The scholarship, which was inaugurated in 2013, recognizes three full-time students—Canadian or international—who are entering their final year of study toward a Bachelor of Fine Arts degree with a focus or major in photography at one of 15 participating post-secondary institutions across Canada. From a list of more than 100 applicants this year, which was then whittled down to 15 finalists, the jury has awarded the scholarship to Seamus Gallagher of Nova Scotia College of Art and Design University (NSCAD), Curtiss Randolph of Ryerson University, and Alessandro Seccareccia of Concordia University. The winners each receive $7,000 toward tuition for their final year of undergraduate study.
Aimia | AGO Photography Prize Blog
German artist Ursula Schulz-Dornburg is the winner of the 2016 AIMIA | AGO Photography Prize, the internationally renowned award for contemporary photography that recognizes Canadian and international artists. Chosen by public vote, she receives $50,000. Other artists on this year’s shortlist included Talia Chetrit (USA), Jimmy Robert (France) and Elizabeth Zvonar (Canada).
Congratulations to the winners of the 2016 Aimia | AGO Photography Prize Scholarship Program! The scholarship program, which was inaugurated in 2013, recognizes 3 full-time students—Canadian or international—who are entering their final year of study toward a bachelor’s degree of fine arts in photography at one of 15 participating post-secondary institutions across Canada. From a field of more than 100 applicants this year, the jury has awarded Catherine Canac-Marquis of Concordia University, Jeff Chiu of Ryerson University and Alexia-Leana Kokozaki of the University of Ottawa. The winners each receive $7,000 CDN toward tuition for their final year of undergraduate study. The field of applicants was so competitive this year that for the first time ever, the jury has decided to award an honourable mention prize of $1,000 CAD to Andi Icaza Largaespada of Simon Fraser University’s School for Contemporary Arts.
This year’s jury included:
- Adelina Vlas, Associate Curator of Contemporary Art, AGO
- Dave Jordano, 2015 Winner of the Aimia | AGO Photography Prize
- cheyanne turions, independent curator and writer
Learn more about this year’s winners below:
Catherine Canac-Marquis, Concordia University, Quebec
Originally from Quebec City, Catherine Canac-Marquis studied graphic design before relocating to Reykjavik, Iceland. Now living in Montreal, she is finishing up her Bachelor of Fine Arts with a major in photography at Concordia University. In 2015, she received two bursaries for academic excellence. She was selected to take part in the most recent edition of the Concordia Photography Collective and her work has been presented in several group exhibitions in Montreal and Toronto.
Jeff Chiu, Ryerson University, Ontario
Jeff Chiu was born in Toronto, Ontario to parents who were raised in rural China. In his images, he tries to convey the experience of diaspora and life as a second-generation immigrant. He is currently pursuing a Bachelor of Fine Arts at Ryerson University’s School of Image Arts.
Alexia-Leana Kokozaki, University of Ottawa, Ontario
Alexia-Leana Kokozaki is currently pursuing a Bachelor of Fine Arts at the University of Ottawa. Her work in photography and installation involves re-contextualizing familiar objects and figures within unusual spaces and narratives in order to pique curiosity.
For the first time ever, the jury is pleased to award an honourable mention on the basis of demonstrated potential.
Andi Icaza Largaespada, Simon Fraser University’s School for Contemporary Arts, British Columbia
Andi Icaza Largaespada is a multidisciplinary visual artist based in unceded Coast Salish territories. Incorporating elements of social research, ethics and sustainability into her practice, her work explores ways of belonging and resistance. She is currently pursuing a Bachelor of Fine Arts at Simon Fraser University’s School for Contemporary Arts, and was the recipient for its Canon Canada Prize in 2015 and the Tanabe/Thorne Annual Award in 2016.
The Aimia | AGO Photography Prize is Canada’s most significant photography prize, and one of the most unique arts and culture prize programs in the world. Established in 2007, the Prize was the first major art prize to allow the public to choose its winner. Each year the Prize awards $50,000 to the winner, $5,000 to each of the other shortlisted artists and $7,000 to each of the scholarship winners.
Late last winter, from March 17 to 24, 2015, 2014 Aimia | AGO Photography Prize finalist Nandipha Mntambo journeyed to Elk Island National Park‘s bison conservatory, not far from Edmonton. Each of the Prize’s shortlisted artists received a residency in Canada and for hers, Mntambo worked with Parks Canada‘s Pat Dunn to track and film the buffalo in the park, with help from videographer Christopher Boni and photographer Patrick Nichols. Below, she takes us through some of the residency’s key moments, captured in a series of stunning, candid photos. Read the rest of this entry »
This Wednesday, October 29, join the AGO, Aimia, the Walrus Foundation and host Garvia Bailey for the Aimia | AGO Photography Prize winner announcement. The public voting period, which began in August, ends at 11:59 p.m. tonight, and one of the Prize’s four shortlisted artists will be awarded $50,000 at the private event. Watch the livestream starting at 7 p.m. watch the livestream on the Aimia | Photography Prize homepage or The Walrus‘s website.
