formed as one of the legacies of Calgary 2012). The organization serves an often neglected demographic in the city is stated on their website (which is linked above):

This is My City Art Society (TMC) believes that the creative voice of every citizen has value and that we are all richer for having listened.

The work that TMC does not only enriches the lives of the disenfranchised people in its programs, it opens the door for dialogue among all citizens. It builds bridges so that stereotypes can be broken down and common values can be clearly seen and celebrated.

This is My City is a volunteer-run, nonprofit society that brings opportunities for positive creative expression into the lives of some of Calgary’s most marginalized citizens: the homeless and those at risk of homelessness. Professional artist-mentors bring their skills and love of art into the shelters and service agencies year-round and connect with individuals to make music, theatre, and visual art together.

As mentioned in the press release, there will be a public event on June 9th at the wrapped house (which when I say this and I know it is a diversion, I can’t help but think of Cristo and Jeanne-Claude’s Wrapped Reichstag, Berlin 1971-1995) because the concept is similar, although the execution is much different. I suspect however, that this June 9th event will be mostly designed for the media to announce the newly built project which will be called Aurora on the Park, located on the yarn-bombing site.

The address is 832 – 10 Street NW.

* * *

Ironically, and I am going to go on a bit of a detour before I close, this location is probably a block (maybe two) away from the former Wreck City location which occured around this time in 2013, just before the flood. Those that attended the original Wreck City, may recall that one of the artists also quilted a portion of one of the house exteriors. If I recall correctly, the artist then was Suzen Green who also draped the Mario Armengal figures in Mummer’s costumes, which are/were located on the former Calgary Board of Education grounds downtown. In that way these two project relate somewhat, in a rather circuitous route.

I hear through the grapevine that Wreck City after months of attempting to find a location for a reincarnated version of that project, has indeed found a new location about a block and a half away from the Esker Foundation. This event will take place next month, between June 19 – 28. I am sure that we will hear more about it in the near future. Meanwhile, here is a news story that talks more about what their initial plans are for the old Penguin Car Wash overlooking the city and the Elbow River in Inglewood/Ramsay.

New Edward Gallery inaugural exhibition

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It is Christmas Day and I am home alone, missing my family, whom I haven’t seen in about a year. But I will soon.

So I figure I might as well pass the time writing something.

A few days ago I attended the inaugural exhibition of the New Edward Gallery which was held in an empty, basement apartment suite that is maybe 400 sq. ft.  in size. It was a three-day show that would rarely elicit mention in a written publication of any sort.

The show that was curated (I am assuming) contained an interesting accretion of works by various artists that I know are active in the community (even if it is marginally the case, due to work or family commitments). They are active either as participants or producing artists, but are definitely not “art-stars”. This should not be taken as a slight. For the most part these artists produce work that rarely gets past the gatekeepers that operate the commercial and publicly-funded institutional galleries.

The work that I saw at the inaugural show held at the New Edward Gallery reflected the pluralism that is not only the current art world, but our society at large. The work ranged from traditional figurative nudes, drawings, assemblages, sculpture, photo-based work and installation. This three-day exhibition (which has now ended) serves an important purpose – giving the opportunity for artists to produce work and present it to viewers who may not ever have the opportunity to visit the artist’s studio.

* * * 

As a society, no longer are we satisfied with the hegemony that comes with officially-sanctioned leadership that dictates what is important and what we should view. With increasing data mining, computer analytics, predictive choices in our TV viewing and internet surfing; combined with what we watch; and with whom we interact online – it is not surprising that individualism and pluralism is the new societal norm.

This fact of pluralism and individuality is surprising in the current art world on a certain level. This given the preponderance of the generally cheery content-free, powder-coated and mirrored surfaces that more often than not caters to the global collecting class, corporatization of art, and the art fairs that the collectors attend, from whence the “art-stars” are made.

* * *

There is a long tradition in the city of Calgary that the opening of this gallery recalls and reintroduces.

During the course of my multi-year research on visual art-based institutional culture in Calgary, I have found that there are numerous spaces and DIY initiatives that have operated in a similar manner since the 1970s (and probably earlier). It is certainly not a new idea that an artist operate outside of the conventions of officialdom to present their own work and/or their associates that they feel is worthy of merit.

