LIZ MAGOR

I is being This

16 November – 22 December 2012

Catri­ona Jef­fries is pleased to announce a solo exhi­bi­tion of new works in sculp­ture by Liz Magor. Since the mid-1970s, Magor has con­tributed a vast oeu­vre of work across sculp­ture and pho­tog­ra­phy, from her ear­ly ‘machines’ that auto­mat­i­cal­ly processed and pro­duced sculp­tur­al forms to her pho­to­graph­ic series doc­u­ment­ing his­tor­i­cal reen­act­ment groups in the ear­ly 90s, she has sought to dis­solve the con­vic­tions of what is appar­ent in objects and peo­ple, by reveal­ing lay­ers of infor­ma­tion that both con­ceal and gen­er­ate mean­ing. The exhi­bi­tion marks an impor­tant depar­ture for Magor, her mea­sured turn away from the poly­mer­ized gyp­sum sculp­tures of the last decade has lead to her most recent body of work using found woolen blan­kets which she sub­tly altered to bestow each with char­ac­ter­is­tics that reflect­ed their use, or their inher­ent tem­pera­ments.

Installed on the walls of the main gallery are a large assem­bly of stan­dard retail box­es for cloth­ing, each with its own dense mate­r­i­al iden­ti­ty cre­at­ed through lay­ers of gar­ments and tex­tiles that have been care­ful­ly cut and stitched to reveal and high­light labels, embell­ish­ments, insignias and brands. The high­ly indi­vid­ual box­es vie for atten­tion, noisy poly­ester is judged against embroi­dered silk, the uni­ver­si­ty logo of a nylon jack­et is veiled beneath a lay­er of chif­fon. As every one of the 100 box­es is as dis­tinc­tive as the next, a loud chat­ter is pro­duced as they each indi­cate to them­selves through a frip­pery of cast-offs: lace gloves, elas­tic cuffs and woolen sleeves all mim­ing fig­u­ra­tion.

Togeth­er with the box­es, Magor has mar­shalled togeth­er a large col­lec­tion of sticks and logs found on beach­es that have been dressed – through the paint­ing of their sur­faces – with the cos­tume of a cig­a­rette. The col­lect­ed sticks all have the approx­i­mate cylin­dri­cal form and pro­por­tion of a cig­a­rette, if not the exact scale. They all stand about pre­tend­ing, but not entire­ly pass­ing as shy rep­re­sen­ta­tions of a com­plex object of dis­par­i­ty where desire, sati­a­tion and revul­sion rush in.

Liz Magor (b. 1948, Win­nipeg), lives and works in Van­cou­ver. She has a forth­com­ing solo exhi­bi­tion at Tri­an­gle, Mar­seille (2013) and her work will be includ­ed in the forth­com­ing 2013 Cal­i­for­nia-Pacif­ic Tri­en­ni­al curat­ed by Dan Cameron. Prac­tic­ing for over 40 years, Magor has had numer­ous solo exhi­bi­tions includ­ing 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); Mendel Art Gallery, Saska­toon; Win­nipeg Art Gallery; Musée d’art con­tem­po­rain de Mon­tréal (1987); 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 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.

For fur­ther infor­ma­tion or press enquires please con­tact Catri­ona Jef­fries or Anne Low at +1 604 736 1554.