Art

Canada's art installation at Venice Biennale rooted in research, history, beauty – CityNews Toronto

Published

5 months ago

April 16, 2024

Hundreds of thousands of tiny glass beads will soon be twinkling in the sun across the entire Canadian pavilion at the Venice Biennale, Canada’s newly revealed entry in one of the world’s most prestigious art fairs.

But Kapwani Kiwanga, the Hamilton-born, Paris-based creator of the work, wants you to get past the cobalt blue glass glinting in the Venetian light. She wants you to think of each bead as a character.

“The materials are documents of themselves,” she says. “They’re witnesses.”

The beads used in her installation “Trinket” were made on the nearby Venetian island of Murano. Centuries ago, similar beads were used all over the world as both desirable trade goods and currency in themselves.

Their name, “conterie,” comes from the Portuguese word for “count.”

“I never use (materials) just because they’re esthetically pleasing,” Kiwanga says. “That comes into it at one point but it’s really their social, cultural and economic history that makes me want to settle on a material.”

Kiwanga’s installation at the Canada Pavilion was revealed Tuesday, more than a year after she was named Canada’s representative to the 60th Venice Biennale.

Kiwanga has previously installed works at art galleries and fairs from Saskatoon to Dublin and London to Istanbul.

She has won major art prizes in Canada and France, and bagged nominations from the British Academy of Film and Television Arts for her film work.

Throughout all that work, she says, runs her interest in what materials have to say for themselves.

Sometimes, plants do the talking. One of her previous installations, “Flowers for Africa,” uses familiar flowers like gladioli that originated in Africa.

They may look arranged for a posh wedding or upscale hotel lobby, but are recreations of flower arrangements created for diplomatic events linked to independence negotiations for African countries. The arrangements gradually wilted, evoking emotions about the passage of time and the fleeting nature of pomp.

In other works, colours speak to the audience.

“Linear Paintings” explores hues believed to promote certain moods and used by industrial designers to cover walls in offices, mental health hospitals and prisons.

“I’m thinking of them as characters who have witnessed a past event,” Kiwanga says. “History is a starting point for a lot of my work, although I’m thinking about our present and sometimes our future as well.

“My larger question or interest is power and power dynamics.”

She wants viewers to consider her work a kind of “gateway.”

“I’m not trying to prove anything. I’m not looking for materials that prove a point. I’m just saying the who or the how or the what,” she says.

The work begins with a vague notion of something interesting that sheds a bit of light on how the world operates.

Then it’s study time. Popular and academic works on the theme are consulted, experts are interviewed, archives combed. She says about 60 per cent of the work needed to create a new piece is done in the library, not the studio.

Kiwanga credits her anthropology degree from McGill University with giving her the research skills necessary to her artistic practice.

For her sense of the world, she gives some credit to Hamilton. She now divides her time between Canada, France and Tanzania, but it was Steeltown that first showed her the world is a big place.

“Growing up in downtown Hamilton was quite diverse,” she says.

“In my Grade 1 class — I remember this — we had people from all over the world, some of whom had just arrived. The world already was in this tiny little bit of my reality.”

Being chosen to represent Canada at the nearly 130-year-old Venice Biennale “was a great honour,” she said.

Canada has been represented at the art fair since 1952. This year’s version will see 63 countries participating.

Previous Canadian representatives have included illustrious artists such as Alex Colville, Michael Snow and Stan Douglas — and that creates a certain pressure, Kiwanga admits.

“One person is chosen every two years, but there are so many other artists who could have been chosen and done something amazing. I felt a responsibility.”

But just being part of a global art conversation will be a highlight, Kiwanga says. And true to form, she’s already thinking of the Biennale as another kind of document.

“When we’re all together and we end up finishing our works, what’s it going to say about this moment?”

The Venice Biennale international art exhibition runs from April 20 to Nov. 24.

This report by The Canadian Press was first published April 16, 2024.

Bob Weber, The Canadian Press

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Art

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

Published

14 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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Art

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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