Past Imperfect and Homecoming
October 25- November 24, 2004
The Wignall Museum/Gallery at Chaffey College is pleased to announce the opening of two exhibitions: Past Imperfect presenting the work of three contemporary Canadian artists, and Homecoming featuring new photographs by Vietnamese-born artist Dinh Q. Lê. The exhibitions will be on view starting Monday, October 25 and run through Wednesday, November 24, 2004. The opening reception will be held on Thursday, November 4 from 7 to 9pm. The exhibition and reception are free and open to the public.
Dr. Levin is also an independent curator. Her most recent project,
Digital Matter Digital Memory, was organized as a series of
three exhibitions examining the relationship between memory
and information technologies. Past Imperfect is the final installment
of this project. Digital Matter, Digital Memory was produced
by the Kenderdine Art Gallery at the University of Saskatchewan.
Patricia Levin completed her Ph.D. in Visual Studies at the
University of California, Irvine.
Dinh Q. Lê, Anne Ramsden, Isabelle Hayeur, and Nicole Jolicoeur
|EXHIBITION DATES:||October, 25- November 24, 2004|
|ARTISTS RECEPTION:||Thursday, November 4, from 7 to 9p.m.|
|CURATOR'S TALK:||Wednesday, November 10, 6:30-7:30p.m.|
Past Imperfect curated by Dr. Patricia Levin examines the relationship between memory and the photograph in the age of digital technologies. The advent of photography as a modern visual technology has had a profound impact on our culture. The photographic image--first understood as “the mirror with a memory” and more recently in its post-mechanical forms as digitally manipulable electronic impulses—permeates many aspects of contemporary life. The ubiquity of the photograph as keepsake, historical document, art form, seductive advertisement, and ultimately as cultural artifact, continues to transform our ideas about who we are and how we understand the world we live in. Past Imperfect brings together the work of Montréal-based artists, Anne Ramsden, Isabelle Hayeur, and Nicole Jolicoeur to examine our fascination with the photographic image.
In Homecoming, Dinh Q. Lê
uses found photographs as well as his own to examine
Vietnam’s recent history and the devastating impact of
historical events on individual lives. Lê links personal
stories with broader social and political ones by combining
images of the Vietnam War and contemporary Ho Chi Minh City
with old family photographs. These family photographs are not
Lê’s own, but were salvaged by Lê from second-hand
shops in Vietnam. The people in these snapshots are unidentified
and represent family histories and memories that were lost,
abandoned, or left behind.