One only has to look to the example of Gustave Courbet in conjunction with his refusal to participate in the French state-sponsored and sanctioned Exposition Universelle in 1855. In response to this exhibition he produced a show of his work in a tent on the Champs-Élysées in Paris.

Courbet, although influential was not alone. We also know that Jacques-Louis David self-produced a show of his work in 1799, as well. Others have done this as well, ranging from the Russian Futurists in 1915 in Petrograd to Damien Hirst in London, 1988 along with many, MANY more including our own Wreck City “artist-curators” in 2013.

The concept of artist-curators and alternative art spaces will probably not end soon in Calgary. Of this I can be relatively certain.

Unless local viewers are particularly active in the community or personal friends with some of these artists that showed at the New Edward Gallery between the opening on December 22 and the end of the exhibition run on Christmas Eve, most would never know who these artists are. Each of these artists could be seen at an art exhibition opening; or quietly serving one’s morning coffee; working the cash register at a retail store; occupying yet another faceless cubicle in an office; or as a labourer on a worksite, but yet their practice still continues. This show is evidence of it.

In the interim I will continue to keep my eyes open for more of these type of activities and document them as best I can to compliment my larger research project.

If you as a reader have had a similar type of exhibition space in the past (or plan one in the future). Please send me a message. Or if you have research material such as printed invitations or exhibition lists, etc. to these type of spaces in Calgary, I want to know more.

End of the road for the Ant Hill — building

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Today it finally started.

Demolition began on the old Ant Hill Fabric building. Prior to being the Ant Hill Fabric building, long ago in the 1950s it was a Safeway store (the largest one north of the river).

The roots of the building’s demise have been percolating away for most of the past decade. It was just a matter of time.

In 2004 the building on 10th Street near 2nd Avenue NW was sold to the Calgary Parking Authority. Approximately a year later during the summer of 2006 the owners of the neighbouring Lido Café, the Calgary Parking Authority and a couple developers talked about a new 12-storey mixed use development (retail, office and residential) that they were planning. It was to be substantially larger in footprint than the current project. Originally this was planned to cross over the back alley to 9A Street to include the area where the newly-built condo (seen in the background of the photo below to the left) which adjoins the C-Train tracks. As part of this project, it was also planned to include an extra three floors of underground short-term parking for the neighbourhood.

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Obviously, that deal fell through. Most likely the 2008 worldwide economic slowdown caused by the sub-prime mortgage crisis contributed, like other development projects in the city at that time.

It was described in a FastForward Weekly article written in late 2010, “(the building) has mostly been a shell (since 2004), except for an occasional art market”.

Referenced in the FFWD article mentioned above, in 2008 the space was leased out to a group called Market Collective for their initial sale. They continued to call this home for their bi-monthly (if I remember correctly) weekend long pop-up sales. The vendors that showed there were a mixed-bag of artists, craftspersons, artisans and small boutique owners. During the sale often there were musicians who would perform as well. It was an interesting event and brought a lot of people to the community that otherwise potentially may not have come otherwise.

This was Market Collective’s home for its sales until November 2012.

At that time, the newspapers and social media were aflutter with news that the pre-Christmas sale was cancelled. There was a lot of back and forth that happened at that time. Solutions were offered for the sale including the use of an underground parkade at City Hall and other sites as well. In the end they moved to a vacant auto dealership building in Forest Lawn. This place which they occupied for a few sales. They have had a number of different locations for the sale since that time.

Outside of the Market Collective, there were other arts related uses contemplated or considered for this space – some of which I was party to and others which I was not.

It had the potential to be a very interesting space for the visual arts. For whatever reason it never really delivered, except as a selling venue for some artisans and a graffiti wall for others (see photo below taken yesterday, or Sunday).

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The Ant Hill building will soon fade from sight and our collective memories, just as the Carpenter’s Hall and the Arusha Centre across 10th Street from the Ant Hill building have done. Those buildings are now levelled within the past week or so. Both the Carpenter’s Hall and the Arusha Centre also played a role as venues or part of a support network for art and music events in the city over the decades.

We know that both projects will be condo developments – The Lido (the Anthill site0 and Kensington (the Carpenter’s Union Hall and Arusha Centre site). Soon we will be seeing what the future of these two sites will look like.

