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SATURDAY EVENING POST
July 20th, 2024
“All art should be free in public”, stated Nettie Wild, renowned Canadian filmmaker and artist, who brought us “Uninterrupted”, the groundbreaking and immersive public art installation that transformed the urban environment beneath the Cambie Street Bridge into an emotionally charged cinematic experience back in 2017. “Free in public" encapsulates a powerful vision of democratising art, a simple and beautiful statement that advocates for an active participation and the removal of barriers that often limit the public’s interaction with art, making it accessible to everyone regardless of socioeconomic status.
Today, we touch upon a few temporary public artworks, available for viewing sometimes for mere months, sometimes several years. Public artworks are available only to those who happen upon them or seek them out with intention. The transient nature of temporary public works highlights the importance of being present and attentive, and as we navigate our daily lives, we encounter numerous public art pieces, often unnoticed, each contributing subtly yet profoundly to our environment.
Nettie Wild, Uninterrupted, 2017.
Photos courtesy of Nettie Wild and Colours + Shapes.
Nettie Wild’s “Uninterrupted” was a 25-minute film that was projected the life cycle of Pacific salmon onto the bridge's concrete structure, creating a stunning visual narrative. The project was a collaboration between Wild, the Vancouver Aquarium, the Pacific Salmon Foundation, the City of Vancouver, and other environmental organizations. The creation of "Uninterrupted" was a complex and multifaceted endeavour that involved significant logistical planning and technological innovation. Wild, being a renowned filmmaker known for her documentary work, envisioned the project as a way to bring attention to the fragile ecosystems that support Pacific salmon. The film itself was shot over several years in various locations throughout British Columbia, capturing the salmon's journey from their freshwater spawning grounds to the open ocean and back. This footage was then meticulously edited to create a cohesive and engaging narrative that would resonate with audiences in the city. Through the edit, Wild also kept in mind the artistic merit of the film being potentially viewed as an abstract work, in the sense that the forms and shapes of the salmon and their environment magnified would gain in such magnitude and power that resulted in abstraction.
Technically, the project pushed the boundaries of what is possible in outdoor projection mapping. The team employed state-of-the-art projection equipment capable of covering the vast, irregular surface of the bridge's underside with high-resolution images. The visual effects were carefully calibrated to account for the bridge's structural features, ensuring that the projections were clear and impactful from multiple viewing angles. This required a combination of advanced software, precise engineering, and creative artistry to bring the vision to life. The installation also included an ambient soundscape that enhanced the immersive experience — the sounds of rushing water, wildlife, and indigenous drumming.
"Uninterrupted" served as both an artistic and educational tool, drawing attention to the vital role that salmon play in the regional ecosystem and their cultural significance to indigenous communities. The film depicted various stages of the salmon's life cycle, including the perilous journey they undertake to return to their spawning grounds. People of all ages and backgrounds were drawn to the site, creating a communal space where they could engage with the artwork and its message. “Uninterrupted” removed barriers not only for art viewing, but also bridged the gap between city dwellers and the natural world, creating a deeper appreciation for art and environmental conservation.
Nettie Wild during filming, photo by Michael Mckinlay; Talented technical artists working on calibration under the Cambie Street Bridge; Photos during projection, photos by Michael J.P. Hall.
For our love of large stainless steel works, we always remember Ren Jun's "Freezing Water #7", which graced Vanier Park during the Vancouver Biennale from 2014 to 2016. This elegant work, which appeared to flow effortlessly and create the illusion of a water droplet suspended mid-air, left a lasting impact with its sensuous lines that complemented the curves of the mountains and the rolling knoll of the park. The material's hard and unforgiving nature contrasted sharply with the softness it reflected, capturing both the tender beauty of nature and the distorted images of the geometry of urban landscape. Part of Ren Jun's broader exploration of natural elements and their transformation within urban environments, "Freezing Water #7" invited viewers to pause and contemplate the intricate relationship between nature and human-made structures. Its delicate, minimalist design provided a serene counterpoint to the bustling surroundings, encouraging reflection and appreciation of the interplay between natural and urban forms.
