Saskatoon Moves Art Outdoors
Installations by José Luis Torres and Shellie Zhang encourage creative engagement with the urban landscape.
José Luis Torres, “Va-et-Vient (Coming and Going),” 2021
painted wood, installation view at Remai Modern, Saskatoon (courtesy of the artist)
With summer just around the corner and COVID-19 still a serious concern, Saskatoon galleries are installing exhibitions in less traditional spaces. Both the Remai Modern and AKA are encouraging people to experience contemporary art outside with recent openings for two projects – an interactive structure by Argentinian-born artist José Luis Torres titled Va-et-Vient (Coming and Going) and the exhibition Believe It or Not, by Beijing-born artist Shellie Zhang.
The bright pink and yellow sculpture by Torres, based in Quebec since 2003, pops dramatically against the Remai’s sombre exterior and the concrete expanse of the nearby freeway. Tucked away on a bed of fresh wood chips, the installation’s smell and materiality emulate a boardwalk or county fair, but its location implies it’s reserved for quiet moments of rest and contemplation. Although the work’s placement doesn’t necessarily achieve the artist’s aims, the colour palette emanates joy and induces mental stimulation.
José Luis Torres, “Va-et-Vient (Coming and Going),” 2021
painted wood, installation view at Remai Modern, Saskatoon (courtesy of the artist; photo by Honey Cut Studios)
The title, Va-et-Vient (Coming and Going), evokes literal motion as well as the ebb and flow of social activity and cultural exchange. Composed of 216 two-by-fours, the piece is built low to the ground and offers a range of heights for people of all ages. Its multiple platforms are meant to fold and unfold, but that aspect is not immediately evident or easily accomplished. The Remai’s first commissioned outdoor installation, the work will sit until Oct. 11 on the future site of a permanent sculpture garden, a welcome addition to the local cultural landscape.
Shellie Zhang, “Believe it or Not,” 2020-2021
vinyl photo installation (photo by Derek Sandbeck)
Over the last year, AKA has offered its galleries to local artists who need studio space and placed its programming primarily online. Zhang’s Believe It or Not is AKA’s first foray back to in-person viewing, but its four elements are installed until July 1 at three easily accessible public spaces in Saskatoon’s core.
In 2019, AKA invited Zhang, who is based in Toronto, to do a research residency and examine regional sites, objects and stories. She worked closely with local artists, librarians and a sign-maker to create a body of work that interrogates Canadian history and highlights the legacies of immigrant entrepreneurs. AKA's website offers two enriching conversations between Zhang and multidisciplinary artist Respectfulchild about her time in Saskatchewan.
Shellie Zhang, “Distance Makes the Heart Grow Fond. Distance Makes the Heart Forget.” 2020-2021
photographic billboard (photo by Derek Sandbeck)
Zhang’s installations are thoughtfully integrated into the urban landscape. My viewing experience began at the billboard atop the building that houses AKA and another artist-run centre, PAVED Arts. It features a cloud-like pattern beautifully juxtaposed with the Saskatoon skyline.
Further up the street, six photographic images are installed on the windows of a local business. I immediately recognized Zhang’s bold colours and delicate arrangements of heirlooms and ephemera. The images investigate Saskatchewan histories, such as Saskatoon’s proposed Chinatown gate, the Chinese-Canadian experience and the impact of settler colonial narratives.
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Shellie Zhang, “Authentic,” 2020-2021
electric sign, stainless steel and acrylic (photo by Derek Sandbeck)
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Shellie Zhang, “Façades,” 2020-2021
electric lightbox, plexiglass and powder-coated aluminum (photo by Derek Sandbeck)
My exploration ended at the former interprovincial bus depot. Bright sunshine made it difficult to see inside the dark empty building where Zhang’s impressively bold electric sign displays the word “authentic” in “chop-suey” font. It's a reference to the popularity of faux East Asian culture on the Prairies and encourages viewers to consider how signs and symbols can both inform and manipulate. The font has been used to belligerently enforce stereotypes and anti-Asian propaganda but is also employed by some East Asian entrepreneurs to brand their businesses.
Alongside the installation of Authentic are four eclectic lightboxes titled Façades. The colourfully decorated sign boxes are void of words and information. They quietly emanate loss, the dissolution and reclamation of memories, traditions and community. When the sun sets, the signs illuminate the interior of the former transit hub, reminding me how important it is to advocate for the protection of community spaces and resources.
The pandemic has encouraged galleries to engage with public spaces to bring art into the sightlines of everyday commuters and casual strollers. Reimaging how we inhabit cities and interact with urban landscapes is paramount for building sustainable and compassionate communities. Continuing to provide art outside galleries and programming in public spaces can only further both creative and civic engagement. ■
José Luis Torres: Va-et-Vient (Coming and Going) outside the Remai Modern in Saskatoon from May 22 to Oct. 11, 2021 and Shellie Zhang: Believe It or Not, organized by the AKA artist-run centre at various community locations from May to July 1, 2021.
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