* * *

Addendum (2014 October 23)

Earlier today I was in the area and noticed that the entire Ant Hill Fabrics Building has been leveled. Now all that needs to be done is to remove the remainder of the building demolition refuse and start digging.

Also today I talked to an artist who reminded me that on the Carpenter’s Union Hall and Arusha site was another building. In that building was a couple short-lived galleries. He had his first show in one of the galleries. I will call them parallel galleries and there have been a few of these type of spaces around. They are very hard to define. I never did figure out who owned or operated them, even though I attended a number of openings at both spaces. These two spaces were called Resolution Gallery (the gallery that was in the location for the longest amount of time) and another short-term gallery called White Lodge Art Gallery. I failed to mention these two galleries previously as there was no construction hoarding surrounding these two buildings, right up to the time that the buildings were demolished.

I would like to hear from someone involved with these two galleries. Please use the contact page to get in touch. Thanks.

A new gallery space in Bridgeland/Riverside

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Something I have been meaning to write about for a while is the new exhibition space in Riverside/Bridgeland. It is a short walk outside of the downtown core. This gallery is unique as it is located on property connected to a private residence while facing the sidewalk and street.

It is a unique and interesting way to introduce art to a broader audience that may never look at art otherwise.

In addition to that, the house also has a Little Free Library located only a couple feet away from the gallery. The first Little Free Library was installed only a couple years ago in Calgary and you can read more about it here. It was developed in Wisconsin during 2009 and has grown rapidly with an estimated 15,000 libraries worldwide. There is also a map of current locations in Calgary here. I am very fond of the Little Free Library project as well, and I am sure I will write about it further sometime soon.

The library and the gallery are good compliments to each other – not to mention the piece of public art outside the front door and the mural on the fence, as seen in the photo below.

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I met up with the owner of the house two nights ago at a reception, and was reminded that I said I would write something about it about a month ago. 

When we first talked about the space, it was recently built and still vacant. They were waiting to have the first artist show there. From what I understand there was some initial casual discussion about possibly coordinating with the Tiny Gallery for programming, which was never formalized. The two galleries are geographically close to each other, although the layout of the two spaces are completely different. In addition the Tiny Gallery is attached to commercial spaces in the community high street, whereas this space is located on a strictly residential street (albeit well used). They are not connected, but there is definite affinities with each other. It would appear as if this space is coordinating its programming alone.

This gallery is very new, and was probably installed near the end of summer. Because of that I am uncertain if there has been a name attached to the space or whether it is just there.

Currently there is a landscape painting by local artist Mark Vázquez-Mackay in the small exhibition space. From what I understand from the owner, the next scheduled artist to be featured in this space will be Lane Shordee. Some may remember him as being one of the artists who was involved in a water installation in the courtyard at Phantom Wing. Before that he had a large installation in a greenhouse at Wreck City. I am uncertain when the new show will be installed, but I am sure it will be coming soon.

It will be interesting to see what Lane Shordee will create for the space.

The gallery can be viewed at 732 McDougall Road NE.

* * *

Addendum (2014 October 21)

I received an email from the owner of the property earlier today. In this email the following was stated:

The blog looks great. We are calling it the Tiny satellite gallery. I’m going to curate the space and Tiny gallery will help promote it. Lane’s show will have its opening Friday November 7th from 4-6.

Hope to see you there,

One year anniversary of this blog, with review

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Today is the blog’s one year anniversary.

In my original post the discussion centred on digging out rocks from what was to become a new garden. I talked about hard work and finding interesting things amongst the rubble. So it seems appropriate that I revisit the same image from a year ago.

I closed out my first post with this:

That is one of the things I want to do with this blog – search amongst the rocky ground of our cultural landscape and find interesting things.

I think I have done that.

Now, a bit of history

The primary reason why I created this blog back then was that I had just applied for a job. In my mind, it had my name all over it. The only weakness that I perceived was that depending on who interviewed me, there possibly could be an assumption that my skill sets were focussed on the commercial gallery world only and not enough knowledge outside of that small word – whether this was correct or not.

However, I knew this assumption was wrong, as would anyone else who had dealt with, or talked with me previously to any extent. Those people would know that my interests are actually quite broad and encompassing.

