2011 Exhibitions

2011 Exhibitions

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The Hotel Tito

September 16 – December 30, 2011
Opening Reception: September 15, 2011, 7 -9 pm

Curated by Shirley Madill
In collaboration with Musee d’art de Joliette

Milutin Gubash has pursued a multidisciplinary practice revolving around video, photography and performance since 2002. This ten-year survey of work by Milutin Gubash includes a residency project with the Department of Dramatic Arts and the School of Fine and Performing Arts at Brock University. Beginning with the work titled, Re-Enacting Tragedies While My Parents Look On, the exhibition includes various works that focus on daily-life occurrences with historical and philosophical narratives. Gubash is interested in exploring how individuals and ideas can overwrite commonly held perceptions of landscape, politics and expectations of representation.


Special performance: Which Way to the Bastille?
Following the premier on September 15 the second of eight short performances by students of the Department of Dramatic Arts (DART) occurs September 23, 2011 after 12 noon. Tanisha Minson and Dylan Mawson, senior students in the DART program have collaborated with the artist and faculty of DART to create a brief interpretation of the text during the course of the exhibition. The performance will function as a dramatic evocation of the principal tenets of the artist's and the curatorial program.

Performance are scheduled for:
Thursday, September 15, evening, at the opening reception.
Friday, September 23, 12 noon, last day of the artist’s residency
Thursday, September 29, 6:30 pm
Saturday, October 15, 2:30 pm
Sunday, November 6, 2:30 pm
Friday, November 18, 11:30 am
Saturday, December 3, 2:30 pm

Image: Milutin Gubash, The Hotel Tito, 2010. Lambda color print (24" x 50"). Image courtesy of the artist.



August 27 – December 30, 2011
Opening Reception: September 15, 2011, 7 - 9 pm

Curated by Marcie Bronson

Intentionally misleading in its more common association with rarefied aesthetics, the word “exquisite” is used here to express acute intensity. Exquisite takes its cue from tales of conflict and terror. The depictions of landscapes from a selection of war and horror films are presented in the window of the Hansen Gallery as a stream of imagery. Seemingly innocuous and aestheticized, the landscape shots in fact set the psychological stage within the films for fear, violence and mayhem. The original film soundtracks have been replaced with an intense sonic vibration.

Drawn directly on the other surfaces of the two rooms of the gallery is imagery that dialogues with the landscapes. Hair, dreadfully out of place, appears to sprout from the architecture of the rooms. In its predictable place, hair originates from the territory of the body. After death of the body, hair can last for centuries without decomposing. Here it takes on a role, like that of the landscapes, that is akin to a harbinger. It is a disturbance that portends disaster. Hair is manifested in this work as a monstrosity of unrest, turbulence and conflict. But this metaphysical freak of nature is also an active agent in the quest to locate equilibrium by threatening rational order.

Horror exceeds demarcated territories, national boundaries, ethnic and religious delineations. It dwells in the submerged history of the land and in the subconscious of people. It is the expression of our collective, internalized fear – fear of the unknown, fear of each other. It is the result of what humans inflict on one another.


Image: Millie Chen, Exquisite, (detail) installation at Rodman Hall Art Centre.


A Week At A Glance

January 3, 2011 - January 1, 2012
Opening Reception: Thursday, January 20, 7-9pm
Curated by Marcie Bronson

For over thirty years, Micah Lexier has produced projects that illuminate the subtle actions and elements that pass unnoticed in our daily lives. Organization, classification, and measurement are at the heart of his practice, which often involves a guiding set of self-imposed constraints. In this one-year installation made for Rodman Hall, four objects are displayed in the gallery’s project space, which has been converted into a custom-built vitrine. Each Monday, one object is removed and replaced by another drawn from Lexier’s personal collection of everyday items, which includes stationery, the backs of things, printed and cut cardboard, books, games, puzzles, teaching tools, printed envelopes, scribbled notes, and various items found on the street. Following Lexier’s predetermined schedule of exchanges, the installation slowly evolves over the course of the year. The project concludes on the first Sunday of 2012 with a display that is one move away from the first, creating a complete loop that brings the project back to its beginning.


