Planet of the Arts

Volume 3 Number 3 December 1987

heviewes

arslonga vita brevis

The Floating World

“The Floating World” Doug Coupland at the Vancou- ver Art Gallery, 19 November to 15 January.

ties exists an ideal that a bit of each artist dies with the success of their colleagues, but recent graduates of Emily Carr are beginning to make a splash out there, and it’s wonderful. With Willard Holmes, former director of the Charles H. Scott Gallery, now behind the wheel at the VAG, hopefully a more sympathetic eye is examining local artists.

Doug Coupland’s sculptural installation “The Floating World” is a good first step, both for Coupland and those hoping to see some evidence that Vancouver art has a place in this city’s legitimizing institution. It was during Holmes’ tenure at ECCAD that Coupland suggested a design show for the Charles H. Scott, and also discussed the potential of the Children’s Gallery as a space for installation. “Suddenly,” says Coupland, “I read in the papers that Willard was appointed director of the VAG, and he called me about a show.”

What Coupland has created is an environmental cross between a Zen garden and “Kelbert Trophy” shapes - surreal and biomorphic castaways from 20th century civilization. The work is not a form of semiotic critique, but an unabashedly modernist use of form for form’s sake. As Coupland points out; “The pipe is not a Magritte reference, but a nice volumetric space.” °

“The Floating World” spans the pivotal movements of early 20th century modernism. It is composed as a still-life, but effectively denies any perspective or cognition of scale. Here we see a surrealist approach

Chris Catalano

at COMMUNITY ARTS COUNCIL OF VANCOUVER

H P. Lovecraft. Whenever | see Chris Catalano’s work, | am inadvertently reminded of H. P. Lovecraft. Lovecraft was a pulp horror writer of some reknown in the ‘20's and '30’s. He wrote dark tales of horrors older than civilization, of monsters from the stars who lie sleeping while man bustles clumsily about, and of some hapless mortal who wakens the slumbering beast. Catalano’s work doesn't depict monsters, but there is the same frightening sense that here is someone who has seen too many dark secrets, secrets perhaps best left forgotten.

Generally his style consists of thick melting spaces inhabited by strangely familiar . . . things. His recent show at the Community Arts Council gallery on Davie was no exception. Showing a new restraint in his work (not to be mistaken for repression), the exhibition is for the most part a good presentation. The weak points are his pencil drawings, and one piece entitled “Fixed Bound Object”. While the drawings are technically good, the pencil marks produced don't provide the same feeling of viscosity and depth evident in the oil paintings. They are almost a difect contrast the bulk of Catalanos’ work. However, they are small enough and few enough that they are overwhelmed by the paintings. :

Working mostly with dark, subdued oils, with the occasional burst of colour, Catalano’s style engulfs the viewer,drawing one deep into the canvases and the eerie environments. With smoothly applied paint, Catalano goes from paintings where shrouded forms are dimly glimpsed in the man-made distance, to paintings where sharply delineated human heads ooze into (out of?) atmospheric landscapes. Even in the painting “Secretia”, which is the closest thing to pure realism in the show, the mourning mother appears to be one with the desert, her body melding ironically into the very sands which threaten to hide the coffin in the background.

My personal favourite is the mixed media “River Segment” shown together with “Oasis 2”. Created from wood, acrylic paint and various fasteners, it shows a dust- bowl farm about to be swept up in the grasp of a mael- strom. With flashes of red and orange and a collection of fasteners suspended in the wind, it's exactly what Dorothy

DOUG COUPLAND SKETCH 1987

to the synthetic in the landscape - the bacon strip and pipe dwarf the factory and the subdivision. Coupland further disrupts our relative sense through the juxtaposition and recontextualization of natural and artificial objects. Natural forms such as antlers and driftwood are dipped in resin, coated with stucco, painted, then installed alongside the filter tip ciga- rette, an igloo, and a post-box - all fabricated and altered in scale.

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on mes x eae a ee S oC : Naw & 5 AAS

would see if she was on a really bad acid trip during her trip ~ li

over the rainbow.

Painting intuitively and choosing titles that have less to do with what the work looks like than with his feelings about them, Catalano manages to enthrall the viewer with his dark visions of otherworldly spaces. A

Martin Stein

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Chris Catalano

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In discussing the nature of installation, Coupland sees the environmental and conceptual concerns of the seventies as deconstruction“eventually to the point of meaninglessness. Here | am deconstructing; draining objects of their contextual meaning, then building them up again.” He denies any signifying contexts - there are post-modern referents in terms of architectonics and colour schema, but no simulation in the Baudrillardian sense. Just as well, now that Baudrillard is expressing as much surprise at the Simulationist’s use of his theories as Lennon and McCartney did at Charles Manson’s interpreta- tion of the White Album.

