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Bogdan Achimescu Matilda Aslizadeh Rebecca Belmore Jake & Dinos Chapman Dana Claxton Douglas Coupland Jeremy Deller Mario Doucette David Garneau William Kentridge Fawad Khan 1 Wanda Koop Emanuel Licha Shirin Neshat Michael Patterson-Carver Dan Perjovschi Raymond Pettibon Nancy Spero Althea Thauberger Jason Thiry Scott Waters Balint Zsako Dunlop Art Gallery, Regina, SK Part I: July 17 – August 30, 2009 Part II: September 4 – October 18, 2009 Galerie de l’UQAM, Montreal, QC January 15 – February 13, 2010 The Military Museums, Calgary, AB July 22 – October 2, 2011 curated by Amanda Cachia. essays by Dick Averns, Amanda Cachia, Randal Rogers and Sunera Thobani, with an Introduction by Amanda Cachia, and Forewords by Louise Déry and Tom Doucette. Contents Contenu introduction Amanda Cachia, Director/Curator Dunlop Art Gallery, Regina, SK 6 préface 8 Amanda Cachia, Directrice/Commissaire d’exposition forewords Dunlop Art Gallery, Regina, SK Louise Déry, Director, Galerie de l’UQAM, Montreal, QC 10 Tom Doucette, Director, The Military Museums, Calgary, AB 12 avant-propos 11 Louise Déry, Directrice, Galerie de l’UQAM, Montreal, QC curator’s acknowledgements 14 13 Tom Doucette, Directeur Exécutif, The Military Museums, Calgary, AB 4 Map of Blood 18 16 les remerciements de la commissaire 5 Amanda Cachia 32 Carte de sang In Deference to a New Diabolique 48 Amanda Cachia Dick Averns 56 Eu Égard à un Nouveau Diabolique Everyday Violence and Violence, Everyday 62 Dick Averns Randal Rogers 69 La Violence Quotidienne et la Violence au Quotidien Race and the Art of War 75 Randal Rogers Sunera Thobani 81 La Race et L’Art De la Guerre artist biographies 87 Sunera Thobani writer biographies 152 87 biographies des artistes list of works 155 152 biographies des auteurs 155 liste des œuvres INTRODUCTION too much for the more liberal-minded. Where Pandora’s Box showed DUNLOP ART GALLERY bodies naked, in 2009, Diabolique shows bodies in pain. Diabolique, then, is our next major installment of hard-hitting curatorial work, which projects a large mirror out into the community. amanda cachia In proud Dunlop Art Gallery (DAG) tradition, Diabolique is a new group Perhaps this exhibition covers the ground that Blocher was unable to director/curator exhibition that confronts and disturbs the status quo. The Dunlop Art access within her project in Regina, particularly in cooperation with Gallery in Regina is lauded across Canada for presenting exhibitions the Jeremy Deller panel of experts, composed primarily of ex-members that taunt, and impress. From July to October 2009, artwork by the 22 or affiliates with military personnel and those with a ‘specialization’ international artists represented in Diabolique will be scattered across on the wars in Iraq and Afghanistan. Unflinching and unnerving in our the Regina Public Library, both interior and exterior, for all to see from resolve to bring topical issues to the forefront of attention, as curator far and wide. The exhibit is designed to push buttons and to challenge of this exhibition I have woven together a ‘map of blood’ composed of a all stripes of political persuasion and military aggression. Unique for its strong and ambitious line-up of artists who sensitively, yet insistently ideal location within the Regina Public Library in the heart of Regina’s urge visitors to consider new interpretations of war. War— and all Downtown, the Dunlop Art Gallery is able to take advantage of its arteries surrounding this pervasive discourse— will never stop being position: to render hard truth and complex narrative in the tradition of an antithetical source of horror and fascination, one in which all levels critical curatorial projects sponsoring exhibitions that can truly make a of humanity will find a connection or frame an opinion. The layers of difference, for an audience who purposefully walks through the public the exhibition provide rich ground for viewers to attack and devour: 6 library doors and often accidentally steps into the gallery. traditional artwork, new media installations, site-specific projects, 7 In touching on some recent history of DAG exhibits that explore a relational aesthetics conversation piece, a film series, powerpoint the “ecologies of the varied communities within which it operates”1, artist presentations, commissioned essays by three informed and in 2007, the gallery presented the ground-breaking video installation, knowledgeable Canadian academics and a gallery sponsored tour. Most Living Pictures: Wo/Men in Uniform. Originally interested in filming importantly, in Diabolique, we are invited to reflect on the signs of our veterans from the war in Afghanistan, Paris-based artist Sylvie Blocher times and the nature of where and how we live with war. Is our attitude was commissioned to develop a new video in which she interviewed and to war, our participation in and immunity to violence and our ability filmed nine members of the Regina Police Service and created diptych to politically protest stronger now, or worse than before? What is our portraits for