2010 Exhibitions

2010 Exhibitions

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Little Revolutions

Sept. 7, 2010 — Jan. 2, 2011
Opening Reception: Thursday, Sept. 30, 2010, 7 to 9 p.m.
Artist's Talk: Thursday, Oct. 21, 7 p.m.
Curated by Marcie Bronson

Working in video, sculpture, performance and installation, St. Catharines-based artist Duncan MacDonald creates work that is fundamentally about sound. Combining new and obsolete technologies, MacDonald investigates the relationship of the visual to the aural, overturning the classical hierarchy of the senses and challenging conventions of perception. Through labour-intensive processes at once poetic and absurd, MacDonald draws on his experience as artist, professor, and father to explore the sonic stuff of everyday life, engaging in revolutions both formal and conceptual, in an attempt to gently tweak the world around him.

For more information, visit www.duncanmacdonald.ca

Image: Duncan MacDonald, Work, Work, 2010, stop-motion animation.



Unicorn Tip

Niche: July 17 - December 12, 2010
Garden: July 17, 2010 - April 1, 2011
Opening Reception: Thursday, September 30, 2010, 7 - 9 pm
Artist's Talk: Friday, November 5, 1 pm

In 1979 Kim Kozzi and Dai Skuse created FASTWÜRMS, a union of two Ontario-based multidisciplinary artists who question nature, the environment and issues of power. Known for melding high and popular cultures, bent identity politics and social exchange, FASTWÜRMS willt transform the grounds of Rodman Hall and the niche project space into realms of commonplace magick that draw attention to the everyday fantastic. FASTWÜRMS has exhibited and created public commissions and installation, performance, video and film projects across Canada and in the United States, Europe, Korea, and Japan.

Image: FASTWÜRMS, Unicorn Tip (prototype), 2010, mixed media.



Residency: September 19 - 29, 2010
Exhibition: October 1 - November 20, 2010
Opening Reception: Thursday, September 30, 7 - 9 pm
Artists' Talk: Friday, October 1, 12 noon

Known for creating self-referential in-situ installations that take over architecture and encompass a gallery's context, the artist collective BGL (Jasmin Bilodeau, Sébastien Giguère and Nicolas Laverdière) will participate in a residency and exhibition project at Rodman Hall Art Centre. Living and working in and out of the gallery and the City of St. Catharines for a three-week period, BGL will engage with the physical space and grounds of Rodman Hall.

BGL's work speaks directly to contemporary culture and the nostalgia of memory. Their work is social process, not solely presentation, and the result is a public-spirited art built through experience in which a network of social relations results. By inserting themselves in the space, the public becomes part of their process. To a great extent the contemporary stage they work on includes mass media and their language of signs and symbols penetrates to include the stage of the public mind. Their thinking refers to what extends beyond them and includes participation from the environment in which they work. They raise issues about the role artists play in our culture. These roles are neither exclusively aesthetic nor political in practice, but rather seemingly opposite poles encompassed by a working relationship that is social in nature. BGL will not only work from location but also form the nature of their engagement with the congested, cacophonous intersections of personal interests, collective values, social issues, political events and cultural patterns that mark out civic life. Theirs is a process in which research, dialogue and experimentation take part and the final result is situated between reality and fiction.



steady streams, living rooms

May 28 - August 22, 2010
Opening Reception & Artist's Talk: Thursday, May 27, 2010, 7 - 9 pm

Working with simple materials such as nylon monofilament and clear plastic, Montreal-based artist, Karilee Fuglem explores the intangible and the barely visible, giving form to that which is often overlooked. The weightlessness and organic nature of her work belies the labour-intensive process of hand-weaving and looping kilometer upon kilometer of thread into large-scale installations that alter the viewer's perception of space and movement through the gallery. In a site-specific exhibition for the Hansen Gallery, Fuglem responds to Rodman Hall and the surrounding area, referencing the natural world and exploring the history of the mansion and its inhabitants.

Image: Karilee Fuglem, steading streams, living rooms, (detail), 2010, nylon monofilament, transparencies. Photo: Danny Custodio.


Grudge Match

May 15 - September 5, 2010
Opening Reception: Thursday, May 27, 2010, 7 - 9 pm
Related Programming: The Main Event, Thursday, May 6, 2010, 7 pm

Executed in Graeme Patterson's signature style, Grudge Match imagines a freestyle wrestling match between the artist and his long-lost childhood friend, Yuki. Best friends at the age of 5, Patterson lost touch with Yuki once his friend returned to Japan four years later. Through sculptural installation and stop-motion animation, puppets of Patterson and Yuki as teenagers engage in a fictional match in a high school gymnasium.  A conflation of personal experience and emotional memory, the installation recreates and plays with Patterson's memories of his first best friend, exploring boyhood rivalry and the bonds of friendship.

Image: Graeme Patterson, Grudge Match (still),2009, stop-motion animation.