The installation is “geared to the scale and environ- ment of the child.” Adults are expected to view the installation from an “art historical perspective,” in terms of the referents to 20th century modernism. The velvet rope barrier serves as an effective reminder to viewers of all ages of the fetishization of the precious objet d’ art. Whereas the live-action Batman television series could be successfully enjoyed by child and adult through intelligent and subversive use of innuendo and dialogue coupled with slapstick and action, the participatory nature of the child observer of “The Floating World” is quite visibly blocked, rendering this work approachable and comprehensible by the adult alone. Such is the reality of Coupland’s materials and design esthetic.

For the adult, “The Floating World” is a remarkable and comprehensive visual experience. Coupland’s synthesis of Eastern and Western aesthetics is successful. But | couldn’t help the delusions of myself playing Godzilla with that factory and subdivision. ¥

lan Vercheére

Vancouver International Film Festival

I can speak for most volunteers when | say that it's not for the monetary equivalent of 4 dollars an hour that we dedicate our free time to the Vancouver International Film Festival. Our reasons are the same as those of the festival organizers, working to ensure that the now 6- year-old “tradition” continues to enrich this town. We're not simply “the hired help’, and we don't want to be treated that way.

The public doesn’t know this, and probably doesn’t care. They wanted to see films, and films they got. Of course there are all sorts of arguments about the programming of the festival, but I’m not here to discuss the pros and cons. As anyone who tried can attest, there were more than enough excellent films to see over the brief period of two and one half weeks. The program was excellent and well organized, and you have to hand it to the people responsible. They were under pressure to restore the credibility of the festival owing to the EXPO-induced disaster of 1986. This was a crucial year for the festival, and they pulled it off.

_ In the process, everybody got pretty uptight, and that’s understandable. The fact is, however, that the volunteers suffered for it, and that’s not only unfair, it's sad. For some, at the end it was “us” and “them.” US— the volunteers, trying to do our jobs under the patroniz- ing and watchful gaze of THEM—anyone who had a little authority in the festival organization. Or maybe, owing to the restructuring process, the problem was the result of the festival giving too much authority to too many inexperienced people, individuals who didn’t know how to handle that much responsibility.

| talked to Festival director, Hannah Fisher after the festival was over. She assured me that a questionnaire would be circulated to volunteers “soon”, to help avert future discord. | hope that happens. This years organization is a new group of people who, | know, will learn from their mistakes. | hope that next year we may all profit by them. A

David Vaisbord

Planet of the Arts

Volume 3 Number 3 December 1987

Revrewes

arslonga vita brevis

The Floating World

“The Floating World” Doug Coupland at the Vancou- ver Art Gallery, 19 November to 15 January.

fan Heal that abit ofeach artist dies with ‘of ther colleagues, but recent graduates,

eeginning to make a splash out ‘wonderful. With Willard Holmes, former <irecor of the Charles H. Scott Gallery, now behing the wheel atthe VAG, hopefully « more sympathetic eye is examining local artists

‘Doug Coupland’ sculptural installation “The Floating Worlds a good first step, both for Coupland and

those hoping to see some evidence that Vancouver art has a place in this city’s legitimizing intitution. It was during Holmes’ tenure at ECCAD that Coupland, ‘Suggested a design show for the Charles H Scott, land tlso discussed the potent of the Children’s

pointed director of the VAG, and he called me bout a show.”

What Coupland has created fs an environmental ‘ross between a Zen gatden and "Kelbert Trophy” ‘shapes - surreal and blomorphic castaways from 20th century civilization. The work is not a form of ‘emiotle erique, but an unabashedly modernist use ‘of form for form's sake. As Coupland points out; "The plpe Ie not a Magrite relerence, but «nice volumetio space.”

“The Floating World” spans the pivotal movements of carly 20th century modernism. It's composed as a lillie, but effectively denies any perspective or Cognition of scale, Here we see a surreal

Chris Catalano

‘COMMUNITY ARTS COUNCIL OF VANCOUVER

H ». Lovecrat. Whenever | soe Chris Catalano's ‘work, Iam inadvertent reminded of H.P. Lovecrat. {Lovecraft was a pulp horor writer of some reknown in the "20's and "30's. He wrote dark tales of horrors older than ivileaton, of monstors from the stars who le sleeping while man bustles csi about, and of some hapless ‘mortal who wakens the simmbering beast. Catalano's work ovsn' dopct monsters, but hore isthe same fightoning ‘sens0 that here is somoone who has seen too many dark secret, secrets porhaps best loft frgotion,

‘Generally his style consists of hick ming spaces. inhabited by sangoly familia... things. His recont show atthe Community Arts Coune! galery on Davie was no ‘exception. Showing a new resvaint in his work (otto be mistaken for repression, tho exhibition i forthe most part {8 good presentation. The weak points are his pencil ‘rawings, and one place ented “Fixed Bound Object. ‘While the drawings are technical good, the pencl marks produced don’ provide the same Tooling of Wscosity and ‘depth evident in the oil paintngs. Thoy aro almost a direct Contrast the bulk of Catalanos' work. However, they ar ‘small enough and few enough that they are overwhoimed by the paintings.

