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/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? …
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>> Hi. My name is Kirsty Robertson.
I’m the curator of the show and I’m the
Director of Museum and Curatorial Studies
at Western University where I also direct
the Centre for Sustainable Curating.
This is a show about air pollution,
and it comes from an article that I read
where anecdotal evidence
suggests that in environments
that have heavy particulate
pollution, people tend not to dream.
And in environments with very fresh air,
people have very vivid and colourful dreams.
I was thinking about what the objects
in the Agnes’s collection might dream
about while they’re put to sleep
for the years of the renovation.
I worked with several participants to
collect air in the gallery and also
at the Feminist Art Residency farm.
So it’s really important for
objects, that they have clean air
in the museum environment
because it keeps them static.
But what does that clean air mean
when the objects are dreaming?
Is it somewhere between the polluted air where
there are no dreams or is it something more
like the fresh air where the
objects might have vivid dreams?
For the purpose of the show, I was
thinking of the clean air as something
where dreams might be a little lacking and
so the air from the farm could add something
to the object’s dreams as they’re sleeping.
This is a work by Kim Ondaatje
called “Lake Ontario Cement”.
She was living in a place where the dust
from the cement factory, a sort of fine,
grey dust was raining from the sky and falling
on everything around her but she’s able
to create a look of the smoke and haze
through her application of paint in the work.
A year after painting the cement factory,
Kim Ondaatje continued her factory series
and she painted “Carlings on 401” which is
the Carlings Brewery on the 401 Highway.
Again, she uses a technique of layering
paint with some detritus like tooth picks
and fishing line and masking tape.
They give the painting three dimensionality.
You have to look pretty closely before
two jet planes kind of reveal themselves.
And in that sense, she’s getting the pollution
that is being made on high from the jet fuel
as well as the smoky haze that’s
coming out of the factory itself.
This is a work by the artist Eleanor
Bond called the “The Cloudy Spectre
of Detroit Hangs over Winnipeg” from 2008.
It’s like a foreshadowing of what would
happen if Winnipeg went ahead with a plan
that they had to build the stadium.
In the work, Winnipeg is at the bottom and
then this spectral cloud of pollution just comes
up in a dream of the future of an
industrial and polluted city if passages
of gentrification are not halted.
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