Exhibitions

• ddmmyyyy

  MARISA KRINGWIWAT HOLMES
  November 3–December 8, 2018

  

  

  

  

  

  

  

  

  

   

  ddmmyyyy brings together itinerant images, photographs that appear as stock images, and sound to consider and critique notions of image-making. Holmes’ Fanfare will commence at midday; and subsequently 10 minutes to every hour throughout the day, until the gallery’s close at 5pm. While the short instrumental introduction serves a very particular purpose to ‘announce’ and act to demarcate time in a way that builds anticipation of an event, Holmes’ Fanfare negates this function through its superfluous nature within a photographic installation. Fanfare provides the formal structure that imposes a regime of viewing as it announces the imagery within ddmmyyyy. Frivolous in its flourishes, Fanfare riffs off of the sound of sporting spectacle, in particular that of horse racing venues, where in the first race of the day, the horse and jockey are summoned to take their mark at ten to the hour.

  Kriangwiwat Holmes’ exhibition ddmmyyyy builds on the works she developed during her 2018 summer residency at Calaboose in Montreal, as well as her work as a photographer at the Hastings Race Course. ddmmyyyy is an exhibition that brings together photographs that have accumulated on Kriangwiwat Holmes’ computer: either photographs taken by her as part of her practice or her employment at the race course, or found photographic images.

  In ddmmyyyy, Kriangwiwat Holmes probes at questions of authorship, and the way photographs are produced, disseminated, and circulated. ddmmyyyy considers the possibilities that the itinerant image holds—in particular stock images made available through Creative Commons agreements—and the sharing of images legally through copyright licensing agreements. In their capacity to circulate without restriction, these images are constantly being redefined and decontextualized, reassembled and further built upon. How can the itinerant image offer a possibility for artists to work towards a process of collective imaging? Within the installation and their announcement through Fanfare how can these images create ways to speak to the entangled nature of image production and consumption?