Summer Series in Four Parts

July 8–August 28, 2011

JULY 8 - AUGUST 28, 2011

Part I: July 8 – 17
Raymond Boisjoly
Presented by TARL (Seattle)

Using the visual conventions of black metal to illustrate Aboriginal place names, Raymond considers the Neo-Pagan sources of black metal as a response to the violent introduction of Christianity into northern Europe. Colonial assimilation policies in the United States, Canada, and worldwide have always included efforts to “civilize” - in the forced conversion of certain groups, in the whitewashing of native culture, and sometimes the evacuation of certain linguistic meanings. People, such as the Multnoman Natives, become a place, such as Multnomah County, and an active term is transmuted into a passive one: something to be controlled and used on official stationary. The literal violence of a calligraphy that references torn flesh, pictograms, and mystical sigils all at once denies this cold topographic and linguistic logic. The intention is to tear holes in the map, to reclaim multitudinous and wild meaning, and to ultimately reverse the transmutation: a dead language becoming a flourishing bramble.

Raymond Boisjoly is an Aboriginal artist based in Vancouver, BC. Since completing a BFA at Emily Carr University and a MFA at The University of British Columbia, Boisjoly presented The Ever-Changing Light at Access Gallery (Vancouver, BC) and has participated in numerous group exhibitions and projects including How Soon Is Now at the Vancouver Art Gallery and House Systems: Fort Club at the Hedreen Gallery at Seattle University. Boisjoly has produced two projects for the public realm: Contingent Matters (2011) at the Vancouver Public Library and All That Was… (2010) at Access Gallery (Vancouver, BC). Boisjoly was awarded a Fleck Fellowship from the Banff Centre for the Arts in 2010 and participated in the thematic residency La Commune. The Asylum. Die Bühne. at the Banff Centre in 2011.

TARL is a multi-location team-driven object selection and processing collective. TARL's objectives are to provide precision management of tasks and activities. Our goals are connection, communication, and filial gesture. Friendly parlor conversations dealing with serious issues. Creative assets for the next generation. The TARL work ethic is unique: inflexible stricture as interpolative praxis.

Part II: July 22 – 31
Anja Schworer (Berlin)

In the three works (2008-2011) presented at the gallery, Anja Schwörer’s continues her investigations into geometry and alchemy. Upon substrates of denim, cotton and fabric, Schwörer “deletes light” using a process of waxing, folding and bleaching. The resulting canvases oscilate between order and chaos; a chemically altered view of both cellular and cosmic.

Anja Schwörer attended the National Academy of the Forming Arts in Karlsruhe, Germany and has shown extensively throughout Europe including exhibitions at Anderson_S Contemporary, Copenhagen; White Flag Projects, St. Louis; Gallery Hammelehle and Ahrens, Cologne; Andreas Huber, Vienna. She has also been included in several installments of Cave Painting, a multi-part exhibition by curator Bob Nickas. Additionally, she is featured in Nickas’s ‘Painting Abstraction,’ published by Phaidon. Schwörer’s work appears Courtesy of Nicelle Beauchene Gallery, New York.

Part III: August 5 – 13

Selected by:
Brian Bress (Saturday, August 13th) - Donkey Skin (1970)
Jeremy Deller (Friday, August 5th) - Tommy (1975)
Kim Gordon (Saturday, August 6th) - 36 Fillette (1988)
Nathan Howdeshell (Wednesday, August 10th) - Picnic at Hanging Rock (1975)
Kristina Kite (Sunday, August 7th) - Nuts in May (1976)
Bob Nickas (Friday, August 12th) - The Devils (1971)
Michele Maccarone (Monday, August 8th) - Beverly Hills Cop (1984)
Javier Peres (Tuesday, August 9th) - Hustler White (1996)
Ana Vejzovic Sharp (Thursday, August 11th) - Satisfaction (1988)

Screened nightly @ 8pm

Part IV: August 19 – 28