Person/ne



the poets have always preceded

Stephen Waddell
Restorer, 2014, 2014
Archival pigment print
83.8 × 66 cm
Private collection, West Vancouver

the poets have always preceded

Installation shot. From left to right:

Léon Maurice Henri Coupey
Eleven postcards, 1864-1925
Ink, graphite, crayon on card
15.24 x 8.89 cm approx. each
Collection Pierre Coupey, West Vancouver

Léon Maurice Henri Coupey
Fifteen postcards, 1864-1925
Ink, graphite, crayon on card
15.24 x 8.89 cm approx. each
Collection Holly Coupey, Toronto

Léon Maurice Henri Coupey
Eleven Postcards, 1864-1925
Ink, graphite, crayon on card
15.24 x 8.89 cm approx. each
Collection Pierre Coupey, West Vancouver

Léon Maurice Henri Coupey
Four Postcards, 1864-1925
Ink, graphite, crayon on card
15.24 x 8.89 cm approx. each
Collection Annik Coupey-Smith, Eastbourne UK

the poets have always preceded

Léon Maurice Henri Coupey
Fifteen postcards, 1864-1925
Ink, graphite, crayon on card
15.24 x 8.89 cm approx. each
Collection Holly Coupey, Toronto

the poets have always preceded

Installation shot. From left to right:

Ann Newdigate
Sentences: She had never touched a camera before, 1986
Cotton warp. Mixed media, weft: silk, linen, wool, synthetic blends
198.12 x 198.12 cm
Collection of the Artist

Unknown
Five war rugs, untitled, c. 2000-2005
Wool
48.42 x 71.12 cm
Collection of Laing and Kathleen Brown

Christian Boltanski
Christian Boltanski et ses frères (Christian Boltanski and his brothers), 1969
Photograph
30 x 24.5 cm
Private Collection, West Vancouver

Duane Linklater
Untitled 2 (a poem for Jimmie Durham), 2014
Collage, Sage and DK cigarette boxes, labels, poem excerpt
46.6 x 38.9 x 3.8 cm
Private Collection, West Vancouver

the poets have always preceded

Unknown
Five war rugs, untitled, c. 2000-2005
Wool
Dimensions variable
Collection of Laing and Kathleen Brown

the poets have always preceded

Installation shot. From left to right:

Unknown, Kwakwa̱ka̱ʼwakw
Unknown, Dance Apron, c. 1900
Mixed Media
57 x 88 x 12 cm
Collection of Laing and Kathleen Brown

Ann Newdigate
Sentences: Fanakalo and the Vanishing Signs, 1993
Cotton warp, Mixed Media, weft: silk, linen, cotton, wool, synthetic blends
167.64 x 137.15 cm
Collection of the Artist

Ann Newdigate
Sentences: She had never touched a camera before, 1986
Cotton warp. Mixed media, weft: silk, linen, wool, synthetic blends
198.12 x 198.12 cm
Collection of the Artist

Unknown
Five war rugs, untitled, c. 2000-2005
Wool
Dimensions variable
Collection of Laing and Kathleen Brown

the poets have always preceded

Installation shot. From left to right:

Shawn Hunt
Moon Ancestor, 2019
Mixed Media, wooden mask
Dimensions variable
Inna and Michael O'Brian Collection

Stephan Balkenhol
Figure: Woman in purple dress (Figurensäule: Frau mit violletem Kleid), 2005
Sculpture, Wawa wood, painted
acrylic on board
165.5 x 35 x 25.5 cm
Private Collection, West Vancouver

Sonny Assu
Longing #29, 2013
Bronze
48.3 x 22.9 x 30.5 cm
Collection of Bruce Wright

Yevgeniy Fiks
Adopt Lenin, 2008
Metal and Adoption Certificate
22 x 16 cm, 29 x 23 cm
Collection of Laing and Kathleen Brown

