DOCUMENTATION: Dumbfounded by Nature

The CAMPER & Walter Phillips Gallery co-presented Dumbfounded by Nature last weekend in Banff National Park. Here are some of the photos!

DOCUMENTATION: An Entwined Present

Documentation from Chika Modum & Dong-Kyoon Nam's exhibition An Entwined Present

DOCUMENTATION: The Canada Collection

Documentation from Arianna Richardson's The Canada Collection in TRUCK's +15 Project Window at the Epcor Centre for Performing Arts

MAIN SPACE SUBMISSION DEADLINE

The Main Gallery Space is programmed through an annual call for submissions as well as by curated exhibitions. TRUCK hosts eight exhibitions each year in this space and accepts applications from professional artists only. TRUCK’s definition of a professional artist is someone who has:

*completed their basic training (or the equivalent)
*produced an independent body of work
*presented their work in a professional context
*maintained an independent professional practice for at least one year.

Undergraduate students currently enrolled in school, college or university are not eligible to apply, however this restriction only applies to our main space and students are welcome to apply to our +15 and CAMPER spaces. Graduate students are eligible only if they meet TRUCK Gallery’s definition of a professional artist.

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Submission Procedure:

TRUCK accepts submission in ELECTRONIC FORMAT ONLY. Please send all written support as a SINGLE PDF FILE. Images must be in JPEG FORMAT burned to a single CD. Please do not send any paper documents, printed images, or return envelopes as submissions will not be returned. Please do not e-mail submissions. Submissions should be postmarked no later then August 29. Late Submissions will not be accepted.



ALL SUBMISSIONS MUST INCLUDE THE FOLLOWING:

1. A completed application form (also available for download in Word format)

2. Proposal (maximum of 1 pages): Clearly describe the proposed exhibition or project. Provide details about your spatial, and material requirements, including equipment needs. Explain what kind of venue is best suited to your proposed work (gallery, theatre, off-site, public space, etc).

3. Artist Statement (maximum of 1 page): Contextualizes the work submitted within your artistic practice.

4. Curriculum Vitae (maximum of 3 pages): Describe your artistic background (e.g. education, grants, scholarships or awards received, professional status, previous exhibitions or performances, commissions, professional memberships, articles, etc.)

5. Images/Support Material: 10 to 15 JPEG images and/or DVD for video. All images must be numbered and labeled to match the corresponding image list.

6. Image List

7. Budget for curatorial projects, touring exhibitions, and proposals for group exhibitions please provide a clear budget of anticipated expenses and related fees for the exhibitions.
Please Note:

Digital images: Should be in JPEG format, 1000px on the longest side at 72 dpi and no larger than 1MB in size. File names should correspond to the image list.

Video: Submit only the material that demonstrates your artistic accomplishments related to the proposed project, and please limit each example to five minutes in length.

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Submissions should be addressed to:
Programming Committee
TRUCK Contemporary Art in Calgary
2009 10 Ave SW
Calgary AB, T3C 0K4

Want to know more?

CAMPER: Main Course Discourse

The CAMPER summer program kicked off last night in Stanley Park with a little BBQ and our first screening Main Course Discourse. Here are some images: 

ESSAY: La Chambre

La Chambre, (French for The Room), is the title of Jacinthe Lessard’s exhibit of sculptures and photographs at TRUCK.  The title for this exhibition references the interior of a camera, the chamber where photographic images form themselves both conceptually and physically. In his seminal text on photography, The Camera Lucida, French theorist Roland Barthes refers to the photographer as a “mediator, who makes permanent the truth” (1). Working with this idea of permanence, Lessard captures the negative spaces of a series of cameras, creating physical casts of their interiors. Her intention in doing so is to transform the negative spaces that exist within these cameras into physical objects. To accomplish this, she pours liquid silicone into their interiors in order to create molds. Once hardened, she removes each mold and photographically documents the differences in shape and form that emerge from one camera to the next.

With these works, Lessard’s intention is to create an homage to an important space that, she says, is shrinking over time due to developments in technology. She is interested in the changes in approach to image making that have resulted, because conceptually — and despite the physical presence of such technical components as semi-conductors, sensors, computer circuitry, and signal processing boards within digital cameras — the chamber within is still the space where a photographic image is initially formed.

The formal aspects of these works are important to Lessard, as are their architectural characteristics. Indeed, her sculptures contain features that are strongly suggestive of architectural structures as diverse from each other as towers, ziggurats, and industrial buildings. As part of her process, she hopes that the viewer will wonder about where the sculptures have originated and question what they are meant to represent. As a result, the viewer is left to add his or her own visual references to these works. In La Chambre, she has chosen not to show most of the sculptures directly, instead, photographing them in order to suggest that their scale is ambiguous. Lessard shows only one of the casts in the exhibition — the interior of an 8” x 10” Bellow camera. She does this to remind the viewer that although the photographed sculptures are represented as two dimensional images on the walls of the gallery space, they also have a very real presence in the physical world as three dimensional objects. 

Essay by Luba Diduch

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1. Barthes, Roland. Camera Lucida, Reflections on Photography. Farrar, Straus and Giroux, 1981. Page 110.

DOCUMENTATION: La Chambre

Documentation from Jacinthe Lessard's La Chambre