2012


Click here for the online catalogue of the exhibition

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At the Josef & Anni Albers Foundation, Bethany, Connecticut
June 26, 2012 – August 1, 2012

Doorkeeper #1 – #10
spray paint on 2″ x 2″ wood
40″ x 30″ x 1.5″ each
2012

Horizon
acrylic and stain on plywood, 24″ x 24″, 2012

Jason de Haan
Lauren Hall
James K-M
Mac McArthur
Iriz Pääbo
Holly Ward

April 30 – June 4, 2011
Reception: Saturday, April 30, 7 PM

Modern Fuel Artist-Run Centre | 21 A Queen St. | Kingston, Ontario
http://www.modernfuel.org/

With Paleofuturity, Modern Fuel will be filled with a group
exhibition that turns the space into a time machine transporting
viewers into the futuristic past. Or the prehistoric future? Curated
by Michael Davidge, Paleofuturity draws together artists from
across the country and from a wide a range of disciplines
including painting, sound installation, photography, video and
sculpture. The exhibition opens hypothetical spaces for the
contemplation of the effects of technology on the consciousness
of time, and, potentially, vice versa.


Left: I Opener, Locus SolusOne Hand Watches The Other
Centre: Question and Answer and StarsCloud 8
(Lauren Hall, upper left; Jason de Haan, middle)
Right: Self Defensive
(Lauren Hall, left; Mac McArthur, right)

Excerpt from the exhibition essay by Michael Davidge:

Although they may appear to be the least futuristic looking works in the exhibition, the paintings of James K-M were the main inspiration for this investigation of paleofuturity. With an economy of means, relatively simple geometric patterns painted with acrylics and stain on plywood, K-M has been working through permutations of a code whose implications could be apocalyptic. The paintings express a metaphysics related to the end of the Mayan calendar, which occurs at the winter solstice of 2012. The implication is that if society continues to run the same course it has taken for millennia then certainly the end for us is nigh. K-M’s paintings attempt to short-circuit any self-fulfilling prophecy by establishing new patterns for thinking that break with old identifications. K-M has described his paintings as “contemporary pictographs” that “point to a non-rational language beyond mind.” A painting like I Opener (2007), for example, not only puts forward a notion of the artistic process as perceptual and not conceptual, but also intimates that the ultimate point of reception is the annihilation of the self. K-M’s practice is certainly at odds with the reigning “Vancouver School” of thought, whose clerical photo-conceptualism is ultimately conservative. K-M finds a more kindred spirit in the work of the Canadian West Coast Hermetics, like Gregg Simpson and Gilles Foisy, who have been marginalized since the ’70s. The concise, almost rudimentary, statements made by K-M’s paintings are prolegomena to further explorations of arcane subject matter, outside of time and after the end of time. As K-M says about his painting Question and Answer and Stars (2007), “When you ask a question of the unknown you have to ask it in a way that can be understood.” The answer will invariably be a reflection of the question.

More than speculative fictions, the works in Paleofuturity do not simply demand a suspension of disbelief. Rather, they elicit the buoyancy of belief. Belief proffers the levitation required for an out-of-this-world experience. Whether or not the future is utopian or dystopian, it will be important to remember that salvation is usually understood to lie in something altogether other, completely foreign and outside ourselves. Threshold experiences of worlds beyond that the works in Paleofuturity evoke introduce us to the previously unknown and offer opportunities for the intense imaginings of other arrangements.

The complete exhibition essay by Michael Davidge here: Paleofuturity Essay.pdf

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The mural by Vancouver artist James K-M is entitled Free Rain and is 16 ft. x 16 ft. It was unveiled on July 19, 2009 in Edmonton, Alberta, at 9206 95th Avenue (west wall). It was commissioned by Joe Clare, Edmonton realtor,  patron of the arts and humanity.
Please visit the project web site at http://www.strathearnmural.net/.

Image: Hearing Bone (detail), stain and acrylic on plywood, 24” x 24,” 2007

James K-M: Cave Paintings, September 2 – November 22, 2008.
Opening: Friday, September 5, 8 – 9 pm. Open daily during campus hours.

Please join us for the exhibition opening at the Teck Gallery, SFU Vancouver Campus, 515 West Hastings St, Vancouver, BC. The artist will be in attendance. Opening remarks at 8:30 pm.

Artist talk: Monday, September 15, 7pm
The artist will present a talk titled “Is There Anything Old Here?”
Room 1600, SFU Vancouver campus

T: 778-782-4266 W: sfu.ca/gallery E: gallery@sfu.ca

James K-M is a Vancouver-based painter who has, since 1983, created a vast series of hard-edge, optically charged works. These paintings reference primordial languages, the linkages between aural and visual phenomena, as well Op Art—a key historical avant-garde movement. The question of how the social is contained within abstraction has been raised in many arenas over the twenty-five years since the first of these paintings were made. This exhibition addresses that societal role, while querying the rationales that continue to exist for new work in hard-edge abstraction. – Bill Jeffries, August, 2008

This exhibition is accompanied by a 24-page catalogue with essays by Eric McLuhan and Bill Jeffries:
Cave Paintings? by Eric McLuhan (.pdf)
Empathy for Abstraction by Bill Jeffries (.pdf)

“Out of extremely objective systemization comes extreme subjectivity”
Bill Jeffries, SFU Gallery Curator

The Mayan calendar is due to end October 28, 2011 (or at the winter solstice 2012 depending on interpretation) and is considered to signify an ‘end of time’ as we know it. What an ‘end of time’ means exactly is uncertain but there is some agreement that a significant transitional shift of consciousness is coming and is already underway. How does one prepare for this transition? Only by cultivating one’s own patterns of abstract interconnectedness.

In my paintings, cross cultural appropriation can allude to Native beadwork, old floor tiling, post New York school abstraction or minimalism, a board game without pieces (since the work moves without them), a Navaho blanket, or Aztec or Mayan sacred geometry. These aspects represent appropriated traditions that don’t usually coexist and a collision of cultures that are also somehow resonant with each other. Yet my work remains within the tradition of Western abstract painting, constrained by a square piece of plywood interacting with a stained grainy surface which reveals a sentient conscious unknown, superimposed by a contemporary abstract figure.

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The feel of the cave — the cave.
From a cave they looked out on the world,
And struggled to understand,
And slowly the flicker of their intelligence
Grew and consumed the dusk with their mind
~ Mark Rothko, 1920s

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