Norman Tait
Weeping Volcano Woman, n.d
Alder, hair (horse)
45.7 x 33 x 25.4 cm
Inna and Michael O'Brian Collection

the poets have always preceded

Norman Tait
Weeping Volcano Woman, n.d
Alder, hair (horse)
45.7 x 33 x 25.4 cm
Inna and Michael O'Brian Collection

the poets have always preceded

Yevgeniy Fiks
Adopt Lenin, 2008
Metal and Adoption Certificate
22 x 16 cm, 29 x 23 cm
Collection of Laing and Kathleen Brown

the poets have always preceded

Installation shot. From left to right:

Zoe Kreye
Headjug, Ritual Object for Pleasure and Dionysus, 2018
Ceramic
Dimensions Variable
Collection of the Artist

Ricarda Roggan
Apokryphen (Kurt Tucholsky, Handscheuhe), 2014
Silver bromide print
50.8 x 52.8 x 3.3 cm
Private Collection, West Vancouver

Ricarda Roggan
Apokryphen (Martin Luthere, Holzstuck), 2014
Silver bromide print
50.8 x 52.8 x 3.3 cm
Private Collection, West Vancouver

Ricarda Roggan
Apokryphen (Martin Heidegger, Taschenuer), 2014
Silver bromide print
50.8 x 52.8 x 3.3 cm
Private Collection, West Vancouver

Ricarda Roggan
Apokryphen (Ernst Junger, Zundholzer), 2014
Silver bromide print
50.8 x 52.8 x 3.3 cm
Private Collection, West Vancouver

Ricarda Roggan
Apokryphen (Christoph Martin Wieland, Rindenstuck), 2014
Silver bromide print
50.8 x 52.8 x 3.3 cm
Private Collection, West Vancouver

Ricarda Roggan
Apokryphen (Arthur Schnitzler, Brille), 2014
Silver bromide print
50.8 x 52.8 x 3.3 cm
Private Collection, West Vancouver

the poets have always preceded

Installation shot. From left to right:

Ricarda Roggan
Apokryphen (Kurt Tucholsky, Handscheuhe), 2014
Silver bromide print
50.8 x 52.8 x 3.3 cm
Private Collection, West Vancouver

Ricarda Roggan
Apokryphen (Martin Luthere, Holzstuck), 2014
Silver bromide print
50.8 x 52.8 x 3.3 cm
Private Collection, West Vancouver

Ricarda Roggan
Apokryphen (Martin Heidegger, Taschenuer), 2014
Silver bromide print
50.8 x 52.8 x 3.3 cm
Private Collection, West Vancouver

Ricarda Roggan
Apokryphen (Ernst Junger, Zundholzer), 2014
Silver bromide print
50.8 x 52.8 x 3.3 cm
Private Collection, West Vancouver

Ricarda Roggan
Apokryphen (Christoph Martin Wieland, Rindenstuck), 2014
Silver bromide print
50.8 x 52.8 x 3.3 cm
Private Collection, West Vancouver

Ricarda Roggan
Apokryphen (Arthur Schnitzler, Brille), 2014
Silver bromide print
50.8 x 52.8 x 3.3 cm
Private Collection, West Vancouver

Zoe Kreye
Headjug, Ritual Object for Pleasure and Dionysus, 2018
Ceramic
Dimensions Variable
Collection of the Artist

Janet Werner
Back (landscape), 2018
Oil on canvas
70 x 78.7 cm
Courtesy of the artist and Parisian Laundry, Montreal

Janet Werner
Ruth, 2019
Oil on canvas
50.8 x 40.6 cm
Courtesy of the artist and Parisian Laundry, Montreal

Janet Werner
Little G, 2018
Oil on canvas
78.7 x 61 cm
Courtesy of the artist and Parisian Laundry, Montreal

Janet Werner
Welch St., 2019
Oil on canvas
91.4 x 61 cm
Courtesy of the artist and Parisian Laundry, Montreal

Janet Werner
Still life,, 2018
Oil on canvas
70 x 78.7 cm
Courtesy of the artist and Parisian Laundry, Montreal

the poets have always preceded

Zoe Kreye
Headjug, Ritual Object for Pleasure and Dionysus, 2018
Ceramic
Dimensions Variable
Collection of the Artist

the poets have always preceded

Installation shot. From left to right:

