Please join us for two 15 minute presentations followed by discussion. Kara Uzelman will present a new work, ‘Where the Necessary Tools Do Not Exist, the Thoughts in Question are Not Expressed and Not Even Conceived’. Inspired by a summer field-trip to an abandoned brick plant, this work continues an undisciplined line of inquiry into the history […]
Folke Köbberling and Martin Kaltwasser’s The Games are Open presently takes the form of an oversized bulldozer that sits on the west side of Vancouver’s Southeast False Creek’s Olympic Village. A gargantuan mock-up of the very machine that was recently used to raze the surface upon which it sits, the object appears to be permanent, dominating and perhaps even obtuse. Appearances, in this case, can be misleading. Rather than a static example of ‘plop art’, this colossal model performs a dialectical dance between notions of legacy and the forces of entropy, operating in turn as both monument and anti-monument.