display, curated by Annette Hurtig. In her Foreword for capacity and capability to act and react? Is war an aberration or is it the the catalogue, Elizabeth McLuhan outlined how the artist “produced norm, and peace the exception? “Will there ever be an antidote to the 4 a brilliant and thought-provoking profile on the nature of violence perennial seductiveness of war?” 2 Diabolique will tour to Quebec and Alberta from 2010-2011 in order 1. Elizabeth McLuhan, and society and those whom we charge with its protection.” In Foreword in Living Pic- 2008, as then Dunlop Art Gallery curator, I presented Pandora’s Box, to showcase the themes of cruelty and conflict to a wider Canadian tures: Wo/Men in Uniform featuring the contemporary artwork of ten international female artists, audience. It is the privilege and honour of the Dunlop Art Gallery that by Sylvie Blocher, 2008, the Galerie de l’UQAM and The Military Museums are able to participate Regina, SK: Dunlop Art including Regina-based artist Leesa Streifler. This exhibit was a “timely Gallery, p. 5 exploration of the passions, innovations and diversity that characterize in the dialogue and exchange of the information that this exhibit 3 2. ibid feminist art of today.” transmits, and to support our critical curatorial work. The Dunlop Art 3. Joan Borsa, Introduc- If the display of female power, nudity and sexuality was not enough Gallery continues to uphold its reputation as a leader in showcasing tion in Pandora’s Box, to shock the complacent and provoke commentary across diverse contemporary social ideas through the visual arts, and bringing new and curated by Amanda important artists to public attention. 4. Susan Sontag, Regard- Cachia, 2008, Regina, SK: constitutencies invested in representations of women, the simultaneous ing the Pain of Others, Dunlop Art Gallery, p. 6 self-censorship of black paint on gallery window façade may have been 2003, pg. 122 PRéface noire était peut-être trop pour les plus larges d’esprit. Là où Pandora’s Box DUNLOP ART GALLERY exposait des corps nus, Diabolique, en 2009, exposent des corps qui souffrent. Diabolique est donc notre prochain important travail de conservation- amanda cachia Dans la fière tradition de la Dunlop Art Gallery (DAG), Diabolique est une choc qui capte la communauté dans un large miroir. Cette exposition couvre directrice/commissaire nouvelle exposition de groupe qui défie le statu quo et le bouscule. La peut-être le terrain auquel Blocher n’a pu avoir accès dans le cadre de son d’exposition Dunlop Art Gallery à Regina est applaudie de par le Canada parce qu’elle projet à Regina, en particulier pour ce qui est de la coopération avec le groupe présente des expositions qui provoquent et impressionnent. De juillet à d’experts de Jeremy Deller, constitué surtout d’ex-militaires ou de personnes octobre 2009, des œuvres de 22 artistes internationaux représentés dans affiliées à l’armée et de « spécialistes » de la guerre en Iraq ou en Afghanistan. Diabolique seront éparpillées dans la bibliothèque municipale de Regina, à Résolus et dérangeants parce que déterminés à placer au premier plan de nos l’intérieur comme à l’extérieur, pour que tout le monde puisse en profiter, préoccupations des questions d’actualité, j’ai, en tant que commissaire de de près comme de loin. L’exposition est conçue pour provoquer une l’exposition, tracé une ‘carte de sang’ à laquelle contribuent une gamme solide réaction et pour mettre au défi tout le spectre des opinions politiques et et ambitieuse d’artistes qui, avec sensibilité et malgré tout avec insistance, de l’agression militaire. La Dunlop Art Gallery, unique de par sa situation suggèrent aux visiteurs de considérer de nouvelles interprétations de la idéale au sein de la bibliothèque centrale de Regina en plein cœur du guerre. La guerre – et toutes les artères entourant ce discours envahissant, centre-ville de Regina, peut en tirer avantage : rendre une dure vérité et ne cessera jamais d’être une source antithétique d’horreur et de fascination, un récit de faits complexes dans la tradition de projets de conservation une source avec laquelle tous les niveaux de l’humanité trouveront un critiques parrainant des expositions pouvant avoir un réel impact sur lien ou formeront une opinion. Les différentes couches de l’exposition un public qui franchit de son plein gré les portes de la bibliothèque, mais fournissent au public un terrain riche qu’il peut attaquer et dévorer : des 8 9 franchit souvent celles de la galerie par pur accident. œuvres traditionnelles, de nouvelles installations médiatiques, des projets Pour parler de l’histoire récente des expositions de la DAG qui étudie propres au site, un portrait de groupe à l’esthétique relationnelle, une série les « écologies des diverses communautés au sein desquelles elle opère »1, la de films, des présentations powerpoint par des artistes, les essais exécutés galerie a présenté en 2007, l’installation vidéo pionnière Living Pictures: Wo/ sur commande de trois universitaires canadiens bien informés et une visite Men in Uniform.
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