Image: Micah Lexier, "A Week At A Glance", 2011-2012, mixed media



May 28 – August 28, 2011

Curated by Ryan Doherty

Organized by Southern Alberta Art Gallery in partnership with the Robert McLaughlin Gallery and Rodman Hall Art Centre

The work of Samuel Roy-Bois resists easy categorization, freely mixing drawing, painting, sculpture, performance, music, architecture and literature to create large-scale installations at once cool, complex and mysteriously affective. In this new body of work, Roy-Bois invites the viewer on an odyssey through corridors of murky darkness punctuated by moments of discovery, reverie and radiance. The experience seems to conflate exterior and interior space, both physically and metaphysically, to arrive at a passage through darkness itself, darkness as prima materia. It is more than negative space, more than a void – it is anything and everything. Pulled through this space, the viewer encounters rooms inhabited by, or perhaps haunted by, enigmatic objects; scenes that feel as much a manifestation of a latent memory as the trace of something dark and violent, yet utterly seductive.


Image: Samuel Roy-Bois, Golden Slumbers, 2009, mixed media. Photo credit: David M.C. Miller



May 7 – August 14, 2011

Curated by Lesley Johnstone

Organized by the Musée d’art contemporain de Montréal in partnership with Rodman Hall Art Centre

Known primarily for her hybrid felt and wool sculptures, Luanne Martineau belongs to a generation of artists who use traditional craft techniques and materials to produce critically engaged and formally astonishing artworks. Martineau’s labour-intensive felt sculptures, virtually impossible to describe in all their visual and physical complexity, produce an experience that oscillates between fascination and repulsion, between the macroscopic and the microscopic. This exhibition presents recent works, including felt sculptures, drawings and what Martineau calls “drulptures” - a unique combination of the two latter disciplines.

Image: Luanne Martineau, Form Fantasy (detail), 2009, mixed media



Jan. 15 - May 1, 2011 Opening Reception: Thursday, Jan. 20, 7 to 9 p.m. Artist's Talk: Friday, Feb. 11, 12 noon

Curated by Marcie Bronson

Merging comics and "fine ahtwerk", Marc Bell's detailed drawings and mixed media constructions are dense, frenetic mashups of text and imagery drawn from contemporary life. Born out of more dichotomies than you can shake a stick at, his work is characterized by an affinity for phonetic colloquialisms and an aesthetic that approaches the compulsive. Informed by the structure and interdependent relationship of text and image in comics, Bell fashions a rambling, self-reflexive and often baffling world populated with anthropomorphic contraptions and annotations that simultaneously suggest and fracture a sense of narrative. Born in London, Ontario, Marc Bell has self-published books and comics for over a decade. He is the author of Shrimpy and Paul and Friends, and his comics have appeared in many Canadian weeklies, Vice Magazine and The New York Times Magazine. In 2009, Montreal's Drawn & Quarterly published Bell's most recent book, Hot Potatoe.

Image: Marc Bell, Marc Bell, I Am Not Part of the Dorito Chip Bag Collective (detail), 2009, mixed media.

Visit Marc Bell's blog here


Nine Lives
Brock University Department of Visual Arts
Honours Exhibition

April 16 - May 1, 2011
Opening Reception: April 15, 7 - 9 pm


Supper Club

Brock University Department of Visual Arts
Student Juried Exhibition

March 19 - April 3, 2011
Opening Reception: March 18, 7 - 9 pm



December 4, 2010 - March 6, 2011

Opening Reception: Thursday, February 3, 7-9pm
Co-curated by Shirley Madill and Dr. Peter Vietgen

Born and raised in St. Catharines, Ontario, Edward Burtynsky is known as one of Canada's most respected photographers. His remarkable photographic depictions of global industrial landscapes are included in the collections of over fifty major museums around the world. He links his early exposure to the sites and images of the General Motors plant in his hometown to the development of his photographic work. His imagery explores the intricate link between industry and nature, combining the raw elements of mining, quarrying, manufacturing, shipping, oil production and recycling into eloquent, highly expressive visions that find beauty and humanity in the most unlikely of places. Burtynsky has returned to St. Catharines to document the General Motors and Dana Holding Corporation plants, the results which will be shown at Rodman Hall Art Centre.