Nicole Brabant\, Paul Kajander\, M arilou Lemmens in collaboration with Richard Ibghy\, Eliza beth Milton\, Colin Miner\, Kristina Podesva\,
Concerned wit h hegemony from the perspective of the Other\,Nicole Brabant's suite of videos takes up golf as a vehicle to enter into a multi-axial critique of contemporary society. In her work Adaptation (Cold Read For G olf Cinema)\, Brabant looks at dialogue that could function as double-enten dre in an attempt to discuss broader issues of racism\, classism\, sexism\, as well as neo-colonial aspects of globalization.
Paul Kajan der often makes use of humour and provisional materials as means o f critique. These devices are employed in works that venture a subjective response to the alienating conditions of contemporary experience. His rese arch-oriented practice makes use of literature\, philosophy\, popular cultu re and autobiography as starting points in the development of projects that aim to challenge the means-ends rationalism so pervasive under dominant id eologies.
Marilou Lemmens and Richard Ibghy will pre sent their work There was a bandstand\, a two-channel video installation co nsisting of text\, images\, monochromes\, and voice. Using linguistic and v isual forms in moving-picture installations\, Lemmens and Ibghy explore the intricate forces that shape personal and collective aspects of autobiograp hical narrative as an expression of embodied experience.
Eliz abeth Milton's performative works integrate video and photography into experiential processes of character play that aim to complicate the ac t of self-representation. Drawing from acting methods and psychoanalytic th eory\, her work explores how strategies of self-transformation may be used to challenge and articulate the distorted sense of reality that consumes ou r culture of simulation.
Stepping outside of a practice rooted primar ily in photography and video\, Colin Miner's new sculpture and paint based works allude to themes of stillness and terror as connecte d to the vampire. The works build upon his interest in the gothic and the film noir genre\, while playing with ideas of anxiety in a search for meani ng and context in our present time.
As an offshoot of her project\, c olourschool\, Kristina Lee Podesva considers the colour br own in two works for the exhibition Green. Brown\, as a vital hue in the c olourschool palette (which also includes black\, white\, red\, and yellow)\ , proposes questions regarding identity and authorship in these works. Sit ed in her studio at UBC\, colourschool has operated since November 2006 as a free school devoted to a speculative study of five colours and has attemp ted to develop a colour consciousness through presentations\, screenings\, reading groups\, listening labs\, and performances\, among other activities .
Sarah Turner maps the desire-relations at work wit hin the materiality of everyday life\, interpersonal relations and art itse lf. Unhinging meaning from a fixed origin–via sculptural processes\, instal lation and intervention–she questions authority\, authorship and artistic s ubjectivity. In so doing\, Turner locates agency at the borders between kno wledge and desire.
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