In celebration of OAG’s inaugural opening, Galerie Annexe will be presenting four group exhibitions by regionally-based artists. These exhibitions will highlight the major themes presented in the expanded OAG’s first exhibition, Àdisòkàmagan | Nous connaître un peu nous-mêmes | We’ll all become stories, namely bodies, technology, mapping, and bridging.
CONDITIONS OF AUTONOMY
April 21 – May 27, 2018
Conditions of Autonomy will feature artists who address and challenge the notions of identity through use of the figure. Each of these artists emphasize the importance of the ‘self’ and questioning physiognomic assumptions regarding portraiture and figuration, while also challenging the viewer to deconstruct their preconceived notions of identity based upon concepts of nationalism, religion, race, and gender. Conditions of Autonomy asks viewers to address any inherent bias ways of seeing, creating a space where we can question the traditional social boundaries of self-identity.
Daniel Effah, Zainab Hussain, Katy Lopez, Kelsey McGruer, Zelia Soares, Norman Takeuchi
Norman Takeuchi, Portrait – Man, 2017, acrylic on canvas, 91.5 x 91.5 cm
Daniel Effah, Blend Mask (detail), 2016, photography on canvas, 16 x 20 in.
May 31 – July 1, 2018
This exhibition highlights an emerging print scene that is developing in Ottawa-Gatineau. The printed image remains prevalent in contemporary culture; in an increasingly digital era, these regional artists choose to integrate analog printmaking techniques into their image-making practice. The selected artworks emphasize the varied forms of printmaking used by these artists, such as silk screening, woodcut and etching, as well as the tools and processes they use in the production and design of their work.
This exhibition is collaboration between Possible Worlds (708G Somerset St W) and the Ottawa Art Gallery. Works will be shown at both locations and we encourage the public to visit both sites to experience the whole of the exhibition. In line with the medium’s history of accessibility and social engagement, a series of print workshops will be hosted during the length of the exhibition.
Deidre Hierlihy, Stephen Frew, Melissa Blackman, Chayle Cook, Mana Rouholamini, Stéphanie St-Jean Aubre, Anne Wanda Tessier, and more.
Melanie Yugo and Stephanie Germano
Stephen Frew, Revolution (detail), 2008, Intaglio on BFK Rives, 22 x 30 in
July 5 – August 5, 2018
Collective Record will highlight artists who work with the notion of mapping, through differing methods and subject matter. With our primary association to the use of mapping to geographical plotting out a place, this exhibition also expands to include artist interpretations of these geographical depictions. In this interpretation, mapping can become a tool to reconstruct lost memories from a traumatic event or utilized as a form of record-keeping. Here the notion of mapping also becomes a visual archive to record the change of a city through its natural progression and decay, as a way of mapping out a place, its changing spaces and its disappearing history.
Rémi Theriault, Colin White, Alexandre Laquerre, Juliana McDonald, Jenny McMaster, Barbara Gamble
Rémi Theriault, Untitled (detail), 2016, photograph, 24 x 30 in
RECONCILE | OVERCOME
August 9 – September 9, 2018
This exhibition bridges the relationship two artists have to their history of colonization. One artist is forced to address her role as colonizer, while the other works at addressing and overcoming stigma that is associated within colonized bodies and unifying her practice with other cultures through shared memories and experience.
Shaya Ishaq is a Kenyan-Canadian multidisciplinary artist who explores how the body has historically been and is a site of colonial horror but how it can also manifest and act as a site of resistance. Her work focuses on the harmful stigmatization of hair in African cultures by the West and connects how similarity this specific intergenerational trauma resides in many indigenous colonized bodies. Ishaq uses a textile weaving technique called looping, in which the weaver uses one strand of fibre to create a stronger piece. Through this process the artist creates sculptural garments that are then used as wears and photographed/filmed on subjects.
Olivia Johnston’s experience and reconciliation comes from the position of the colonizer. As an Ottawa-based photographer, Johnston’s residency in Saint-Louis becomes difficult as she begins to identify and understand her own distinct history as the colonizer, in relation to her predecessor’s active role as colonial occupier. This has inspired a body of work that represents the relationship between the Colonial architecture of the city and the Post-Colonial reality of the life in the city. She presents her photographs as a way of documenting the resilience and complexity of the place, while acknowledging that her experience becomes part of its narrative.
This exhibition combines and examines the complexity of these relationships and how the artists negotiate their way through their reconciliation in their various disciplines.
Shaya Ishaq and Olivia Johnston
Olivia Johnston, I wish, I wish, I wish, 2017, inkjet print on photographic paper, 30 x 22 in.