Art

Meet the Montreal-based filmmaker who’ll be the youngest artist at the Venice Biennale

Published

6 months ago

March 21, 2024

Joyce Joumaa doesn’t see the fact that she will be the youngest artist at this year’s Venice Biennale, the pinnacle of international contemporary art events, as an obstacle. “I don’t move forward in life thinking about my age,” she tells CBC Arts in an interview. “I think this creates more pressure.”

Through her own style of documentary filmmaking, the 25-year-old Lebanese-born artist has rapidly become a recognized talent within a rich lineage of politically active artmaking. Her works connect viewers to Lebanon, doing so with a knack for visual storytelling that untangles complicated events. This includes grappling with Lebanon’s colonization and its legacy in the educational system, the state’s economic crisis and its relationship to solar energy, as well as the 2018 parliamentary elections and the ubiquity of its monumental campaign posters depicting larger-than-life politicians.

“When you’re talking about geopolitics or politics in general, it is never about one single thing,” says Joumaa about tackling intricate issues through film. “It’s always a series of webs. I feel like working with moving images, I can’t just land on one technique. Each one I use represents a layer that makes up the complexity of the topic.”

Based in Montreal since 2016, the past few years have been a whirlwind of accomplishments. This includes being a finalist in 2023 for the prestigious Prix Pierre-Ayot, which is awarded to a promising up-and-coming artist in the city.

In كیف لا نغرق في السراب /To Remain in the No Longer, an experimental film she created with the support of the Canadian Centre for Architecture’s emerging curator residency, Joumaa focused on architect Oscar Niemeyer’s failed international fairground in the Lebanese city of Tripoli. Turning toward the past to better understand Lebanon’s current socio-economic crisis, the film is as beautifully composed as it is critically incisive.

A still from the film To Remain in the No Longer (2023) by Joyce Joumaa. (Photo courtesy the artist)

As part of the Biennale College Arte, a program that offers young talent the opportunity to present their work on the world stage, Joumaa will be in Venice this April to present a new project. CBC Arts spoke with her in Montreal to learn how her upbringing in Lebanon influenced her practice, why she gravitated toward filmmaking and how she goes about building dynamic artworks that have won her a place in what many consider the most important art event of the year.

Tell us a little bit about your childhood and what your early artistic influences were?

I grew up in Tripoli, which is a very interesting city in Lebanon, because even though it’s the second-largest after Beirut, it does not get the benefits of a large metropolis. When I turned 16 and was old enough to take the bus to Beirut, I would go gallery-hopping for the day or over the weekend. In some ways, studying art was a reaction to my lack of exposure to it growing up. This is one of the problems with Lebanon, everything is centralized in the capital.

The people who shaped my understanding of contemporary art are the main Lebanese artists you might know of: Akram Zaatari, Walid Raad, Mounira Al Solh and Mona Hatoum. These great post-civil war artists were exhibiting in Beirut when I visited, and their work was very much tinted by the geopolitical landscape in Lebanon. In Canada, people often remark that my work is political. I think this is a direct effect of this exposure.

What is it about film and video that attracted you initially?

I remember having a moment of epiphany when I saw one of Akram Zaatari’s works called Letter to a Refusing Pilot. It is about this Israeli fighter pilot who refuses the order of bombing a school in Lebanon [during the war in 1982] and instead dumps his bombs in the water. It was shown at the Lebanese Pavilion in Venice in 2013. When I first saw this work, I knew that this was exactly what I wanted to do: to showcase stories that have their roots in a certain political tension without being overtly explicit, to talk about something in a poetic and metaphorical way.

Film had this added value of fully exploring the subject matter, rather than finding refuge in a single representational image. That’s also why I became interested in documentary-making specifically.

You moved to Montreal in 2016 yet you continued to regularly produce work about Lebanon. How do you wrestle with the distance? And how has your adoptive city shaped you?

When I moved here, I decided not to completely let go of Lebanon. I’ve committed to going back every year, except for the first summer of the pandemic. I don’t feel like I’ve left, I’m still familiar with the way things are moving over there.

On the other hand, Montreal has shaped so much of who I am right now, and there’s a lot that I take from it and its people. This city has a very nice warmth, and that allowed me to settle here comfortably.

In your practice, you look toward the past to make sense of the present. Can you walk us through your process?

My work is mostly focused on histories, even though I did not experience them myself. For example, in this upcoming exhibition at the exhibition centre Plein Sud, I am investigating history textbooks in present-day Lebanese curriculum. These books have a narrative that reflects how the Ottoman Empire colonized Lebanon, but there is a lack of exposure to more contemporary events, like the Lebanese Civil War.

As a student, I was not fully exposed to our history and what made our country the way it is now. I feel like my approach is the result of wanting to understand the present moment in Lebanon.

You will be exhibiting at this year’s Venice Biennale. How have you taken on this opportunity?

I feel a double privilege, to be one of the four Canadians showing at the Biennale, but also to be surrounded by these major contemporary Lebanese artists who set the groundwork for conceptual art in Lebanon.

Regardless of the scale or the hosting institution, I think the best way to approach these opportunities is to see them as if they’re just ongoing research projects I want to work on. It’s both exciting and overwhelming!

Joyce Joumaa is represented by Galerie Eli Kerr in Montreal, where she is currently in the group exhibition Saint-Laurent, running until April 14. Her film السراب /To Remain in the No Longer (2023) will be screened at the Images Festival in Toronto on April 12.

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

22 hours ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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