Janet Werner
Back (landscape), 2018
Oil on canvas
70 x 78.7 cm
Courtesy of the artist and Vivianeart, Calgary

Janet Werner
Ruth, 2019
Oil on canvas
50.8 x 40.6 cm
Courtesy of the artist and Parisian Laundry, Montreal

Janet Werner
Little G, 2018
Oil on canvas
78.7 x 61 cm
Courtesy of the artist and Vivianeart, Calgary

Janet Werner
Welch St., 2019
Oil on canvas
91.4 x 61 cm
Courtesy of the artist and Parisian Laundry, Montreal

Janet Werner
Still life, 2018
Oil on canvas
70 x 78.7 cm
Courtesy of the artist and Vivianeart, Calgary

Janet Werner
Kit, 2019
Oil on canvas
61 x 55.9 cm
Courtesy of the artist and Parisian Laundry, Montreal

Janet Werner
Beacon, 2019
Oil on canvas
121.9 x 91.4 cm
Courtesy of the artist and Parisian Laundry, Montreal

Janet Werner
Double Lips, 2018
Oil on canvas
50.8 x 61 cm
Courtesy of the artist and Vivianeart, Calgary

Janet Werner
Frost., 2019
Oil on canvas
61 x 50.8 cm
Courtesy of the artist and Vivianeart, Calgary

the poets have always preceded

Janet Werner
Still life, 2018
Oil on canvas
70 x 78.7 cm
Courtesy of the artist and Vivianeart, Calgary

the poets have always preceded

Janet Werner
Double Lips, 2018
Oil on canvas
50.8 x 61 cm
Courtesy of the artist and Vivianeart, Calgary

the poets have always preceded

Installation shot. From left to right:

Janet Werner
Kit, 2019
Oil on canvas
61 x 55.9 cm
Courtesy of the artist and Parisian Laundry, Montreal

Janet Werner
Beacon, 2019
Oil on canvas
121.9 x 91.4 cm
Courtesy of the artist and Parisian Laundry, Montreal

Janet Werner
Double Lips, 2018
Oil on canvas
50.8 x 61 cm
Courtesy of the artist and Vivianeart, Calgary

Janet Werner
Frost., 2019
Oil on canvas
61 x 50.8 cm
Courtesy of the artist and Vivianeart, Calgary

Sophie Calle
The Dice, 2000
Ivory dice set in red leather box with satin lining (printed with gold text), suede and leather interior, die, display box
8.9 x 7.3 x 7.3 cm
Collection of Laing and Kathleen Brown

the poets have always preceded

Sophie Calle
The Dice, 2000
Ivory dice set in red leather box with satin lining (printed with gold text), suede and leather interior, die, display box
8.9 x 7.3 x 7.3 cm
Collection of Laing and Kathleen Brown

the poets have always preceded

Installation shot. From left to right:

Mahdyar Jamshidi
The Ecology of Pain: Pooran Farrokhzad, 2016
Black and White inkjet photograph
116 x 82.50 cm, each
Courtesy of the Artist

Lam Wong
間 / MA, 2019
Mixed Media
Dimensions variable
Courtesy of the Artist

Stan Douglas
Pembury Estate, 2017
C-print on dibond
156.6 x 306.6 x 10.8 cm
Private Collection, West Vancouver

the poets have always preceded

Lam Wong
間 / MA (detail), 2019
Mixed Media
Dimensions variable
Courtesy of the Artist

the poets have always preceded

Mahdyar Jamshidi
The Ecology of Pain: Pooran Farrokhzad, 2016
Black and White inkjet photograph
116 x 82.50 cm, each
Courtesy of the Artist

the poets have always preceded

Installation shot. From left to right:

Stan Douglas
Pembury Estate, 2017
C-print on dibond
156.6 x 306.6 x 10.8 cm
Private Collection, West Vancouver

Lam Wong
間 / MA (detail), 2019
Mixed Media
Dimensions variable
Courtesy of the Artist

Sima Khorammi
Sima’s Story, 1989
16mm b/w
20 minutes
Courtesy of the artist

Ai Wei Wei
Handcuffs, 2012
Huali wood
40 x 13 x 2.5 cm
Collection of Bruce Wright