‘Working mosty with dark, subdued ol, with tho ‘occasional burst of colour, Catalan’s style enguls the Viewer drawing one deep ino the canvases and th eerie ‘environments. With smoothy apple paint, Catalano goos from paintngs whore shrouded forms are dimly glimpsed in the man-made distance, to paintings whore sharply <elinated human heads ooz0 into (Ut of?) atmospheric landscapes. Even in the painting “Secreta”, which isthe closest hing to pure realism inthe show, the mouming ‘mother appears tobe one withthe desert, her body ‘melding ironically into the very sands which threaten to ‘ido the eafin in the background.

My personal favourite isthe mixed media “River ‘Segment: shown together with "Oasis 2. Created from ‘wood, acre paint and various fasteners, shows a dust- bowl farm about to be swopt up inthe grasp of a mao strom. Wit lashes of red and orange and a colecton of fastonors suspended inthe wind its exacty what Dorothy ‘would s0e if she was on a really bad acid tp ding her tip ‘over the rainbow.

Paintnginhiively and choosing tes that have less to do with what the work look like than with his feolings about thom, Catalano manages to entra the viewer wit his dark visions of otherworidy spaces. &

Martin Stein

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to the synthetic inthe landscape «the bacon strip and pipe dwarf the factory and the subdivision. Coupland further disrupts our relative sense through the Juxtaposiion and recontextualizaton of natural and antficial objects. Natural forms such as antlers and, ‘ritwood are dipped in resin, coated with stucco, painted, then installed alongside the fitr tp cig ‘and ¢ postbox = all fabricated and

° Sans

Simence of Panic Homsoenes

10

In discussing the nature of installation, Coupland ‘ees tho environmental and conceptual concems of the seventies as deconstruction"eventualy to the polnt of mesninglessness. Here

‘deconstructing;

bling them up a any signifying Context - there are postmodern referents In terme of architectonies and colour schema, but no Simulation In the Gaudrilarian sense. Just 28 wel, ‘ow that Baudrllard Is expressing as much surprise at the Simulatonlst’s use of his theories a= Lennon

‘McCartney did at Charles Manson's Interpeta- tion ofthe White Album,

‘The installation Is “geared tothe scale and environ- ‘ment ofthe child” Adulte are expected to view the Installation fom an “art histrleal perspective,” In {ems of the reterents to 20h century modernism. ‘The velvet rope barter serves as an effective reminder to viewors ofall ages of the felshization of, the precious objet dart. Whereas the live-action Batman television sores could be successtully enjoyed by child and adult through intligent nd ‘subversive use of Innuendo and dialogue coupled Wwith slapstick and action, the parelpatery nature of the child observer of "The Floating World” le quite, Visibly blocked, rendering this work approachable and comprehensible by the adult alone. Such Is the really of Coupland's materials and design esthetl.

For the adult, "The Foating World” lea remarkable {and comprehensive visual experience. Couplan. Synthesis of Easter and Western aesthetics i successful. But | couldn't help the delusions of myself playing Godzla with that factory and ‘subdivision. ¥

lan Verchére

Vancouver International Fin Fostval

Tan speak or most vuntors when say hatte sot fr tho menolary quialet of 4 dors an Nour ha two cia os ro imo to fo Vancouver nator Fim Fesival Our reasons ao the same as those of he festival organizers, working to ensure that now S- Year wadion” continues t onch tis town. Wor ‘ot simply ho hired hop" and wo dont want obo treated at way,

“Th pub doesn know this, and probably dooset cao. They wantod so fms, ad tims ty got Of course tore areal sors of arguments about he frogramming of the festival, btm not her Yo escuss tho pros and cons, As anyone who tid ean atest tore wore more than enough excotont fis io so0 over tho bro! pera of wo and ono hal wooks. Te program ‘was excelent and well organized, and you have hard othe people roeponi. Thay woe unr posture to estor te eredbiy ofthe festival ming to the EXPO induced esas of 1986. This was acral year {ortho festival, and they pulodit of into process, everybody got prety uptight, and ‘hats understandable The facts, however, tat he \oluntorssulfered frit and that's not ony una, its ad. For some, altho ond twas "s" and them” US— tho volar, eying to do our fobs unr to patron ing and wach! gaze of THE ‘whos autor n th fatal orgarizaton. Or maybe, owing 1 tho resaucting proces, tho problom was the rau of {he fesbval giving too much authority to too many Inexponenctd peopn, nd vouals who nt Know how {phando that och respensbuy

Ttakod to Festival rector, Hannah Fisher ator tho fosival was over. She assured me that a quosonae would be ceuated to volunteers “sooo hap aver. {Wure discord | hope that happens. This years ‘rgarizaton is anew group of poopie wh, | now, {eam rom toirmistahes. hope that nox oar we may al prot by them.

David Vaisbord