17 November 2015 through 13 December 2015
Opening reception Tuesday 17 November 2015, 6-9pm
Screening Thursday 19 November 2015, 7pm at the Western Front, 303 E. 8th Avenue
Guest curated by Liz Park
This multi-nodal project celebrates the decades-long contribution of
video art pioneer Cornelia Wyngaarden. Her unrelenting commitment to
feminism and queer politics often translates to poetic video portraits
of female protagonists who defy the male-centric order of their
respective milieu. Wyngaarden’s unique voice provides incisive
commentary and has been fostering various communities of allies in
Vancouver and beyond.
Presented for the first time in over two decades, elements of her past media installation projects
The Fragility of Origins (1994) and
Apollo’s Kiss/Matricide: An Allegorical Landscape (1991) will be installed at
CSA.
Initially presented at the UBC Fine Arts Gallery (now the Morris and
Helen Belkin Art Gallery), Apollo’s Kiss takes inspiration from
Aeschylus’s
Oresteia, and in particular, spotlights the fate of the
tragic heroine Cassandra, doomed to the gift of prophesy believed by
none.
The Fragility of Origins was first presented at the
Western Front, and featured a five-channel composite of unidentified
female bodies in motion, ambiguously torquing as they lay on a sheet of
white. Accompanying the installation at
CSA is a screening at the Western Front of
As a Wife Has a Cow (1985) as a single-channel video that captures the stories told by a female rancher named Keely Moll.
This exhibition is by no means a survey of Wyngaarden’s work, but is a
spark that lights up a portion of her activities as an artist. It is
also the force that propels a new work in progress by Wyngaarden, a
video portrait of a female stevedore. This project will be accompanied
by a publication co-edited by Kim Nguyen and Liz Park, to be published
in spring 2016 by Artspeak.