And, if you haven’t yet, cast your vote!
About Garvia Bailey
Garvia Bailey has been a broadcast journalist for more than 10 years and currently hosts Good Morning Toronto on JAZZ.FM91. She spent 10 years with the Canadian Broadcasting Corporation. She got her start in the world of independent film with the start up production company Channel Zero – telling stories of social unrest around the world and with the CBC, she served as the host of Canada Live and Radio 2 Top 20 on CBC Radio 2, Backstage Pass on CBC-TV, Big City Small World and was a contributor at cbcmusic.ca. Throughout her career in broadcasting she has turned the spotlight on emerging talent from across the GTA and has interviewed many celebrated international artists including Jimmy Cliff, Maestro Fresh Wes, Russell Peters, Melanie Fiona and M.I.A.
For the first time, the Aimia | AGO Photography Prize is bringing its talented finalists to the streets. The travelling Aimia | AGO Photography Prize Art Truck will feature video footage of the four shortlisted artists discussing their practices, offering a glimpse into their artwork and allowing visitors an opportunity to vote for who should win the $50,000 prize. Track the location of the Art Truck using the hashtag #ArtIsMoving or follow the Prize on Twitter @AimiaAGOPrize.
The Art Truck arrives in Toronto on Sept. 27, 2014, making its first stop at the Sony Centre for the Performing Arts on Front Street East and continues onto a number of locations across the city.
The Art Truck was created to break the Prize out of gallery walls and making it accessible by all who walk by. Voters will have the opportunity to win an expenses-paid trip to Toronto, a private tour with an AGO curator, dinner for two at the AGO’s FRANK restaurant, tickets to the exclusive winner announcement and 15,000 Aeroplan® Miles.
Making appearances at several key locations and festivals across Toronto, the Art Truck can be found at:
- The Sony Centre for the Performing Arts; Sept. 27, 2014
- Kensington Market Art Fair; Sept. 28, 2014
- AGO First Thursdays, 317 Dundas Street West; Oct. 2, 2014
- Scotiabank Nuit Blanche (at the AGO); Oct. 4, 2014
The Prize, co-presented by Aimia and the AGO, will award each of the four artists a six-week artist residency in Canada and will feature their work in an AGO exhibition, on now through Jan. 4, 2015. The winner will be chosen by public vote via the Prize’s website and Facebook page until Oct. 27, 2014 at 11:59 p.m. The winner will be announced on Oct. 29, 2014, at the AGO, and the Art Truck offers a unique way of voting by using iPads, so that all visitors to the truck can have their say.
The 2014 finalists are:
- David Hartt (Canada);
- Elad Lassry (Israel/USA);
- Nandipha Mntambo (South Africa); and
- Lisa Oppenheim (USA).
Search for #ArtIsMoving on Twitter to follow the Art Truck around town. For updates on the Prize, further details on the shortlisted artists and additional information, please visit AimiaAGOPhotographyPrize.com and follow @AimiaAGOPrize on Twitter.
Together with our partners at Aimia, we were excited to announce the 2014 Aimia | AGO Photography Prize shortlist on Aug. 13. Below, learn about the four artists from around the world who were our jurors’ top picks, then head to the Prize website to see more of their work and choose your favourite.
“Our understanding of ourselves is deeply rooted in the spaces we occupy.”
David Hartt was born in Montreal and currently lives and works in Chicago. In his installations, which include photographs, videos, and sculptures, he explores how physical spaces reflect the ideas and beliefs of a particular time and place. By investigating the materials, symbols and histories that shape our surroundings, Hartt calls attention to the ways our built environments exist and evolve. After extensive research and site visits, he distils this material into complex and elegant installations.
On David’s work:
David Hartt by Aimee Walleston for Art in America
David Hartt: Stray Light at the Studio Museum in Harlem by Andrew Russeth for Gallerist
“The questions for me are about this very mysterious unit that is the picture. It brings on a set of assumptions and built-in ways of looking with which I am in constant battle.”
At the centre of Israel-born, Los Angeles-based artist Elad Lassry’s work is the question: “What is a picture?” His practice suggests that the photograph is an elusive “unit.” Lassry uses multiple aesthetic modes and technologies to create analog images, digital interventions, moving pictures, design applications and applied arts that seem utilitarian but produce complex visual sensations. His ongoing investigation leads him to refer back to and experiment with a variety of visual sources – textbooks, manuals, film stills, marketing materials and science texts – which at turns contradict and play off one another in his work. Lassry uses this dynamic to pinpoint what he calls a “contemporary condition” in which the photograph is a flexible entity, seductively powerful and yet untrustworthy. “Once the photograph is not what it appears to be,” Lassry asks, “what else is at stake?”
