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DTSTART;VALUE=DATE:20110302
DTEND;VALUE=DATE:20110410
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SUMMARY:hole/whole
DESCRIPTION:About the Exhibition\nhole/whole – exhibition essay by Carrie Phillips-Kieser  \nThe Pearls that long have slept\, These were tears by Naiads wept.\nSir Walter Scott in The Bridal of Triermain\, 1813 \n Learn from yon orient shell to love thy foe\,\nAnd store with pearls the wound that brings thee woe.\nPersian Poet\, Hafiz\, 1320 \nThrough the loaded iconography of the pearl\, Calgary based artist Kim Huynh’s series of lithographic prints\, hole/whole\, speaks of the interconnectivity of our personal desires of accumulation and its affects on the destruction of our environment\, within a collective culture of capitalism and globalization. \nThe pearl has a long history of being associated as an object of desire\, a symbol of luxury and opulence. This gem of the sea\, according to Pliny in the 1st century\, ranked first in value among all precious things and in fact Servilia\, the mother of Brutus wore ” the spoils of nations in an ear changed to the treasure of a shell”. In the Chinese tradition the image of the pearl symbolizes riches and pure intentions. Huynh effectively illustrates the true meaning of the word “luxury”; the lasciviousness\, the sinful\, self-indulgence\, through its image. The sheer number of pearls\, draping\, piling\, gathered\, is evocative of our own indulgence and of our desire to collect commodities at the expense of the beauty in rarity. At the same time\, the pearl/oyster\, a natural product of our oceans\, is a representation of the sea. Depicted in such numbers\, the pearl\, here\, also stands as an example of the reaping\, the depletion and ultimate destruction of its delicate balance. \nAs we follow through Huynh’s images\, the personal begins to erode from view with the slow eradication of the figure. \nThe established perceptions become less than whole. The pearl slowly becomes replaced with mechanically punched circular holes\, like ourselves as our personal actions dissolve and become blurred into the collective. The seduction of the pearl is still evident through the cut away and continues to allude to the seduction of capitalism. As cultures\, globally\, are falling victim to its seduction and “comfortable” lifestyle\, past ways of life are being dissolved. Punched holes – a visual connection to a mechanized and industrial world\, removes our personal responsibility and projects that responsibility onto the culture of capitalism itself. The removal of ourselves (the figure)\, perhaps\, pushes us further into unachievable change or responsibility. With the removal of imagery completely and the replacement of symbols of pieces from the ancient warfare game\, Xiangqi or Chinese Chess\, the work becomes didactic. These last pieces leave us to question our current state of affairs and presents us with the questions-ls it now time to take our turn in the role that has just been presented to us? \nIf the chaste and subdued beauty of the pearl can also stand as a symbol of a tear\, hole/whole cries out a message. Kim Huynh’s piece is a powerful and instructive piece that can indeed provide us with “moments of individual and collective reflection” if only we listen.
URL:https://albertaprintmakers.com/event/hole-whole/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/05_KimHuynh.jpeg
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DTSTART;VALUE=DATE:20110420
DTEND;VALUE=DATE:20110605
DTSTAMP:20250801T162849Z
CREATED:20250801T162849Z
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SUMMARY:Séripop
DESCRIPTION:Séripop – exhibition essay by Lisa Turner \nSéripop is the name under which Yannick Desranleau and Chloe Lum create screen-printed posters\, album covers\, books\, prints\, and most recently print installations. This Montreal duo has made a name for itself based primarily on their bold colours\, experimental\, graphic approach\, and pop aesthetic. \nInitially the two produced numerous screen-printed posters for their band AIDS Wolf\, and others; postering them around the cities they perform in. Over time the works were torn down\, collected\, obscured and covered by other promotions\, and the posters’ pristine appearance was transformed or destroyed by the elements. These days Séripop rarely produces posters in this vein\, and has since focused their creative energy on reinterpreting the poster and this experience. \nLa Battue\, an installation made for the gallery space draws on this history as Seripop employs screen-printed posters to cover the floor and walls of the gallery space. Prints are layered on top of each other as one would experience on the city streets – though this layering is perhaps not evident initially. A grinning face that consumes the majority of the floor space\, stares up at the viewer\, while a row of pyramids creates what looks like a crown\, hovering above it’s head on the wall. An anthropomorphic figure with the thought bubble “J’en ai rien à” meaning “I don’t give a” inhabits the wall space. \nBy presenting the urban inside the gallery\, Seripop aims to draw attention to the street poster as a topographical marker\, while commenting on the poster’s ephemeral state. As visitors attend the exhibition (and walk over the posters) the layers of prints are gradually revealed through the physical deterioration caused by this “foot traffic”. The work\, produced with standard industry poster paper\, can only withstand so much wear and tear; thus the piece is in constant state of flux as gallery-goers participate in an ongoing revision of the artwork. A camera provides daily documentation of this transformation\, culminating in the final “resolution” of the piece at exhibitions’ end. This result\, is suggested in the works’ title La Battue\, a term that is often used to describe the search for a missing person in the woods\, or a large manhunt. However the end result of the search is always uncertain\, much like the final state of the piece. \nSeen in this context\, the work may be viewed as a reinterpretation of the poster: subverting its traditional communicative function\, to act as a metaphor for change\, time\, accumulation\, and deterioration\, amongst other things. The work also draws attention to the commodity nature of works of art\, as Seripop challenges the traditional reverential presentation of “the object” within the gallery space. The poster\, taken from its everyday setting has been placed on display in the institution\, however it may ultimately suffer the same fate that it does out in the world. This metaphor raises interesting questions: Does the gallery serve to elevate the print from common advertising to fine art – breaking down the barrier between art and life – or does the institutionalization of this art form represent another kind of weather? In either case\, the resulting visual experience is rewarding\, and we as the viewers are richer for having engaged with the show.
URL:https://albertaprintmakers.com/event/seripop/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
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