Jane Lee’s photographs have been exhibited in Supersonic Transport at Charles H. Scott Gallery, as part of the patti collective, and at Streetlevel Gallery in Glasgow. Her performance and installation work with the Ladies¹ Afternoon Art Society has been presented at Access Artist-run Centre in Vancouver and at Skol in Montreal.
GABOR KOLESZAR, JANE LEE, HOWARD URSULIAK
December 7–January 25, 2003
“Both Lee and Koleszar are emerging artists working within a city that has a dominant tradition of photographic practices, a context that is ripe for some cross-cultural mutation…both practices suggest an embodied relationship with the camera that has not been usurped by an interest in digital technologies”
unlocal is a project involving three Vancouver photographers connected through their engagement with a discreet observation of the material world and for whom photography maintains its status as document to the real. The exhibition will feature new photographic work by Jane Lee and Gabor Koleszar, and a text by established Vancouver photographer Howard Ursuliak. Jane Lee’s photographic work, like her performance practice, is drawn from a wry and distant view of the peculiarities found in the everyday. Her photographs trace the remains of social relations, or the detritus of contemporary mobility, in quiet compositions. Koleszar’s approach relies upon the camera’s potential to make abstract the familiarity of the material world, connecting his practice to eastern European photographers of the 1920’s and ’30s. In an interview format, Ursuliak investigates their work in relation to the practices of photo-conceptualist artists of this region, around ideas of place, the absent social body implied in their work and their embodied points of view.
September 7–October 12, 2002
Off-Site Storage Provider
– 9 used white lab coats
– 12 large file cabinets
– 1 recycle bucket
– 1 chair
– 1 microfiche projector
– 1 microfilm reader/printer
– 1 picture of the off-site storage provider
Candie Tanaka’s practice involves the collection of objects, images and sounds from public or institutional spaces, which she then alters and places back into the public realm. The exhibition of the altered objects, images or sounds becomes the mid-point in the circular process of gathering, intervening and the replacing of the materials into other locations. Methodologies such as archiving and indexing the materials gleaned from her travels and explorations inform her installation work that examines the structure of public and personal memory.
In Off-Site Storage Provider, Tanaka has digitized a photo archive of images taken in transit and transferred them to microfilm and microfiche, placing the ‘originals’ in a secure storage facility. Copies of the images taken in public spaces subways, metros and airports, etc. will be available in the gallery to be viewed on a microfiche projector, and copies of images on microfilm can be viewed and printed out on a microfilm reader/printer.
Tanaka’s work makes visible the structures of official memory, the fetish of the document and the anxieties of record-keeping through the absurdity of cataloguing, reproducing and storing personal ephemera. The work exhibited is but a facsimile of the ‘real’ work, which is housed in a secure climate-controlled holding facility, the Off-Site Storage Provider, an abandoned limestone mine in Pennsylvania.
1. Iron Mountain Website www.ironmountain.com
2. Caves a Cornerstone of U.S. Security Effort (Link)