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Nov 24, 2006 - Feb 2, 2007
Curated by Kent Archer

"Paul de Guzman's artistic practice revolves around creating transient and temporary structures through linguistic modes or architectural strategies.  Situate This !! is a text-based architectural installation that revisits the situationist practice of Guy Debord and redefines our relationship to the city by initiating a conscious dérive through the use of portable mirrors and an architectural bibliography.  The word dérive, meaning drift, is a practice initiated by the Situationist International (1957–1972) used to discover new patterns of movement throughout a city without a fixed path or destination.  Also included in this exhibition are recent examples from Invisible Cities, an ongoing series of altered bookworks.  Invisible Cities involves the painstaking excision of layers from art and architecture publications to create small, portable, detailed architectural and intellectual interiors.  While investigating how language is integral to the creation and survival of architecture, these bookworks also expose an intimate form of urban pattern making similar to the results of a dérive.  Situate This !! is a project that continues this type of urban pattern renewal executed on a larger architectural scale."


Sep 15 - Nov 10, 2006
Co-Sponsored by TRIBE
& the UofS Department of Art and Art History

This exhibition consists of a major new installation by artist Jin-me Yoon, Associate Professor of Visual Art at Simon Fraser University in Vancouver and marks the first solo tour of her work. Thematically consistent with her previous productions that explore the relationship between memory, identity and place, the installation uses staged video performances and photographs to examine the displacement of peoples, both temporally and spatially, through wars and exile. 'Unbidden' refers to images and memories of uncertain origin that involuntarily surface to consciousness. Yoon presents the viewer with scenarios that are both strange and familiar; it is uncertain if the actions that occur allude to real events, or whether they derive from television productions, Hollywood movies, or archival images.


Jul 14 - Sep 8, 2006
Curated by Mark Laliberte

The images in Dehuman speak a pictorial language like the drawings on the walls of a prehistoric cave ,instinctively drawn. They reach into the dark corridors of a collective consciousness with, at first glance,seemingly child-like naivety. Hidden deeper are issues of complex relationships, social unrest,and cultural turmoil. Dehuman Features the work of Daniel Erban, Dennis Michael Jones, Ed Pien and Balint Zsako


Apr 10 - Jun 30, 2006

Bélanger's work as a critical commentary on the technologically rendered, fractured, and fragmented body as it is objectified by and through the gaze of science, the use of ritualized social space, the lens of the camera, the projector. But seldom did I find a hint of what seems so plainly obvious to me now as I re-viewed this considerable corpus work. What seems so obvious is that Sylvie Bélanger's body of work speaks also to - the stages and re-stages for us - an excrutiatingly tender love of the body, a loving of the body, a loving body.
-Carol Moore, Toronto, 2005excerpt from the essay included in the fragments d'une histoire, Sylvie Bélanger publication, 2005

Art is social because it resuscitates again and again, fears, desires, hopes, anxieties, beliefs and the struggle of beings acting at once in relationships to each other and in a world that has its own relationships.
-Sylvie Bélanger, 1985, fragments d'une histoire, Sylvie Bélanger publication, 2005


Jan 20 - Feb 24, 2006
Curated by Donna Wawzonek

In 2006 The College Art Galleries, In conjunction with the Dunlop Gallery hosted Blown curated by Donna Wawonek. Blown brought together the work of artists Seema goel, Ana Rewakowicz, Max Streicher, and Robert Zingone, who were all working with inflatables at the time. Robert Zingone's work uses inflatable forms to create precarious sculptures that remind us of the architectural applications of inflated forms such as golf domes or pavilions from Expo '70. Ana Rewakowicz uses inflatable body suits in kinetic sculpture to reference environmental degradation and the susceptibility of the body. Seema Goel invokes the drama of inflation and deflation to reference the rhythms of breathing, which in turn make us aware of impermance and protection of the self. While Max Streicher's interior and outdoor works play on our associations with parade floats and the carnivalesque, they also, like Goel's, evoke awareness of the importance of breath and the breathing processes. Blown was organized by Dunlop Art Gallery and co-produced with Kenderdine Art Gallery.