“I’m interested in uncovering that binary – that in-between space that you can’t always pinpoint or articulate.”
Nandipha Mntambo was born in Swaziland and lives in Johannesburg. She originally trained as a sculptor and then expanded her practice to include photography, performance, and video. Her work investigates such dualities as male and female, attraction and repulsion, animal and human, European and African. Mntambo makes sculptures from cowhide, using her own body to mould the forms. In many of her videos and photographs, she appears wearing her sculptures, suggesting our capacity as individuals to shape the world around us, while also highlighting the forces that form us, including notions of race, gender and history.
“I want the viewer to ask, ‘What am I looking at? How is it made?’ Somehow, that provides a way of critically reading how images come to all of us through our daily lives.”
Lisa Oppenheim, who lives and works in New York, creates photographs and videos that connect historical imagery and techniques with the present moment. Her process often begins with online research, to source images that she reinterprets using old and new technologies. Oppenheim also employs unusual materials as negatives – fabric, lace, slices of wood – directly recording the objects’ specific textures to create near-abstract compositions. Through her experiments with analog darkroom and digital methods, Oppenheim gives photographic images new forms and new contexts, inviting us to question and to wonder.
Born in Tokyo and educated in the U.K., 2013 Aimia | AGO Photography Prize finalist Chino Otsuka uses photography and video to explore the fluid relationship between memory, photography, and time. She recently completed her residency at the Nikkei National Museum in Burnaby, B.C., which focused on researching Japanese picture brides and their forgotten stories. We caught up with Otsuka to discuss her residency research, work and experience.
AGO: While you were in Vancouver, you worked inside the archives and collection of the Nikkei National Museum & Cultural Centre. What did your research focus on, and what affect has working in Vancouver had on your work?
Chino Otsuka: The research I conduct is integral to the development of my work. For a while now I have been researching the history of Japanese emigrants. When I found out about the residency component of the AIMIA | AGO Photography Prize and was able to choose anywhere in Canada, I knew I wanted to go to the Nikkei National Museum. Since I had previously done similar research on a group of Japanese who went to the Netherlands in the mid-19th century, I wanted to see the museum’s collections and learn more about the history of Japanese-Canadian immigrants.
During the residency I had the opportunity to access and explore museum collections that are not normally seen or easily accessible. I knew very little about the history of Japanese immigrants in Canada, or the hardships and injustice that they suffered. I read and came across so many moving stories. All of this is a very important part of Japanese history, and I’m so surprised that many of these stories are untold outside of Canada.
As my research progressed I became more and more interested in the stories of young women who came over from Japan as a “picture brides,” young Japanese women usually between 17 and 19 years old who came to Canada as in the early 20th century. Their marriages were arranged by showing the prospective bride and groom photographs of each other. Most of these women travelled from Japan and saw their husband-to-be for the first time when they arrived in Canada. I was drawn to their innocence, ambition and courage — their journey. They all longed for a new life in their new country. Yet when they arrived in Canada the life they had imagined was completely different. Hardship and many tragedies would follow them. They struggled and endured so much.
I’ve looked through many photographs and artefacts in the collection and chose to focus especially on their journey to Canada. There is a sense of anticipation around the little moment in their life when they were dreaming about the future. I’ve been working with the old photographs as well as photographing their belongings that they brought with them from Japan.
With your residency now complete, can you speak to the effect that the overall experience has had on your work? Did your work move in a new direction during the residency? If so, how?
The residency has given me a new perspective on my practice, as well as time to explore and experiment with new ideas. The work I started during my residency is not quite finished yet. I’m done with the research and photographing and am now working with these materials through editing and finding ways to present them.
What has the residency allowed you to do in terms of your work and research?
In my work I mainly explore the notion of autobiographical memory, so the residency at the Nikkei National Museum has given me the opportunity to explore and research the history, the collective memory – how the individual memories weave together to tell a story.
In her essay “Chino Otsuka’s Time Machine” Michiko Kasahara writes that your “journeys into the past are not sentimental and do not display a nostalgic atmosphere,” yet much of your work explores issues of duality, history, memory and self. Can you elaborate on/explain your method? Do you agree with the writer’s statement?
I work with the past and many of my works show my past. How I take my works, restage and rework them is really about today, not yesterday.