Regardless, the end result was that I did not even receive acknowledgement of my application – much less an interview. Stuff happens and I am not complaining. However, my interest the subject carried the blog forward nevertheless and it still does.

I still don’t have that job in the arts community, but as seen here my interest still remains. Sometimes being an informed outsider is more interesting, because one can reflect my interests and as a result there is no axe to grind.

I will however continue to carry on with my blog when time allows, as I have done since that time.

* * *

As I look back on this past year there have been some very interesting developments in the cultural landscape in Calgary, not to mention exciting programming which various places have done that I am not even going to talk about.

Some of these things I talked about during the past year. Others I did not.

In some cases I now wish that I did.

Either way, I mention the interesting developments below, and depending on how things go for the upcoming year I may even talk about them this time around.

We have seen the following cultural items between August 2013 and August 2014 (and I am sure that I am missing something – probably significant. So forgive me in advance:

  • Of course it is necessary to mention (as it was the big story locally for the year) that during June 2013, many artists and arts organizations were affected by the flooding in the city. This time last year (two months after the fact) things were starting to get back to normal. I probably mentioned it before, I spent the month of July 2013 for the most part in High River helping those who live there, to get back on their feet again. This is something that is quite close to my heart as a result.
  • Calgary Opera started its initial summer outdoor opera festival in conjunction with East Village. It is called Opera in the Village.
  • A new arts facility opened in Forest Lawn last August. It is a partnership between Calgary Arts Development Authority and the International Avenue BRZ, which is called Art Box on 17E.
  • Beakerhead, after a soft opening and trial-run in 2012 and held its first full-scale event last September.
  • Nuit Blanche had its initial and highly successful iteration in September 2012. It was originally envisioned to be an annual event. However, for reasons unknown, this was changed to become a biennial event at some point during the spring or summer of 2013. To meet programming obligations that a few public galleries and organizations had made for the Nuit Blanche weekend in September 2013, a new festival was formed to fulfill these commitments called Intersite Visual Arts Festival.
  • In September to kick off Beakerhead, Calgary Mini Maker Faire had its first event
  • ArtWalk limped along to celebrate its 30th year. In this city that is quite an achievement. I made a post about it, but for whatever reason it was never published and has been saved as a draft only. I only realized this fact much after the fact. Maybe if and when my blog gets published, I will include it.
  • Also in September, the folks at cSpace Projects initiated a similar type of follow-on event to the highly successful Wreck City event held in the spring of 2013, calling upon many of the same people involved. This project they called Phantom Wing.
  • The New Gallery moved from its location in Art Central to its new location in the heart of Chinatown.
  • The old Seafood Market building which was a vacant building since 2004 was used as artist spaces for a two-year period between 2010 -2012. In the summer/fall of 2013 it was finally demolished at some unknown point. Although it was already scheduled for demolition, it probably was affected by the flood as many buildings in the area were. The demolition occurred to make way for a new condo development in the East Village.
  • A new public art gallery using a different model was introduced called the Art Forum Gallery Association. The two key personnel were previously closely affiliated with the Triangle Gallery of Visual Art and are doing what made that organization successful, keeping its costs down and its options open. One was a former president of the board, Michael Rae and the other was a former director, Jacek Malec.
  • The Blue Ring sculpture by inges idee was unveiled in the midst of the city election. Remarkably, it has remained a topic of discussion and occasional subject of a letter to the editor since that time. I guess in a way it will most likely bear a striking resemblance to the Peace Bridge situation. If I was to speculate, I would expect to soon see it in use in tourist advertising for the city, just like the Peace Bridge now is. Maybe that will be what it takes for it to grow on people, hearing how wonderful it is from people in other parts of the world.
  • Demolition began on the King Edward School to make way for the new arts incubator that cSpace is developing in the community of South Calgary.
  • The chapter at the Art Gallery of Calgary which involved the Valerie Cooper fiasco finally came to a close in November, when she was sentenced to a year in jail for her actions. What that means is with good behavior, she should be released at any time now, if not already.
  • Calgary Arts Development Authority and Studio C both move out of the lower floor of Art Central. Both organizations now occupy separate spaces on the same floor of the Burns Building connected to the Calgary Centre for Performing Arts.
  • The Firefighters Museum of Calgary put its collection into storage in late 2013 and is available by appointment only until it reopens sometime in the next year or so in renovated premises.
