Art
Concordians make significant contributions to the Biennial Contemporary Native Arts Exhibition – Concordia University News
While countless cultural events have been cancelled due to COVID-19 crisis, the Contemporary Native Art Biennial (La Biennale d’art contemporain autochtone, or BACA) launched in April, on schedule — though visits are happening a little differently.
On April 23, BACA hosted an online, virtual opening of the multi-gallery exhibition, much of which is viewable until June 21.
Every two years, the biennial is overseen by a different curatorial team that explores a new theme. The 2020 edition is hosting works by roughly 50 artists engaging with the topic of honouring kinship.
Kahwatsiretátie: Teionkwariwaienna Tekariwaiennawahkòntie, Honouring Kinship
Curator David Garneau describes the way in which the term “Indian” was wielded by colonizers in order to reduce Indigenous North American populations to a homogenous group.
At the same time, this year’s theme invites reflection on how colonial history has served as an impetus for many of these diverse Indigenous communities to come together.
Many Concordia faculty, students and alumni have contributed to the biennial. Co-curator Faye Mullen works at the Aboriginal Student Resource Centre, and Rudi Aker, also a co-curator, is pursuing a BFA at the university.
In reflecting on the theme of kinship, they emphasize the “spiderweb-like” structures and relations through which persons and entities are formed and from which they grow.
The term “Aboriginal” — in some ways intended to refer to all non-colonial peoples — should not be thought to stand for a homogeneous identity, they suggest. The term signifies an alliance and mutual engagement between multiple nations.
Working together, diverse and disparate peoples can stand in solidarity against colonialism and the colonial values that continue to prevail in dominant Western culture.
Concordia contributions
Some of the many artist contributions from Concordia include those of Nadia Myre (MFA 02), assistant professor of studio arts and Canada Research Chair in Indigenous Arts Practice, and Jason Edward Lewis, professor of design and computation arts, and Concordia University Research Chair in Computational Media and the Indigenous Future Imaginary.
Also contributing are graduates Skawennati (BFA 92, GrDip 96), Scott Benesiinaabandan and Hannah Claus (MFA 04), as well as Concordia Humanities PhD candidate Diane Roberts.
Myre discusses the Kìnawind Lab she has been building within Concordia’s Department of Studio Arts. Complementing the theme of the biennial, the lab explores identities and relations. “Identities are fed through meetings and connections,” she says.
The exploration of interconnections was both a theme of the biennial and an important practical element of its organization and development. In order to bring others into the discussion, curators invited participating artists to reach out to people in their own networks who would also want to contribute.
“When David came to Montreal, I invited students and anyone involved with Kìnawind Lab to show him their work,” Myre says.
“We didn’t focus so much on the relative and hierarchical status of artists. We didn’t privilege faculty over students, for example. In general, we try to give everyone the opportunity to pursue what’s important to them, which they can then relate back to the work of others at the lab.”
This meeting helped further the network of artists who eventually contributed to the biennial. “We try especially to think about how we can be together — as Indigenous and non-Indigenous people,” Myre says.
“The lab’s name is derived from a hybridized spelling of the Anishinaabemowin personal pronoun Giinawind. A first-person inclusive plural, KÌɅA8IɅ (in Algonquin), refers to the notion of an inclusive ‘us’; a grouping of oneself with one’s own group or community as well as with those outside of it, and so the work we do questions what our connection is to each other in this moment,” she explains.
“In my own work, I try to bring complicated histories to light to see how they resonate in the present.”
The galleries hosting the 2020 Contemporary Indigenous Art Biennial will open for in-person visits in the coming weeks if and when physical-distancing measures are adjusted.
Find out more about Concordia’s Faculty of Fine Arts.
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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.
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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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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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