Among the eclectic collection of international and Canadian shows, this year’s edition of the festival includes several documentary works that reconsider historical art photographs in contemporary contexts and address issues of global urbanization, transportation and landscape.
Mark Ruwedel is the winner of the 2014 Scotiabank Photography Award, presented annually to honour an established Canadian artist working with photography. He is one of the most respected Canadian landscape photographers in the country, and this show is a survey of his career. Working in black and white, Ruwedel documents cultural traces and physical imprints of human activity on the land. At the Ryerson Image Centre.
Canadian photographer Scott Conarroe’s elegiac landscapes from two series of works, Canada By Rail and By Sea, is a luscious, affecting view of the never-ending landscape. His large-scale photographs depict rail paths, ports and coastlines, drawing on the traditions of documentary photography and epic landscape painting. At the Ryerson Image Centre.
An unexpected show is The Photographs of Frank (Franz) Johnston, at the McMichael Canadian Art Collection. A member of the original Group of Seven, he left the group to pursue his own career solo. He was an avid amateur photographer, and the show explores the influence that photography had on his landscape painting, which over time became less impressionistic and more realistic.
Episode of the Sea, by Lonnie van Brummelen and Siebren de Haan, being screened at Gallery TPW, is a documentary film that explores the fishing culture of a small community of the former island of Urk, in the Netherlands. The inland sea around the island was drained to create arable land, but the fishing community never adopted agriculture as the government had envisioned, and instead maintained its maritime way of life by finding new fishing grounds further out in the North Sea.
In Demolition Site, South Korean artist Jihyun Jung treats us to an arresting series of bold colour images of demolition of urban dwellings, as cities are continually transformed by new buildings at a dizzying rate. That’s something that we can certainly relate to in Toronto, and appropriately enough, an image from one of his destroyed buildings will be installed on the side of a building in the courtyard of the Museum of Contemporary Canadian Art, which is destined for demolition later this year to make way for a new condominium.
Using bridges over highways as his vantage point, Mexican artist Alejandro Cartagena’s Carpoolers documents the backs of passing pickup trucks as construction and landscape workers huddle together, half asleep, on their way to the wealthy suburban communities surrounding Monterrey, Mexico. His work has been paired with Julia Krolik and Owen Fernley’s Intersection, a series of map-like aerial views of suburban landscapes that blend into one ominously undiscernable swath of suburbia. Together they provoke reflection on how transportation and urban planning affect our reality.
For her new solo exhibition, Zile Liepins, the young Canadian artist of Latvian descent, travelled back and forth to the birthplace of her parents. The results are an original body of work that focuses on how the overflow of contradictions and bitter memories of the Cold War have evolved into a permanent state of tensions as the country attempts to redefine its identity and find its footing in the West. Through evocative photographs of coded visual language and cultural symbols, No One Says Anything, Everyone Remembers Everything expresses the way individuals in small Latvian communities silently and publicly face each other after privately reconciling trauma.
For detailed analysis of three additional CONTACT shows, read Pietropaolo’s History, Memory and Archives.