Indepth Arts News: |
"Two Major Solo Exhibitions of Canadian Artists AA Bronson and Judy Radul"
2003-12-13 until 2004-03-07
Power Plant Contemporary Art Gallery
The Power Plant, Canada‚s leading non-collecting contemporary art gallery announces two major solo exhibitions of Canadian artists AA Bronson (Toronto/New York) and Judy Radul (Vancouver) for its winter season. AA Bronson has been at the forefront of a complicated investigation of the politics of media representation, public/private space, the languaging of the AIDS epidemic, and the performative body. Vancouver artist Judy Radul is presenting two video installations at The Power Plant, Empathy with the Victor (2001-03) and No One Must Know (2003), that explore the specificities of video, cinema and theatre performance.
At The Power Plant AA Bronson: The Quick and the Dead includes significant early photographic works such as Evidence of Body Binding (1971) and Mirror Sequences (1969-70), and recent and new work such as the Hanged Man (2002) series, a large scale bubble machine modeled after the HIV virus, and a 12 meter wall mural, titled * Healer, that was inspired by the Swiss monetary currency. Bronson's individual voice as an artist has been, for many years, subsumed within the influential artist group General Idea. Since the deaths of his two partners, Felix Partz and Jorge Zontal in 1994, Bronson has struggled to develop other strategies for art-making. This important exhibition of one of Canada‚s most respected contemporary artists represents Bronson's first major solo show in Canada in many decades. The exhibition is co-organized by The Power Plant's director Wayne Baerwaldt.
Judy Radul's No One Must Know, produced on-site at Harbourfront Centre in September of this year, shows Quebec actor-playwright Marie Brossard tracing in china marker the built environment of the lakeshore as it is reflected in a large mirror. While drawing the scene, she shares her thoughts with unwitting passers-by along Harbourfront‚s lakeside promenade. The scene is inspired by and reminiscent of Pier Paulo Pasolini‚s film Teorema (1968) in which an artist questions the nature of art and painting on glass. In both installations, Radul returns to a key moment in the separation and collusion of fine art and the moving image. Radul‚s performances, installations, videos and books have been presented across Canada and Europe since 1984. The exhibition is curated by Wayne Baerwaldt.