  • For the second time in approximately a decade, the Institute of Modern and Contemporary Art (IMCA); the Triangle Gallery of Visual Arts (aka MOCA-Calgary); and the Art Gallery of Calgary (AGC) all tried to hookup and jump into bed with each other. This was something that they originally tried to do when I was sitting on the board of the Triangle. This time, unlike the previous occasion the result was a successful consummation and marriage. The new organization is now called Contemporary Calgary.
  • The former vacant building which at one time housed the former Calgary Planetarium; Calgary Science Centre; The Children’s Museum; and TELUS World of Science was put up out to tender by the City which owns it (or owned it), for use as a cultural or heritage space. The successful applicant was Creative Calgary.
  • The amazing sculpture by Dennis Oppenheim’s Device to Root Out Evil was quietly removed after the end of its five-year lease in January 2014. It was situated on the Dominion Bridge Building grounds with much fanfare during Jeff Spalding’s tenure as head of the Glenbow Museum during June 2008. This relocation to Calgary, was partly a direct result of NIMBYism and the surrounding controversy that occurred during its two and a half year residency near Coal Harbour in Vancouver. Of course this whole situation is highly ironic. I have confidence in how smart my readers are, so I don’t need to fully explain where the irony originates, however I find it peculiar that inges idee was commissioned and created a popular new sculpture in the general vicinity of Coal Harbour. It was installed about a year after the Oppenheim piece left for Calgary. This only further illustrates how fickle tastes can be when it comes to public art and how these tastes can vary widely from city to city.
  • In the absence of the Oppenheim piece at the Dominion Bridge compound, a new programming space called Passage was developed and has shown a rotating schedule of exhibitions, usually video, installation or sculpture. Having heard quite a bit about it before it was operational, I believe that it is exposed somewhat to the elements which limits the type of work that can be shown.
  • Stride Gallery which was deeply affected by the flood, spent most of the fall and winter temporarily sharing space with Truck Gallery. In the early part of 2014, they moved back to the space next door to where they used to be, on the other side of the railway tracks two blocks away from City Hall, on Macleod Trail.
  • Back in the summer of 2012 a new organization called Gorilla House Live Art held its first art battle. It continued hosting weekly art battles until around January when they were informed by their landlord that the building they occupied was destined to be converted into a sushi restaurant. Recently, the building was surrounded by metal protective fencing. Presumably this means some sort of development will be taking place soon. Whether the Gorilla House will be resurrected remains to be seen. If it does, I am sure I will write about it.
  • A small and ambitious pop-up gallery space was introduced into the community of Bridgeland called the Tiny Gallery in early 2014. It is unique for its use of a stand-alone gallery space that occupies the footprint of a postal box.
  • After years of uncertainty, the former York Hotel which was originally intended to be incorporated into a purpose-built cultural space, the façade of which was put into storage in 2008, was finally put on indefinite hold. In that news story, the space it was to occupy will now be used as an open plaza instead. Various anchor tenants were proposed for this space from the time it was originally proposed as part of The Bow development, most notably the Portrait Gallery of Canada. The Portrait Gallery, like the York Hotel, also was put into abeyance by the Federal Government which made the announcement via a news release issued late on Friday, Nov. 7, 2008.
  • The old King Edward Hotel (aka the King Eddie) had the sign and bricks removed from its site. Presumably, and it is my understanding that they will become part of the architectural design, once the exciting new National Music Centre building is built on its site and the site across the street. Both sides are doing structural work above grade.
  • Alberta College of Art and Design, after years of trying, finally received approval to offer its first graduate degree program, a Master of Fine Arts in Craft Media beginning in 2015.
  • After a couple years of consultation the #YYCArtPlan came to fruition which resulted in a new Public Art Policy and a document called Leading a Creative Life
  • The last tenant at Art Central finally left at the end of June. The building was closed probably around the time Stampede happened, which corresponds to the time when the announcement that the space would be redeveloped as the new Telus Sky building which was made during Stampede 2013.
  • The Calgary Centre for Performing Arts expanded the amount of display windows for the visual arts, creating new display windows for both the Alberta Craft Council and the University of Calgary. I hear a rumour from a usually reliable source that there might be another new window on the way. From past experience with all rumours, it usually best to wait until the announcement is made to know with certainty if the rumour is actually either truth or fabrication. If it is true, I am sure I will write about it.
  • Alberta Printmakers Society moved to a new location about a week ago. I plan to write something about this in the near future.

