Ali Ahadi, The Pedagogical State of Metamorphosis (detail), 2012. digital sketch. Courtesy of the artist
Nelly César, Bandera blanca (White flag), 2011. cotton fabric, menstrual blood and unassembled bed frame pieces. Courtesy of the artist
Kevin Day, a percentage remedies a code underneath the harmful device, 2010-12. mixed-media installation. Courtesy of the artist
Yan Luo, Thoughts Drifting around The Idea of Dwelling, 2012. inkjet print. Courtesy of the artist
Nathan McNinch, from triangulation studies series, 2012. digital sketch. Courtesy of the artist
Lux Petrova, Paradoxal Paradigm (still), 2012. video. Courtesy of the artist
The Morris and Helen Belkin Art Gallery is pleased to present Hail to the Destroyers, an exhibition of work by the 2012 graduates of The University of British Columbia’s two-year Master of Fine Arts program. These six emerging artists explore various themes intersecting the performative persona of the artist, the body in the digital age, aesthetics and violence, and art making that is playfully cynical. Although they do not necessarily share a common agenda, their collective salute to the idea of destruction echoes contemporary anxieties about the potential for artistic practice to maintain social engagement within an increasingly unstable economic and political climate.
Ali Ahadi typically deals with dualities, in this case language and materiality. He will show a large sculptural work of plywood panels perforated by thousands of nails that spell out the message “I have gotten much better.” Accompanied by a small microchip with the same inscription, the sculpture’s simple yet thought-provoking statement joins the subtlety of language and its meaning with raw materials, brute force, and precise crafting.
Nelly César creates a multitude of performative and sculptural scenarios about misbehaviour, perversion, and ethology as a way to explore how people create bonds. For this exhibition she will revisit Santiago Sierra’s 2004 artwork, A room of nine square metres. César will construct a white replica of Sierra’s black cube room, and throughout the duration of the exhibition she drills holes from within to eventually reveal it as a ruin.
Kevin Day explores the production and consumption of digital materials, especially those encountered when browsing the Internet. Day presents hand-written portions of the hypertext code that constructs each of the websites he visited on a particular day. This labourious process materializes this usually concealed code into an over-exaggerated act that challenges the body’s relationship to the immediacy and physicality of digitized media.
Yan Luo refuses to legitimize his work through the allure of technique to the extent that he makes transparent the art world’s legitimizing structures. Luo will show two sculptural installations that are meticulously crafted, yet they integrate their surroundings and implicate the viewer in a way that denies the expectations that come with encountering a work of art.
Nathan McNinch creates simple machines that serve as analogues for how memory might work. McNinch’s kinetic installation consists of a series of large triangular sheets of white insulation material stitched together like a giant quilt, forming ripples that slowly undulate. With the rise and fall of each section, one moment gives way to another, existing just out of reach, much like memories do.
Lux Petrova is interested in the production and representation of the artistic self through mythologies that follow the logic of Hollywood. Lux has legally changed her name in order to rethink ideas about identity and how it is tied to persona. For this exhibition she will present video and sculptural works that are inspired by Vajazzle trends in which she taps into the world of glitter and bling body modifications.
The exhibition is presented with support from the Department of Art History, Visual Art and Theory at the University of British Columbia.
Anonymous from UBC at 4:46 pm Saturday, September 15, 2012
One of the strongest MFA exhibitions seen in a long time. For those unfamiliar with the artists' practices, it would be really helpful to provide some more information on the ideas/theories/concepts the artists are interested in, or on other prior work that they have produced. Even if this takes a form of 'keywords' at the top each catalogue essay. This could also alleviate some of the negative responses to the work due to not understanding.
Josh Burster from N.Y. at 3:12 pm Saturday, September 15, 2012
Very courageous and original stuff by Lux Petrova. Wow factor. Great talent!
Agnes F. at 3:33 pm Friday, September 14, 2012
Interesting and beautiful pieces. Would love to learn more about the artists' concepts on each of their works :)
Letitia at 3:31 pm Friday, September 14, 2012
The pieces of art are beautiful, simple with a touch of modern elegance. Great artifacts enabling your imagination and creativity to soar.
Mina M from UBC Visual Arts at 2:27 pm Friday, September 14, 2012
Ali Ahadi's work shows his austere ways of detail-oriented craftsmanship. The alignment of the nails into an enlarged renowned font that the public can recognize from far distances. One can only imagine the blood, sweat and tears put into this piece. Hats off to you Ali. I'm still picking up my jaw from the floor
Belkin at 9:54 am Friday, September 14, 2012
Thanks for letting us know. A new keyboard has been put on the kiosk.
Amy Kim from UBC at 4:21 pm Thursday, September 13, 2012
Loved many pieces, especially my TA's piece with the white box.
Miriam S from UBC at 4:08 pm Thursday, September 13, 2012
though provoking pieces i find myself cheering on the penetration, thoueeeeeeeeeeeeeeeegh, because you're oneeeeeeeeeee the inside and need to get out. also,,,,,this keyboard is broken
Charlotte Donkey at 3:24 pm Wednesday, September 12, 2012
What a fantastic show!
Lindsay at 3:24 pm Wednesday, September 12, 2012
Amazing show! Best show at the Belkin ever! If only the Belkin would be so lucky to show work like this all the time.
For further information please contact: Jana Tyner at firstname.lastname@example.org,
tel: (604) 822-1389, or fax: (604) 822-6689