April 12 - July 7, 2019
Doyon-Rivest. Judas (1 to 6), detail, 2018. Inkjet prints on thermo-formed polyvinyl chloride, varnish.
At the beginning of the twenty-first Century, communication and other technologies ensure that we are more connected to each other than at any other time in human history. Yet, many have argued, we are paradoxically more disconnected from our shared humanity than ever before. This condition is the focus of artists whose work is collected here offering insights from a number of different perspectives.
Montreal-based duo, Doyon-Rivest (comprised of Mathieu Doyon and Simon Rivest), plays with tropes of communication in a broad range of media. Their recent photographic, installation and video work considers social networks, and the perils and rewards of connecting to a greater whole. Normally independent artists, Diyan Achjadi and Brendan Lee Satish Tang, have collaborated to produce Residue: Tracing the Lore, a series of photographs that explore the transmission of traditions through generations and the enduring legacies that remain with us. In his paintings, Dutch-Canadian, Jeroen Witvliet, explores connections to place, the self and others as a way of investigating different forms of belonging. He draws on the idea of the wanderer from the Bosch paintings he encountered during his youth, as a symbol of transience.In his Day / Night / Day series, Witvliet juxtaposes images of close interpersonal connection with spectacle and the throngs of people to which the self is sometimes lost. Shawna Dempsey and Lorri Millan have sought to dismantle boundaries and bridge prejudice with warmth and humour over a practice spanning thirty years. Consideration Liberation Army, originally a web-based project but reprised here as an installation, calls for thoughtful acts and respectful deeds where civility is often lacking. Dealing with diverse concerns during fraught times these artists examine various points of disconnection within their photographs, paintings, video and installation-based work. Doing so they embody the human impulse to connect with others and remind us of what it is to be human at a time when it seems too easily forgotten.
July 19 - October 6, 2019
LessLIE. beLIEVE in equality, 2008. Acrylic paint on paper.
During the Truth and Reconciliation Commission’s enquiry into the policies and operations of Canadian residential schools, more than 6,200 statements were recorded by survivors, describing a nightmare lived by many Indigenous people. Drawn predominantly from the work of Indigenous artists from British Columbia, this exhibition will focus on the residential school experience and its resulting legacy. Co-curated by independent Indigenous Curator, Rose Spahan and Two Rivers Gallery Curator, George Harris, Reconciliation acknowledges this terrible chapter in the history of First Nations as a first step in the journey towards healing and drawing-together at the core of the reconciliation process.
October 18 - January 5, 2020
John Koerner. HMS Plumper Exploring Johnstone Strait, 1862, 1964. Oil on canvas. Permanent Collection of Two Rivers Gallery, Gift of CIL Incorporated.
The Permanent Collection, started in 1985, has grown to include more than 400 artworks, many of them donated by artists and art collectors. Every year we exhibit work from the collection, giving us the opportunity to share some of our new acquisitions as well as revisit some older work. Much of the work in the collection stems from past exhibitions, so regular visitors may find familiar work though often in a different context. Sculpture, painting on paper and canvas, photography and prints are represented in the collection with a focus on contemporary artwork from Western Canada.
October 18 - January 5, 2020
David Campion & Sandra Shields. The Royal Engineer, 2014. Inkjet print on vinyl, metal electrical conduit, aluminum.
Produced and circulated by the reach gallery museum, abbotsford : curated by Laura Schneider
Grand Theft Terra Firma tackles settler responsibility head-on. David Campion and Sandra Shields disrupt the celebratory mythology of nation building by re-framing the settlement of Canada as a complex heist masterminded by criminals in London and played out on the ground by a gang of greedy thieves. Combining photography and installation, and developed in collaboration with many partners from the Stó:lo community, Grand Theft blends popular culture with original source material to consider Canada’s colonial history within the particularities of local experiences in S’ólh Téméxw, now more commonly known as BC’s Fraser Valley.
The project employs an “unsettling” strategy to explore Canada’s difficult past and our inheritance of its injustices. Blending fictional characters with elements drawn from historical record, the artists create a space where audiences are asked to consider their own relationship to destructive colonial practices. The exhibition supports discussion around emergent notions of personal awareness and responsibility in the process of decolonization, underscoring the possibility for art to participate in the critical discourse on social reconciliation in divided societies.
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