"Oh, Canada" shown at its best in Calgary

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Oh, Canada hits Calgary.

And what a swipe it took! An art event like no other (in my memory) swooped into town after years of planning and incredible co-operation of our four outstanding galleries in Calgary, Nickle Gallery, Illingworth Kerr Gallery (I.K.G.), Esker Foundation and the Glenbow. Of course everyone involved, directors, curators, installers and logistics persons, deserves huge credit.

See also:

2012 Review by Murray Whyte

2015 Preview by Dick Averns

Saturday (January 31, 2015) began with many anticipating their moves through the day, supported by an “art bus”. Everyone was going to be moved and shuttled venue to venue and with the plans in place people started to move. The Nickle was first on the list, opening at 2 p.m. And right off the bat it was seeing the Oh, Canada exhibition in a brand new light. Full disclosure, I had seen Oh, Canada at MASS MoCA, and in Charlottetown, P.E.I. The brand new light was the perception of the huge incredible cast range house (Kim Morgan) in all its glory. Lit for the exhibition from within it glowed with elegant light, the size seemed overwhelming, but it spoke to many of lost elements of Canada, lighthouses and grain elevators alike.

Moving through what has now become a familiar and interesting space, Ed Pien’s huge tower of essentially his delicate cut-outs only on a live scale, it generated slow movements of light, shadows and figures. Straight to the back on the huge stair wall was Garry Neill Kennedy’s airplane photo installation, as some said “it's wonderful” but what and why, a short read of the catalogue explains the sinister airplanes and what they stand for, under cover C.I.A. operatives, becoming find far more poignant in 2015 than when I first saw it. Up the stairs to the “quiet gallery” of a peaceful geodesic dome, peace, love and light, a throwback to the sixties with a twist of deep humour, “Wildflowers of Manitoba”, created by Noam Gonick . Also on the main level was Lethbridge's own David Hoffos.

A Micah Lexier coin was in one corner, the on -going installation carries on in every venue. Finished with a quick stop at the Oh, Canada photo booth and it was off to the I.K.G.

We missed the gourmet food served by the great S.A.I.T. kitchens, but with a good crowd still circulating and enjoying the galleries and art, it was time to move inside. The installation was more classic gallery style but again it featured the artworks well. Mitchell Wiebe’s crazy studio inside and out exhibited the free will of creation at full tilt. His paintings, drawings, sketches and overall intensity was calmed by the porcelain pieces by Clint Neufeld from Saskatchewan. Of course being engine parts and a transmission takes you far away from the classic form of porcelain tea bowls. Michael Snow’s theatre space with the quiet of a northern Ontario breeze and a moving curtain will settle anyone’s agitated day, a must-see, and must-sit installation, by the senior artist of the exhibition.

There is so much, so thoughtful, so worthwhile to visit throughout this exhibition it is hard to make a list. So I hope it will suffice to say that “spend the time, its worth it” will do.

By now it is into the evening hour, time for a quiet drink, to settle the vision and mind. We reversed our plan and ended up at the Esker first, deciding that if the crowd did get large it would be filled and lined up outside by 8 pm. Inglewood of course has the offerings of a good drink and food, so after that break, we were through the doors by 6:15 p.m.  As per usual the Esker lived up to the atmosphere of its design, right off the bat you're floored by the size of the artworks, and within minutes John Will is making you laugh with his latest “branding” on the wall. I should mention that many of the artists re-commissioned new works for Charlottetown and Calgary, Will being one. On the humour and installation platform was Rita McKeough’s window installation at the entry, sleeping hot dogs in cattle country. I leave it to your imagination because McKeough as we should know has wonderful humour and yet a serious story to her installations. Looking down the long gallery toward the west, circles of light reverberated off the walls -- the source, Kim Adam’s wonderful van with laser cut holes all over. Although there were some logistics challenges getting the van into the space, it was well worth the effort. And speaking about effort, Dean Baldwin came west two or three weeks ago, necessary to get inspired by the space, the view, the place. And lo and behold we have a mountain ski chalet, created specifically for the exhibition. In all three venues I have experienced the full out quality of Dean’s extended hospitality, and he can throw a good party! Add these to your growing list and make sure to find Marcel Dzama’s film and so many of the other installations,  and artworks in this great presentation. Oh, and the catering was perfect, as my eastern friend said “its my first Bison slider”. Thanks for that!

And by now its getting late, time to catch the last hour at the Glenbow. Our plan seemed to be working as the stairs were now lined with the culture crowd. (Great to see!) The Glenbow was wide open and about to get loud with a DJ kicking in and a band setting up. As with all the venues the refreshments came in handy. So many artworks and installations looked great in the galleries... Honestly to mention only one or two I feel is possibly disrespectful, but I’ll try. 

Lets start with Kelly Mark’s video installation of a situation so relevant it makes you cry or laugh depending on the side you pick. Or, how about the incredible porcelain geodesic dome, with hand made blue leather boar, by David R. Harper. Then move into another gallery featuring Janet Werner’s puzzling ladies, or Etienne Zack’s huge painting, and make sure you stand close and have to time to investigate Chris Millar’s intensive view of life’s history from his side of the fence. Disappear into the dark theatre and experience a film like no other by Patrick Bernatchez(no plot revealed) but spend the time. Finally the night is winding down as the band winds up.

With absolutely no criticism of Denise Markonish and the MASS MoCA intended, nor any criticism directed toward Charlottetown, the installation in Calgary gives a lot of the artworks huge room to breath, some of the works are exhibited in such perfection, I felt like I was seeing them for the first time.  I hope everyone can get out and enjoy the experience that is a once off! It is the largest exhibition of Canadian Art curated outside of our country. Again kudos to Denise and her team for her incredible interest and dedication.  Did I mention the huge catalogue? Get that too. It’s a beautiful document.

Of course there will be art you like, dislike, question, and even answer back to in some way, shape or form, but overall enjoy the experience.

Finally I have to congratulate once again everyone in the four major galleries of Calgary in getting this job done for all of us. Well done, it’s a legacy that will live on.

p.s. Apologies to all the great art not mentioned, but I do hope you catch my drift.

p.p.s. This is not a “critical” review. It's about the experience, and if you “see” it you can make up your own mind.