Brock University Department of Visual Arts Honours Exhibition

April 17 - May 2, 2010
Opening Reception: Friday, April 16, 2010, 7 - 9 pm
Artists Talk: Friday, April 23, 2010, 1 pm

Featuring the work of
Michael Dirisio, Holly Gabel, Natalie Hunter, Alicia Kuntze, Maeve McCambridge, Elyse Pelletier, Kaitlin Robertson, Gabrielle Tremblay, Leanne Unruh, Tracy Van Oosten.

In partnership with the Rodman Hall Art Centre, the Brock University Department of Visual Arts, part of Brock University's Marilyn I. Walker School of Fine and Performing Arts, is pleased to present this exhibition of work by ten emerging artists who have been working under the guidance of Professors Duncan MacDonald and Jean Bridge.  Their diverse artistic practices and interests are informed by both contemporary and traditional approaches, which range from found object and text works to drawing, sculpture and video. Their examination of the personal and societal significance of mundane, every day objects is a recurring characteristic and each artist examination is individual in nature.

Image: Elyse Pelletier, Domestic vs. Industrial, 2009, mixed media. Photo: Bethany Scholl. 



January 21 - July 4, 2010

Opening Reception: Thursday, January 21, 2010

Simon Frank is a Hamilton-based earth artist whose work incorporates elements of action and performance. The natural world has been Frank's frame of aesthetic reference for the past ten years. The idea of the scenic view, of "landscape" as such, and the use-value it creates are all central points of enquiry in his work. Using a log marking hammer - designed to brand logs destined for the lumber mill with a proprietary symbol - Frank creates a ghost-like dream forest in the niche project space at Rodman Hall.

In conjunction with Simon Frank: Terra Incognito, on view on the grounds of Rodman Hall.

Image: Simon Frank, View (detail), 2010, installation. Photo: Danny Custodio.


Cuba Still (Remake)

January 16 – March 14, 2010

Part of the MOMENTUM series, a touring project from the Collection of the Musée d’art contemporain de Montréal.

Born in New York in 1971, Adad Hannah lives and works in Montréal. Cuba Still (Remake) can be seen as a continuation of Hannah's series of video-recorded tableaux vivants, begun in the early 2000s. The artist calls these videos "Stills". Starting with a publicity photo for a banal and forgotten film purchased in Havana in 2003, Hannah re-stages the scene, filming individual sequences of each of the six characters from the original photo: in the foreground, a daydreaming man sits in front of a woman dancing on a tiny platform; behind her are a standing woman, a man playing the guitar, a man dancing with a mannequin and, off to the left, a bongo player. In being filmed, each person must assume and hold their pose, moving as little as possible. The resulting six videos are then simultaneously projected so as to fabricate a single cinematic scene, a tableau vivant, from the separate and apparently motionless video images. The installation in its entirety is comprised of the original photograph, the images of the six characters, some production stills taken during the reenactments, and an ingenious method of projection: six crafted wooden stands with a system of cut-out masks. Cuba Still (Remake) masterfully crystallizes notions of the photographic moment and of duration, the contrasting merits of the fixed and the moving image, and proposes a historical and critical re-examination of photography and film.

-- Josée Bélisle, Curator of the MACM Permanent Collection

Image: Adad Hannah, Cuba Still (Remake), 2005, installation. Collection Musée d'art contemporain de Montréal. 


Fashion and Mimesis

Curated by Gary Genosko

December 19, 2009 - May 2, 2010
Opening Reception: Thursday, January 21, 2010, 7 - 9 pm
Associated Programming: VERVE, Friday, February 12, 8 - 11 pm

Maria Fernanda Cardoso is a Sydney-based multi-media artist who was born in Colombia. Her best known works involve video and photo-sculptural installations such as Flea Circus that deal with the lower orders of creatures, namely, insects. In all of Cardoso's work mimesis plays a vitally important role as a lens through which inter-species relations may be examined. In this exhibit Cardoso uses emu feathers to construct unique women's fashions and home accessories, while accompanying pieces reference stick-insect mimesis. Cardoso is notable for the animal materials with which she works, including cow bones, butterfly wings, and starfish.

Image: Maria Fernanda Cardoso, Black Ruana, 2008.



September 26, 2009 - January 3, 2010
Opening Reception: Thursday, October 1, 7 - 9 pm

This exhibition brings together the work of Monica Tap and Michel Daigneault, painters who explore issues of perception and representation through abstracted representations of natural and synthetic landscapes. Working from projected Quicktime video stills, Tap's paintings are rooted in her experience as a commuter watching the landscape whip by through the windows of buses, cars and trains. Each brushstroke traces a pixel of the still, giving the impression that the paint is pulled across the canvas by sheer speed. In contrast, Daigneault works with a personal vocabulary of motifs and approaches to painting, recombining and reconfiguring them in dreamlike images of internal landscapes populated by seemingly architectural constructs and broad fields of colour. Their affinity lies not only in the large scale of their abstracted landscapes, but also in the simultaneous construction and deconstruction of their source material.

Images: Monica Tap, Road to Lily Dale II, 2006, oil on canvas, 80" x 99"
Michel Daigneault, Open Sky, 2006-2007, acrylic on canvas, 80" x 74"