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 »
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.
Image courtesy of the artist.
“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.
“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.
Chino Otsuka, Imagine Finding Me, 1975 and 2005, Spain, Japan, 2005, Chromogenic print, 305 mm x 406 mm.
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 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.
All photos courtesy of the artist. Keep up with this year’s Aimia | AGO Photography Prize on Twitter and Facebook.
Vince Timpano (left), with 2013 Aimia | AGO Photography Prize winner Erin Shirreff and AGO director and CEO Matthew Teitelbaum.
In November 2013, before an excited crowd at AGO First Thursdays, Canadian artist Erin Shirreff was named as winner of the Aimia | AGO Photography Prize. Shirreff receives the $50,000 cash prize and will head to the Maritimes in spring 2014 for her residency. Meanwhile, visitors to the AGO can see her work and that of the other shortlisted photographers — Edgardo Aragón, LaToya Ruby Frazier and Chino Otsuka — until Jan. 5, 2014, inside the Aimia | AGO Photography Prize exhibition.
In the new year, another exciting part of the Prize program begins. The Aimia | AGO Photography Prize Scholarship Program will award three $7,000 scholarships each year to students entering their final year of study toward Bachelor of Fine Arts degrees with a focus or major in photography. The scholarships are awarded to students at select Canadian academic institutions who have shown extraordinary potential throughout their undergraduate studies. This year’s partner schools are OCAD University, Ryerson University, Concordia University, Emily Carr University of Art + Design, Nova Scotia College of Art and Design University (NSCAD), Alberta College of Art and Design (ACAD), Université du Québec and the University of Manitoba. The program also awards $1000 CAD honorariums to the schools of the winning students.
Starting in March 2014, each academic partner institution will form a jury of three faculty members to review their students’ submissions and select one finalist, and the finalists will be evaluated by the Scholarship Program jury, consisting of two representatives from the Art Gallery of Ontario and a previous winner of the Aimia | AGO Photography Prize.
In November 2014, the three winners of the scholarship and a faculty member of their respective institution will be invited to Toronto to celebrate their success, where they will meet the artists short-listed for the Prize and attend the winner announcement celebration.
Next year, the Prize cycle will begin again, with nominators and jurors named in early spring, long-list and short-list announcements over the summer, before a new round of voting next fall. We hope you’ll follow along with us and discover some of the world’s best photo-based art in 2014.
Stay connected with the Aimia | AGO Photography Prize on Facebook and Twitter.
AGO Director and CEO Matthew Teitelbaum (left), with three of the four photographers shortlisted for the Aimia | AGO Photography Prize 2013: (l-r) Erin Shirreff, LaToya Ruby Frazier and Chino Otsuka, and President of Aimia Canada Inc., Vince Timpano.
On Nov. 7, join us at the Gallery to celebrate photography and congratulate the winner of the $50,000 Aimia | AGO Photography Prize. The announcement will take place at a special edition of the AGO’s monthly First Thursdays party series, which will be followed by a performance by Polaris Prize nominee Zaki Ibrahim. Tickets to the event are available now from ago.net and more details about the night’s programming are here.
All four nominees will be present for the announcement, which will feature special presentations by local personalities about each of the artists. In addition to the $50,000 grand prize, the winner will also receive a fully funded six-week residency in Canada. The three other finalists will each receive cash honorariums of $5,000 and artist residencies.
You’re also invited to unleash your inner photographer and share images of their favourite AGO spaces and features on Instagram. Photos hashtagged with #MyAGO will be displayed on screens all night long in Walker Court.
Visit the Prize’s website to watch videos featuring the artists in their studios, view their artwork and cast your vote. If you’re in Toronto, see the artists’ work up close in the Aimia | AGO Photography Prize 2013 Exhibition, on view at the AGO until Jan. 5, 2013.
For Scotiabank Nuit Blanche 2013, our current artist-in-residence, Diane Borsato, presented a major new performance with 100 regional beekeepers in Walker Court. While exploring the tangible effect of collective meditation, Your Temper, My Weather asked viewers to reflect upon the health and temper of bees and their keepers and on the policies and environmental conditions that affect our shared future. The night’s choreographed performance featured periods of guided, silent meditation, plus synchronized stretching and musical accompaniment.
The live performance ran from 6:51 p.m. until midnight with short, periodic breaks, and a video of the performance was screened in Walker Court from 1 a.m. to 7 a.m.
An accompanying piece by Toronto artist Winnie Truong, Beekeeper, was on display in the Elizabeth & Tony Comper Gallery. Borsato commissioned Truong to create this large illustration of a beekeeper stung in the eyes by bees.
About Diane Borsato
Diane Borsato is a visual artist working in various media. Recently, she has worked with amateur naturalists including mycologists (botanists specializing in fungi), astronomers and beekeepers in projects that explore social, mobile and multisensory ways of exploring natural phenomena. Borsato will be in residency at the AGO until Nov. 8, 2013.
Today is a brand-new day for Canada’s largest photography prize, and we wanted you to be among the first to hear it.
This morning we announced the expansion of one of Canada’s largest and most innovative art prize programs. The Grange Prize will now be known as the Aimia | AGO Photography Prize, with a greater international focus and a new national scholarship program fostering the next generation of Canadian photographic artists across the country.
What’s changing? First, we’re going international. The new Prize will invite a group of eight leading Canadian and international experts in photography (critics, curators or artists) to each nominate two artists for the Prize — one international and one from their home country/region of expertise, forming an international long list for the Prize. From there, a jury of three experts led by the Lead Juror (an AGO curator) will select a shortlist of four, including at least one Canadian artist.
Second, we’re introducing a major new initiative: the Aimia | AGO Photography Prize Scholarship Program. The scholarship program, valued at more than C$20,000, is intended for full-time students — Canadian or international — who are entering their final year of study toward a bachelor’s degree with a focus in studio photography. Eight respected and established visual arts institutions from across the country will participate in the first year of the Prize with the hope of expanding the roster of participating schools in the coming years.
And of course, there is our new name. Aimia, a global leader in loyalty, is the new presenting partner of the Prize. Aimia is also the parent company of Aeroplan, the Prize’s founding partner.