Ren Jun, Freezing Water #7
Dennis Oppenheim's "Device to Root Out Evil" was a provocative and visually arresting work that challenged conventional notions of art and architecture. Installed in Coal Harbour Park in 2005, the piece featured an upside-down church with its steeple thrust into the ground, creating a striking and disorienting visual effect. Originally created in 1997, the artwork had faced rejection from several cities due to its controversial nature before finding a temporary home in Vancouver.
The installation of "Device to Root Out Evil" in Vancouver sparked significant debate and discussion within the community. Some viewed the artwork as a bold critique of religious institutions and their role in society, while others saw it as an irreverent and disrespectful gesture. Despite the mixed reactions, the piece succeeded in provoking thought and encouraging public discourse on topics such as the intersection of art, religion, and societal norms. Its presence in Vancouver revealed the city's willingness to engage with challenging and unconventional artworks. The sculpture's removal in 2008, following the expiration of its lease and subsequent relocation to Calgary, marked the end of a memorable chapter in Vancouver's public art history.
Dennis Oppenheim, Device to Root Out Evil. Photos courtesy of Vancouver Biennale.
Chen Wenling's "The Proud Youth" was a larger-than-life, red figure depicted a young boy with an exuberant expression. The sculpture's playful and dynamic form was characteristic of Chen's style, which often combined elements of satire and social commentary with a touch of humour. The work was not without controversy, but brought a sense of joy and wonder to the seawall, engaging both locals and tourists with its bold presence.
Chen Wenling, The Proud Youth. Third photo by Gordon Price.
Marcus Bowcott's "Trans Am Totem" stood as a powerful and visually arresting commentary on consumerism and environmental degradation. Installed near Science World in 2015, the sculpture featured a stack of five cars balanced atop a large tree trunk. Bowcott, a Vancouver-based artist, conceived "Trans Am Totem" as a critique of the wastefulness inherent in consumer culture and its detrimental effects on the environment. The sculpture comprised five vehicles: a Pontiac Trans Am, a BMW, a Mercedes-Benz, a Honda Civic, and a Volkswagen Golf, all carefully balanced on top of a 30-foot cedar tree trunk. The selection of the cars was deliberate, representing different aspects of consumerism and the varying statuses they confer. Bowcott aimed to illustrate the transient nature of these consumer goods and the long-lasting impact they have on the environment, symbolized by the enduring and grounded tree trunk.
"Trans Am Totem" quickly became a landmark in Vancouver, and the sculpture's bold statement on the unsustainable nature of consumer culture resonated deeply with the Vancouver audience, prompting reflections on the city's relationship with the environment and the impact of human activity on the natural world. Its presence sparked important conversations about the balance between progress and preservation, consumer habits, and environmental stewardship.
Marcus Bowcott, Trans Am Totem. Photos courtesy of Vancouver Biennale.
Vancouver's Centennial Totem Pole, created by the esteemed Kwakwaka’wakw artist Chief Mungo Martin, his son David Martin and his nephew Henry Hunt, and has stood in Hadden Park since 1958. Traditionally carved for potlatches, totem poles nearly vanished when the Indian Act banned potlatches from 1885 to 1951. However, Martin persevered and continued to carve poles discreetly. Centennial Totem Pole was erected to commemorate British Columbia's centennial, the 30.5-meter pole is a significant cultural artifact that has played a vital role in educating the public about Kwakwaka’wakw traditions and history. The totem pole features 10 figures, each representing the crest of one of the 10 Kwakwaka’wakw clans, these intricate carvings tell stories and represent the spiritual beliefs, history, and lineage of the Kwakwaka’wakw people. The pole has a twin that was gifted to Queen Elizabeth and is located in Windsor Great Park in London, but this one in Hadden Park suffered minor fire damage in 1986 and was reinforced in 2014.
Over the decades, the Centennial Totem Pole faced deterioration due to environmental exposure, and the pole's historical and cultural significance makes its preservation a topic of considerable importance. In 2018, the pole was lowered and transported away for restoration.
Mungo Martin, Centennial Totem Pole. Photos by Dan Toulgoet.
One day, what seemed a permanent fixture may disappear, leaving us to reflect on its absence and the moments we may have taken for granted. These temporary public artworks invite us to appreciate the beauty and significance of the present, reminding us that the opportunity for an experience is both precious and fleeting.
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