Sislej Xhafa
Beh-rang, 2004
Mirror steel, light source
Single channel video
Collection of Laing and Kathleen Brown

the poets have always preceded

Sislej Xhafa
Beh-rang, 2004
Mirror steel, light source
Single channel video
Collection of Laing and Kathleen Brown

the poets have always preceded

Installation shot. From left to right:

Sima Khorammi
Sima’s Story, 1989
16mm b/w
20 minutes
Courtesy of the artist

Ai Wei Wei
Handcuffs, 2012
Huali wood
40 x 13 x 2.5 cm
Collection of Bruce Wright

Sislej Xhafa
Beh-rang, 2004
Mirror steel, light source
Single channel video
Collection of Laing and Kathleen Brown

the poets have always preceded

Ai Wei Wei
Handcuffs, 2012
Huali wood
40 x 13 x 2.5 cm
Collection of Bruce Wright

the poets have always preceded

Emily Jacir
Crossing Surda (a record of going to and from work), 2002
DVD
132’ 48” and 32’ 45” videos
Collection of Laing and Kathleen Brown


Person/ne


May 11 – September 2, 2019

6:00 - 7:00 pm Tea Ceremony Performance with Lam Wong: MA No.1 - The Space Between Objects (Wu/Mu)

Opening Reception, May 10, 7:00 - 9:00 pm

The philosopher Hannah Arendt wrote that one becomes a person by inserting herself into the world through action and speech.  Arendt also believed that an active process of thinking was the ‘means by which someone constitutes himself into a somebody, a person or a personality.’  It is also possible, in Arendt’s formulation, for someone to refuse these requirements of personhood, by refusing to think and to act.

The modern French word, personne, may indicate both someone and no one; person, in English, indicates both an individual and a citizen with inherent rights and freedoms. The word person derives from the 13th century Old French persone meaning “human being, anyone, person.” It derives from the Latin persona which meant a “human being, person, personage; a part in a drama, assumed character,” which was originally “a mask, a false face,” such as those made of wood or clay worn by the actors in late Roman theatre.

This exhibition considers contemporary challenges to personhood effected by forces like social media, surveillance technologies, the influence of Big Data and the reputation economy, and the marketing language of ‘personal brand.’  Person/ne considers alternatives to these systems, through artistic practices that may be seen as sites of agency in Arendt’s terms, and examines how artists consider contemporary ideas of personhood, agency and compassion. 

For Arendt, a person is also a citizen, ready to think or act on behalf of an ideal, a desire or another human being. What then calls one into such personhood, and therefore, into public life? Often it is love—of an idea, of another person, of a set of ethics, values or aspirations. These acts of personhood can also constitute acts of care. Within a contemporary environment, how is it possible to remain attuned and ready to act?

In their processes, methods and conceptual practices, the works in the exhibition respond to a range of 20th and 21st century sites of personhood and citizenship in Arendt’s sense, crossing geographic and psychic borders and demonstrating the agency of taking action through art making. They are alternatively meditative, declarative, political and insistent.  The works reveal acts of care, or cognizance of its lack in the micro- and macrocosm, through narratives from both ordinary life and major political rupture. From fictional portraiture or portraits that themselves bear witness, love letters, tapestries, storytelling, the documentation of crossing national borders, or in the care of remembering—histories, relationships, events and people.  The artists’ works also may affect a meditative pause in a set of behaviours or a narrative of history—opening a gap into which something revolutionary emerges at just the right moment.

Works are drawn from Griffin Art Projects Residency Artists and private collections in Vancouver; artists in the exhibition include Sonny Assu, Stephan Balkenhol, Christian Boltanski, Sophie Calle, Leon Coupey, Stan Douglas, Duane Linklater, Yevgeniy Fiks, Sima Khorammi, Shawn Hunt, Emily Jacir, Mahdyar Jamshidi, Zoe Kreye, Ann Newdigate, Ricarda Roggan, Norman Tait, Stephen Waddell, Ai Wei Wei, Janet Werner, Lam Wong and Sislej Xhafa.