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Collection Count + Care seeks relationships within and conversations across the collection. What stories does the collection tell? / Prise en compte, prise à cœur cherche à tisser des liens et des dialogues entre les œuvres de la collection. Quelles histoires la collection raconte-t-elle?
SPEAKER / PRÉSENTATRICE
Kirsty Robertson, Professor and Director of Museum and Curatorial Studies and Director, Centre for Sustainable Curating at Western University / professeure et directrice des études muséales à l’Université Western, où elle dirige le Centre for Sustainable Curating at Western University
Works / Œuvres :
Kim Ondaatje, Carlings on 401 / Carlings sur la 401, 1971, acrylic and mixed media on canvas / acrylique et techniques mixtes sur toile. Gift of Mrs Kathleen Milne, 1972 / Don de Mme Kathleen Milne, 1972
Kim Ondaatje, Lake Ontario Cement, 1970, acrylic and mixed media on canvas / acrylique et techniques mixtes sur toile. Purchase, Chancellor Richardson Memorial Fund and Donald Murray Shepherd Bequest Fund, 2016 / Achat, Fonds commémoratif du chancelier Richardson et Fonds du legs Donald Murray Shepherd, 2016
Eleanor Bond, The Cloudy Spectre of Detroit Hangs Over Winnipeg / Le spectre nuageux de Detroit plane sur Winnipeg, 2008, gouache and pencil on gesso on rag paper / gouache et crayon sur gesso sur papier chiffon. Gift of the artist, 2008 / Don de l’artiste, 2008
A Collection of Dreams / Une collection de rêves
Kirsty Robertson/Centre for Sustainable Curating, 2022
https://agnes.queensu.ca/exhibition/c…
French Transcript:
https://agnes.queensu.ca/site/uploads…
English Transcript:
https://agnes.queensu.ca/site/uploads…Collection Count + Care seeks relationships within and conversations across the collection. What stories does the collection tell? / Prise en compte, prise à cœur cherche à tisser des liens et des dialogues entre les œuvres de la collection. Quelles histoires la collection raconte-t-elle? …
Use CTRL+F to find key words if it is a longer transcript.
0:00
>> Hi. My name is Kirsty Robertson.
0:02
I’m the curator of the show and I’m the
Director of Museum and Curatorial Studies
0:07
at Western University where I also direct
the Centre for Sustainable Curating.
0:13
This is a show about air pollution,
and it comes from an article that I read
0:20
where anecdotal evidence
suggests that in environments
0:24
that have heavy particulate
pollution, people tend not to dream.
0:30
And in environments with very fresh air,
people have very vivid and colourful dreams.
0:36
I was thinking about what the objects
in the Agnes’s collection might dream
0:41
about while they’re put to sleep
for the years of the renovation.
0:46
I worked with several participants to
collect air in the gallery and also
0:52
at the Feminist Art Residency farm.
0:55
So it’s really important for
objects, that they have clean air
0:59
in the museum environment
because it keeps them static.
1:04
But what does that clean air mean
when the objects are dreaming?
1:08
Is it somewhere between the polluted air where
there are no dreams or is it something more
1:14
like the fresh air where the
objects might have vivid dreams?
1:19
For the purpose of the show, I was
thinking of the clean air as something
1:23
where dreams might be a little lacking and
so the air from the farm could add something
1:29
to the object’s dreams as they’re sleeping.
1:33
This is a work by Kim Ondaatje
called “Lake Ontario Cement”.
1:38
She was living in a place where the dust
from the cement factory, a sort of fine,
1:43
grey dust was raining from the sky and falling
on everything around her but she’s able
1:49
to create a look of the smoke and haze
through her application of paint in the work.
1:56
A year after painting the cement factory,
Kim Ondaatje continued her factory series
2:03
and she painted “Carlings on 401” which is
the Carlings Brewery on the 401 Highway.
2:10
Again, she uses a technique of layering
paint with some detritus like tooth picks
2:17
and fishing line and masking tape.
2:19
They give the painting three dimensionality.
2:23
You have to look pretty closely before
two jet planes kind of reveal themselves.
2:29
And in that sense, she’s getting the pollution
that is being made on high from the jet fuel
2:35
as well as the smoky haze that’s
coming out of the factory itself.
2:41
This is a work by the artist Eleanor
Bond called the “The Cloudy Spectre
2:46
of Detroit Hangs over Winnipeg” from 2008.
2:50
It’s like a foreshadowing of what would
happen if Winnipeg went ahead with a plan
2:55
that they had to build the stadium.
2:58
In the work, Winnipeg is at the bottom and
then this spectral cloud of pollution just comes
3:06
up in a dream of the future of an
industrial and polluted city if passages
3:12
of gentrification are not halted.
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