Studio Space, 2013
View of the artist's studio, 2013
Atenas, Costa Rica
Untitled #04, from the Tributaries of Battle River series, 2014
fabric and thread
wall carving, Satellite Gallery
move move move ment ment ment mo—men—tum, 2014
The Morris and Helen Belkin Art Gallery is pleased to present SUPERMOON, an exhibition of work by the 2014 graduates of The University of British Columbia’s two-year Master of Fine Arts program. The artists represented examine the practice of making art through the shared and often conflicted relationship it has with its reception with the public. As such the context in which the work is made and subsequently displayed is informed by each artist’s individual life and experience. As a diverse group of artists they collectively represent a shared interest in changing perceptions about what art is and does.
Fabiola Carranza makes photographs, videos, sculptures, paintings and drawings that examine visual, cultural and personal phenomena. Her experimentation with materials is at once playful and imbued with art historical frameworks. Her works aim to tease out humour and pathos from her affiliation to spaces, her familial history and her relationship to art.
Todd Evanger investigates boundaries of the body and the hegemonies that are embedded in rural histories, an inquiry which he conducts through video and print media, ancestral archival material and iconography that characterizes the Canadian prairies.
Marie Horstead who works primarily with textiles, draws from a rich female-centric history and explores the mythological intersections between love, desire and sorority.
Guadalupe Martinez fosters interactions that pay attention to the specificity of place using found materials with the intention to transcend the (apparent) static nature of sculpture. Embodiment is the political and lyrical potential to interrogate and reorganize meaning.
Through material experimentation, Kate Moss explores the expressive potential of writing, colour and rhythm. In her work, things, objects, materials and moments harmonize; working in conversation, they begin to perform.
Setareh Yasan investigates the dialogue between the world of the studio space where she actively creates and the outside world. Her process of exploring these worlds relies on the accumulation of material knowledge, which is gathered in the studio through the process of making, and of immaterial knowledge, which is mustered through the experience of living in the world.
The exhibition is presented with support from the Department of Art History, Visual Art and Theory at the University of British Columbia.
Andres Pulido from Bogota, Colombia at 4:39 pm Sunday, June 1, 2014
definitely postmodernism has taken arts for liberating all our imagination. :)
francis at 3:26 pm Sunday, June 1, 2014
I like almost everything!
enzo at 3:45 pm Saturday, May 31, 2014
it is very cool
insideoutsider from here and there at 1:30 pm Saturday, May 31, 2014
As I read through all the “don't get it” comments and consider things like the inclusion of titles of past Belkin shows in Guadalupe Martinez's work; the references to the MFA studio space and the working process of contemporary artists in general that permeate the show; the reality that there are absent performances anyone who wasn't present at the opening has no access to; and the way the essays about the artists in the catalogue are hardly more than tangential to the work in the show, I'm forced to consider the jargon and private language of contemporary art. There isn't much argument that contemporary art can be inaccessible to the uninitiated. But is that a bad thing? I don't think so. Here we are, more or less a century down the road from the high point of big-'M' Modernism and the ideas around non-mimetic representations that were radical and “ugly” and inaccessible then have only recently filtered into the realm of general knowledge. No one baulks at Picasso or Van Gogh anymore. And likewise the century-old radical ideas in other fields, for example Einstein's relativity, are general knowledge now and the equations for time dilation and relativistic addition of velocities are taught in high-school--and *everyone* knows E=mc^2. With that said, who in their right mind would expect graduate-level work in physics, or any other field for that matter, to be immediately accessible to someone with a high-school level point of entry or less? Should art be any different? How else does it move forward?
Behyar from Washington State at 12:40 pm Saturday, May 31, 2014
Art is the highest degree of self presentation and a mirror of the soul which reflected some thing in the world at the time and being of the artist. People can find out more if they know more, deeper understanding and the reaction to the artwork is totally dependable. We have very old poem more than one thousand of year which every body who read them, they enjoy it in different level.Some times the artist can change the whole life of a person after 800 years and there is no value for it. I enjoyed Super Moon Gallery and I wish all the best for the artists.
LYJ at 2:33 pm Thursday, May 29, 2014
I am lost. But it is nice.
Terry Butterworth\ from UK at 2:31 pm Thursday, May 29, 2014
The bottles are scary
2 confused students at 2:28 pm Thursday, May 29, 2014
My mind was blown, but i loved the cows. My friend doesnt understand anything either
alex gauld from otttawa at 10:55 am Wednesday, May 28, 2014
interesting exhibit and enjoyable
Vladimir Kolosov from Maple Ridge at 3:16 pm Sunday, May 25, 2014
Honestly ... lack of ideas... and school. The true school of fine arts. For students OK, for masters... I didn't see masters. ... But nothing lost, everything is ahead. There is one piece we should pay attention: Kate Moss (right on the corner with black background). It is just a part but it is self-sufficient and stays over the rest items of the composition. And ... good luck to everyone!
For further information please contact: Jana Tyner at firstname.lastname@example.org,
tel: (604) 822-1389, or fax: (604) 822-6689