Angela Glanzmann\, But Seriously Fuck You\, 2019 \, stickers
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The Morris and Helen Belkin Art Gallery is pleased to present Shores\, an exhibition of work by the 2019 graduates of the University of British Columbia’s two-year Master of Fine Arts progr am: Angela Glanzmann\, Cameron Kerr\, Mandana Mansouri\, Ramey Newe ll and Weronika Stepien. This program in the Department of Art His tory\, Visual Art and Theory is limited each year to a small group of four to six artists\, who over the two years foster different sensibilities deve loped within an intimate and discursive working environment.
Angela Glanzmann (Canadian\, b. 1991) i s a queer settler\, artist and art worker currently based in the unceded la nds of the xʷməθkwəy̓əm (Musqueam )\, Skwxwú7mesh (Squamish)\, Stó: lō and Səl̓ílwətaʔ/Selilwitulh (T sleil-Waututh) Nations. She works in video\, performance\, sculpture and in stallation to investigate connections of post-trauma\, affect\, labour\, pr ecarity and their latent markings on a body. She received her BFA from NSCA D University (2013). Glanzmann has exhibited in galleries and artist-run ce ntres across Canada and has attended residencies both nationally and in Eur ope. She has received grants from Canada Council for the Arts\, Arts Nova S cotia and SSHRC\, and is currently a recipient of the BC Binning Memorial F ellowship.
Cameron Kerr (Canadian\, b. 1974) works in sculpture and photography. Born in Campbell River on Van couver Island\, he studied sculpture and art history at the Academy of Fine Arts\, Carrara\, Italy (1994-97). After receiving his BFA from Emily Carr University (2007)\, he continued his practice in Berlin on a Canada Council grant (2008-09). His sculptures have been displayed outside in Vancouver a t the Contemporary Art Gallery\, Emily Carr University of Art and Design\, Queen Elizabeth Theatre and Bloedel Conservatory. Kerr has had solo exhibit ions in Vancouver at Blanket Gallery (2007)\, Grey Church (2012)\, Field Co ntemporary (2015) and upcoming at Trap Projects (Fall 2019).
Mandana Mansouri (Iranian\, b. 1982) is an interdisciplinary artist working with still and moving images\, language\, performance and site-specific installations. Her work is concerned with image making\, language\, space\, displacement\ , power and visibility. Her recent body of work\,Practice for Dying in Studio #4012\, references the art historical and theoretical basis for photographic images\, the relationship between text and images and the way in which space forms and functions. Mansouri holds a BSc in Architecture ( 2005) and an MSc in Urban Design (2012). Her work has been included in rece nt exhibitions at HEKLER Medium\, New York (2018)\, AHVA Gallery\, UBC (201 8)\, Gallery 1515\, Vancouver (2017) and Azad Art Gallery\, Tehran (2017). Mansouri has collaborated with art collectives such as Photocopy\, New Medi a Society and Architecture Urbanism Circle in Tehran. Prior to her work as an artist\, Mansouri worked as an architect\, urban designer\, community or ganizer\, translator and writer.
Ramey Newell (American\, b. 1 983) is a filmmaker and artist whose practice explores issues relating to e cology\, scientific epistemologies\, anthropocentrism\, mythologies of the American West and the expectations of documentary image. Her photographic p rojects and experimental films have shown in festivals\, galleries\, museum s and other art spaces throughout the US\, the UK\, Canada and Australia\, including at the Polygon Gallery\, North Vancouver (2018)\, the National Ga llery of Art\, Washington\, DC (2018) and Deluge Contemporary Art\, Victori a (2018). Newell was a 2016 Flaherty Film Seminar Fellow (New York)\, has r eceived private foundation artist grants and is a current recipient of the BC Binning Memorial Fellowship. She holds a BFA in Photography from New Mex ico State University and a graduate certificate in Interdisciplinary Docume ntary Media Practices from the University of Colorado at Boulder.
Weronika Stepien’s (Polish-American\, b . 1984) practice incorporates 3D animation\, drawing\, painting and sculptu re. In her work\, Stepien re-inscribes the representational tropes and tech nology of gaming and fantasy CGI animation into a non-hedonistic visual mat rix. In her videos\, disposable forms\, the various CGI subjects\, are caug ht by the space\, separated. Some digested obj. files become absorbed by cl ones\, other forms or their environment. Stepien graduated from Emily Carr University’s Film and Video and Integrated Media program in 2009 and is cur rently a recipient of the BC Binning Memorial Fellowship. Her work has been exhibited at the UBC AHVA Gallery (2017)\, grunt gallery (2018)\, Gallery Gachet (2014) and at numerous screening events.
This exhi bition is presented with support from the Department of Art History\, Visua l Art and Theory at the University of British Columbia.
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