As can be seen above, this was an exciting year for the arts in Calgary.

Palais_Idéal_May_2014_from_Wikipedia

To return to the concept of building a rocky environment – just as I dicussed a year ago.

In that regard, I am reminded of the French postman, Ferdinand Cheval [1836-1924] who spent thirty-three years building Le Palais idéal in Hauterives.

He is someone I feel a special affinity to in this regard. His work was championed by the Surrealists more or less after he had died. I hope that is not the case with me. I hope that my passion and building in the arts community will be recognized while I can feel appreciated and that my work was worth all the trouble.

Cheval built a beautiful naïve palace one stone at a time. Every day for thirty-three years, he brought home at least one stone that he found in his day to day work.

In time his pockets were not enough to carry what he found. So he brought a basket to carry the stones.

When that was not enough, he used a wheelbarrow.

It is my hope that this blog will be like that beautiful structure Le Palais idéal.

new participatory yarn-bombing project coming soon

This_is_My-City_Yarn_Bombing_Info_September_2014

This is not something that this blog usually does – advertise for upcoming events.

However this project is a bit different as it is primarily about creative placemaking and engaging audiences that may be interested in art, but may not frequent the formalized art one sees in galleries with regularity. There were a couple recent projects that tapped into this dynamic, the most successful one probably was Wreck City in 2012.

This event all ties into this whole concept as described above in a roundabout way.

* * *

Without further ado – here is what it is all about.

  • I know that there are those who do knitting.
  • I also know that there are those who do crocheting.
  • They may even be concerned about their fellow human beings.
  • They may even be concerned about the issue of homelessness.
  • They also may only be superficially be aware of a phenomenon called yarn-bombing.

Recently, there was an art-bombing (or whatever term is most appealing to the reader to describe what is the result of an artist’s, or group of artist’s using yarn for creative public art displays) which happened downtown. The CBC covered this most recent attempt last week outside of Bow Valley Square downtown. It may still be visible (or not).

I plan to write about this whole issue of yarn-bombing, art-bombing, urban knitting, kniffiti, or any other variation that a wordsmith can come up with to describe what it is, when I have more time to do so.

I find this whole concept quite fascinating and interesting.  This, even though I don’t know how to knit. I did try to learn, with my mother when I was a child, and later with someone who was close to me at the time, providing guidance. Unfortunately, the end result for both times was that I got incredibly frustrated.

* * *

The project:

The Calgary Homeless Foundation has recently purchased a house that is slated for demolition.

An organization I have written about in the past, This is My City Art Society is partnering with the Calgary Homeless Foundation to create an art event. Together they are trying to draw attention to this issue and as part of this, they are going to yarn-bomb the recently purchased house slated for demolition, which is located in a prominent NW location during September.

The wrapping of this house in a giant quilt, is meant to symbolize the warmth and comfort of a home.

It seems like a great concept.

Since there is only a small group of knitters (or crocheters) involved, I want to help expand their network, if I am able.

Here is what they are looking for:

  • People to create 12” knitted or crocheted squares that will be used to yarn-bomb the house – or create a bunch of them, and/or getting friends to help.

It is that easy.

* * *

Now the particulars and how to get it to the yarn-bombers.

Deadline:

  • These 12″ squares need to be dropped off at a few locations around the city by August 26 (that is 14 days, or two weeks from now)

Here are the locations:

  • Crowfoot Library (8665 Nose Hill Drive NW)
  • Fish Creek Library (11161 Bonaventure Drive SE)
  • Louise Riley Library (1904 – 14 Avenue NW)
  • Community Wise Centre (aka The Old Y) (Suite 101, 223 12 Avenue SW)

For more information please review the photo above. You will find more contact info available on that image.

I am sure I will cover this story more once it is up and installed.