November 28 – January 24
The Apartment is thrilled to present an exhibition of pivotal historic work by Vancouver photographer Vikky Alexander, made in the 1980s. Appropriated from fashion photography, reshot and arranged as near religious diptychs and triptychs, the works inThe Temptation of St Anthony are classic postmodern takes on objectification and temptation.
The pioneering Vancouver artist and writer Ian Wallace relates how Alexander’s work is "an expression of the imaginary, wherein fantasies of hope and utopia are acted out in the daydreams that call reality into question. These are collective fantasies and are linked to popular taste for images that transcend the everyday. The images of extreme beauty, which are ubiquitous in commodity culture, function as a cult of escape from the everyday… Alexander’s work projects the raw indulgence that exists on the inside of these fantasies, heightening our apprehension and anxieties of them from within."
Vikky Alexander has established herself as an important voice in contemporary photography presenting solo exhibitions at New Museum, New York City 1985, Kunsthalle Bern, Bern 1990,Vancouver Art Gallery, Vancouver 1992, Mercer Union, Toronto 1993, Presentation House Gallery, Vancouver 1996, Art Gallery of Windsor, Windsor 1998, Contemporary Art Gallery, Vancouver 1999, National Gallery of Canada, Ottawa 2000, and Massey University, Wellington 2010. Her work has been included group exhibitions at Whitney Museum of American Art, New York, Dia Art Foundation, New York, Yokohama Civic Art Gallery, Yokohama, Barbican Art Gallery, London, Taipei Fine Arts Museum, Taipei, Seattle Art Museum, Seattle.
At this time we are also excited to present the first Canadian solo show of work by Rochelle Goldberg. From Vancouver and based in New York, Goldberg recently received her MFA from Bard College and has exhibited at The Swiss Institute, New York, Eli Ping Gallery, New York, and will be featured this fall at Artissima, Turin (solo presentation curated by Piper Marshall).
In The Local Link (Lust got in the way) an associative network is established between the elements here on display. Halved pleather cushions exhausted of use, ceramics bearing the impression of synthetic snake skin, steel frames outlines of a waste bucket, tuna cans in military spec finishes become ocular objects that look back at these weathered containers, while meandering fiber optic cables are illuminated by an LED thrust. All parts are laid bare by corresponding these parts to a human body. This private system is not discrete.
Chains of signification extend from a basic question: How to unlearn one self as surface? Shedding is a necessary peeling away while in the act of recovery. It starts on the outside and slowly removes its way in. The mapping out of self on virtual self–is a volatile convergence that will at any moment unravel––Hence there emerges an impulse to suspend this in stone. Petrifcation is not a sudden fearful halt but the pivot of emergence. As the discard piles up, will it be brought to bear on the forces that held it on us, held us in place? Desire, degraded by this real, is re-digested and re-deployed as possible. Wade in it.