My works are personal but by carefully selecting the images, and recreating them in the certain ways, I’m trying to engage the viewers’ internal dialogue of their experiences. I hope to make the images/stories resonate and trigger the viewers’ own memories.
Your work, specifically in the series “Imagine Finding Me,” is extremely personal with the subject being your own self and memory. The Aimia | AGO Photography Prize is awarded by public vote. As the subject of the work, what were your thoughts on it being considered in this way?
I visited the AGO during the exhibition while the voting was going on, and when I wandered around the museum strangers came up to tell me that they voted for me. I guess they recognized me from my work, and that was a really strange experience.
*This interview was conducted via email in July 2014 and has been edited for style and brevity.
The Art Gallery of Ontario shares in the loss of Lynne Cohen, one of Canada’s finest visual artists. Lynne’s remarkable body of work took us to extraordinary, often-foreboding places — places we would be unlikely to encounter in our daily lives, except through her compelling photographs. Her enigmatic, real-world photographs of interior environments, uninhabited by humans, alluded to her sense of wit and irony.An internationally collected artist, Lynne was nominated for the Aimia | AGO Photography Prize (then called the Grange Prize) in 2009, and the AGO is proud to have exhibited her work alongside the nominees from Canada and Mexico. Lynne spent her Prize-sponsored residency in Mexico, inspired by interior spaces that became new installations of extraordinary photographs.
Lynne’s legacy will be remembered by all who admired her vision, dedication to students, loyalty to those who knew her and her incredible strength the past three years. Our deepest condolences to Andrews Lugg, her partner of 50 years, who was closest to Lynne in every way.
— Maia Sutnik, Curator, Special Photography Projects at the AGO
The latest video project by Edgardo Aragón – a finalist in the 2013 AIMIA | AGO Photography Prize – tracks bison across North American, in Wood Buffalo National Park in the Northwest Territories, in Yellowstone National Park and near Chihuahua in Mexico, his home country. We talked to him about the project, made possible by his AIMIA | AGO Photography Prize residency.
AGO: Of the three places you visited for your project, which was the most surprising, in terms of defying your expectations? Why?
Edgardo Aragón: I was very surprised and still I am about Fort Smith. Given the conditions under which people live in this place, it could seem impossible that there’s life there, but life exists, along with one of the strangest lights that I will ever see in my life.
Since going to these places, has your plan for the project changed?
Whenever I plan a new project, I always expect that the circumstances change the nature of the project itself. In this case the change happened, without a doubt. Natural conditions modify the project a great deal, complementing and giving body to it in a way that a sketch could not. I’m satisfied.
Many animal species migrate – why did you choose to focus on bison?
I chose the bison for two reasons. The first is that it had a natural frontier that would shift according to the climate conditions, modifying substantially the life of the First Nations people who depended on the bison to survive. They would conform to the bison’s behaviour. That’s why the project is not, in fact, trying to create a portrait of bison so much as one of the invisible men that has ceased to live in harmony with it.
The second reason is that this animal species does’t migrate. After nearly becoming extinct at the hands of the white man, it has endured some sort of domestication. Today it is a species in the process of recuperation in Mexico and Canada. It is curious to note that in the U.S., where there are more reserves, the bison is not a protected species and is limited to its territories. This domestication is an aspect of extermination as well, of the animal and its animal nature and, of course, of what little spirit of the First Nations people remains.
Why did you decide to use video for this project instead of still images?
Video is a more organic tool, more malleable. You can move it in many directions to generate a specific discourse or an open one. I think I choose video because I like having elements that are closer to a sense of physical presence, closer to the movement of the apparatus, to the presence of a witness and specifically to the manipulation of time. Duration plays a fundamental role in establishing the dimensions of the theme. The sounds of the places or the absence of such sounds plays a fundamental role in the atmospheres that I’m trying to convey and generate in the project.
When you gave an interview to the Northern Journal, you said, “In a way, the real subject of the video project does not exist…It’s an invisible phantom.” Can you elaborate on that? What is the real subject?
The subject I am portraying is the human who lived with the presence of the bison. That way of life is poorly understood by Eurocentric cultures. That was what I was interested in discovering or portraying. I followed the path of the bison because it represents the way First Nations people lived. All the vacant spaces left around the bison are the spaces left by earlier lives – lives lived within the cultural shock generated by contact with Europe – and the near-extermination of the bison. The creation of reserves for the native people of the Americas were really the extermination of a spirit that generated a sense of life.
With the westernisation of North America a philosophy of life was destroyed – a loss which we have not been able to fully understand yet. This is why I like to think about this video as a portrait of an invisible human being, a portrait of a philosophy of life inherent to the creative and cultural spirit of a human being that disappeared many years ago. The presence of reserves for human and animal species is only one of its forms of annihilation. This is the central objective of the project.