Exhibitions and Events
"And yet we still remain, going around, and again in dominion's plot...", Lisa Hirmer: Dirt Piles, Landscape/Displacement
For well over a century, the Canadian landscape has been an extensively manipulated one, dramatically transformed by industry, agriculture, and urban development, yet it continues to be read, and often labelled as, wilderness. Post-clearcut Algonquin Park, the managed forests of British Columbia and New Brunswick, the vast wheat fields of the Prairies, are all prime examples of irreversibly altered terrain layered over with a skewed narrative of nature, one that remains nailed to the wall in many exhibitions, runs through tourism promotions, and underscores populist political speech.
Upon the advice of the Prime Minister, on 20 June, 2006, Governor General Michaëlle Jean appointed Mayann Francis as Nova Scotia’s 31st Lieutenant Governor, a posting that she held until 12 April, 2012. Francis was the first African Nova Scotian, and only the second woman, to serve as Nova Scotia’s Lieutenant Governor.
As a descendant of Black Loyalists, Black Refugees, and Jamaican Maroons who came to Canada during the 18th and 19th centuries, Shauntay Grant’s love of language stretches back to her storytelling roots in Nova Scotia’s historic Black communities. This exhibition features a handful of quilts selected by Grant from the heritage holdings of her family, prominently those of her grandmother, the Reverend Alfreda Smith.
Opening Reception for the exhibitions "And yet we still remain, going around, and again in dominion's plot", Lisa Hirmer: Dirt Piles, Landscapes/Displacement, Respect the Dress: A Selection of Regal Garments from the Collection of The Honourable Mayann Francis, ONS, the 31st Lieutenant Governor of the Province of Nova Scotia and Stitched Stories: The Family Quilts.
Continuing our look at the emergence of artist-run culture and the changing cultural landscape in Halifax in the 1970s and early 1980s, this exhibition focusses on artworks acquired by the Dalhousie Art Gallery during that era. A move into a purpose-built, professional gallery space, and an annual budget for the purchase of artworks, initiated a vital period of growth for the Gallery and its collection.
2016 marks the 100th anniversary of the Easter Rising, long considered the inciting incident that led, eventually, to Irish independence. The three films in this short series all look at that extraordinary moment, also timed to coincide with Saint Patrick’s Day.
15 March - Odd Man Out
Alongside Dalhousie Art Gallery’s exhibition "Why are we saving All these artist publications + Other Galleries stuffs?" Becky Welter-Nolan digs into Eyelevel Gallery’s archives to find patterns in the gallery’s programming and conversations. By revisiting and recreating these repetitions, Welter-Nolan asks if the artist-run centre is evolving or revolving.
Archives are not just a haphazard repository of records and objects that serve to preserve institutional memory. They can only be effective in that they submit themselves to an organizational system, ostensibly to facilitate access to information but really to underscore a way of understanding, of seeing the world. This second stream of media works resists easy categorization. It is only when they become part of CFAT’s past, when they are archived, that new patterns will emerge, giving us insight into our present.