A view believed to be yours

Liz Magor, Jerry Pethick, Ron Tran

A view believed to be yours

15 May – 27 June, 2015

If I was an archi­tect
And I am
I would live in an ant-hill
A crys­tal
On a flat black desert
In gold lame tyres

If I was an artist
And I am
I would con­cern myself
I would make
Noth­ing but the buzzing of wings
And the spilling of air


Jerry Pethick, Le Dot/Transition in Progress, 1986:   

If you take this fish tank and you imag­ine your mother when you were seven, peel­ing pota­toes in that space or what you saw that fits into that space.  Or the vil­lage in the creek bank you worked on at your grand-father’s, either tele­scoped or shrunk to get the cor­rect spa­tial view that was believed to have been your own vision and per­spec­tive.  Your deliri­ous dream of mag­netic nee­dles that are end­lessly flow­ing in a loop­ing motion, falling end over end from top to bot­tom of an Eif­fel like tower, rep­e­ti­tious and monot­o­nous, until you fran­ti­cally try to alter the struc­ture to impede the rhythm…



Liz Magor
(b. 1948, Canada) lives and works in Van­cou­ver, Canada. Prac­tic­ing for over 40 years, Magor was recently awarded the Ger­shon Iskowitz Prize (2015) and has forth­com­ing exhi­bi­tions later this year at the Art Gallery of Ontario, Toronto as well as Peep Hole, Milan.  Also upcom­ing are exhi­bi­tion projects at the Glas­gow Sculp­ture Stu­dio as well as a career ret­ro­spec­tive at the musee d’art con­tem­po­rain, Mon­treal in 2016.  She has had numer­ous solo exhi­bi­tions includ­ing No Fear No Shame No Con­fu­sion, Tri­an­gle, France (2013); I is being This, Catri­ona Jef­fries, Van­cou­ver (2012); The Mouth and other stor­age facil­i­ties, Henry Art Gallery, Seat­tle; Simon Fraser Uni­ver­sity Gallery, Van­cou­ver (2008); The Power Plant (2003); Deep Woods, Art Gallery of York Uni­ver­sity, Toronto (2000); stores, Con­tem­po­rary Art Gallery, Van­cou­ver (2000); Art Gallery of Ontario, Toronto (1986); Production/Reproduc­tion, Van­cou­ver Art Gallery (1980); The Art Gallery of Greater Vic­to­ria, BC (1977). A selec­tion of group exhi­bi­tions include 2013 California-Pacific Tri­en­nial, Orange County Museum of Art;  Zoo, Musée d’art con­tem­po­rain de Mon­treal (2012); Baja to Van­cou­ver, Seat­tle Art Museum, Seat­tle; Wat­tis Insti­tute, San Fran­cisco; Van­cou­ver Art Gallery; Museum of Con­tem­po­rary Art, San Diego (2003); Elu­sive Par­adise, National Gallery of Canada, Ottawa (2001); Notion of Con­flict: A Selec­tion of Con­tem­po­rary Cana­dian Art, Stedelijk Museum, Ams­ter­dam (1995); More than one Pho­tog­ra­phy, Museum of Mod­ern Art, New York (1992); Places with a Past: Site Spe­cific Art in Charleston, Spo­leto Fes­ti­val, Charleston, South Car­olina (1991); Meet­ing Place: Robert Gober, Liz Magor, Juan Muñoz, Nickle Arts Museum, Cal­gary; Van­cou­ver Art Gallery (1990); Cam­era Lucida, Wal­ter Phillips Gallery, Banff (1989). Magor exhib­ited at doc­u­menta 8, Kas­sel, Ger­many (1987); and rep­re­sented Canada at the Venice Bien­nale (1984). Numer­ous mono­graphs have been pub­lished on her work from the late 1970s to the present.

Jerry Pethick (b. 1935, Lon­don, Ontario) stud­ied at the Chelsea Poly­tech­nic from 1957–60 and at the Royal Col­lege of Art 1961–64. In 1968 he moved to the United States to study Holog­ra­phy. He then returned Canada in 1975 to live and work on Hornby Island, British Colum­bia until his death in 2003. Pethick has a forth­com­ing major solo exhi­bi­tion at the Van­cou­ver Art Gallery open­ing Octo­ber 2015. Pethick has had many solo and group exhi­bi­tions includ­ing Big­ger than a book, wilder than a tree: Christina Mackie and Jerry Pethick, Catri­ona Jef­fries, Van­cou­ver (2012); Typol­ogy of Space, Con­tem­po­rary Art Gallery, Van­cou­ver (2004); The Fur­ther World, Cana­dian Embassy, Tokyo (1997); Notions of Noth­ing, Stadt­ga­lerie, Saar­bruken, Ger­many (1994); Photo Sculp­ture, Pre­sen­ta­tion House Gallery, Van­cou­ver (1994); Still Veils, The Power Plant, Toronto (1992); La Dot/Transition in Progress, 49th Par­al­lel Cen­tre for Con­tem­po­rary Cana­dian Art, New York (1986); Traces of Dis­cov­ery, Van­cou­ver Art Gallery (1984); Light­house, Fine Arts Gallery, Uni­ver­sity of British Colum­bia, Van­cou­ver (1973). Numer­ous pub­li­ca­tions exist on his work and a forth­com­ing mono­graph will be pub­lished con­cur­rent to his upcom­ing exhi­bi­tion at the Van­cou­ver Art Gallery.

Ron Tran (b. 1972, Saigon, VN) lives and works out of a suit­case. He was awarded for the Kun­stler­haus Bethanien res­i­dency in Berlin 2013–2014. He stud­ied at Emily Carr Insti­tute of Art and Design in 2004. Tran has a forth­com­ing solo exhi­bi­tion at Con­fed­er­a­tion Cen­tre for the Arts, Char­lot­te­town 2015 and a research res­i­dency at Malaspina Print Mak­ers, Van­cou­ver 2015.  Recent solo exhi­bi­tions include The Kitchen Gar­den at Home/Store, 221A, Van­cou­ver (2015); We’ll Keep Adding to The List (Come Done and Gone), Kun­stler­haus Bethanien, Berlin (2014); A Way to go, Con­tem­po­rary Art Gallery, Van­cou­ver (2011); It Knows Not What It Is, Charles H. Scott Gallery, Van­cou­ver (2011); His work has been included in a num­ber of national and inter­na­tional group shows, includ­ing The Poet­ics of Space, Van­cou­ver Art Gallery, Van­cou­ver (2015); Soleil Poli­tique, Museion, Bozen/Bolzano (2014); Phan­tas­mago­ria, Pre­sen­ta­tion House Gallery, Van­cou­ver (2013); What is wait­ing out there, 6th Berlin Bien­nale, Berlin (2010). His work has been fea­tured in Avant-Gardes of The 21st Cen­tury pub­lished by Phaidon Press.