Because of the recent spike of COVID-19 cases in Alberta, TRUCK Contemporary Art will be closed to the public until further notice. As an effort to make sure Untunnelling Vision can be accessed by as many people as possible during this time, we have made the it available online for a limited time. Click the link below to explore the exhibition, including video excerpts and the exhibition text:
3D documentation for this online presentation was generously provided by Calgary Photos.
Untunnelling Vision has been temporarily closed due to safety concerns. Please read the full notice from TRUCK Contemporary Art below:
Given the recent spike in cases of COVID-19 in our province, we have decided to close the gallery to the public for the time being. It is our hope that we will not have to do so for too long, however, should we have to extend our closure into December, we are considering possible avenues for continuing to share the work of our current exhibiting artist, Jin-me Yoon, with you all.
As members of this community and citizens of this region, we call on our provincial government to respond to the current health crisis with considerably more care and empathy for those that are vulnerable, in precarious and public-facing employment, and our health care workers, whose calls for action we echo here.
All news related to reopening the gallery to the public or an extended closure will be shared on our social media channels and our newsletter. If you have any questions about our closure, please reach out to TRUCK’s director at email@example.com or 403-261-7702.
M:ST Performative Art and TRUCK Contemporary Art present Untunnelling Vision, the newest and the fourth in a series of installations by artist Jin-me Yoon that explores the intersections of militarism, colonialism, and tourism. The exhibition is the result of three years of relationship building between the artist, M:ST, TRUCK, and Tsuut’ina and Mohkinstsis|Calgary-based artists, knowledge keepers, and historians.
The historical interrelations and affective intensities of a number of Treaty 7 locations are brought together in this ambitious and challenging new work: Heritage Park, the Military Museums, the Tsuut’ina Rodeo, the Ring Road construction site, a section of the Elbow River redirected due to the construction, and a film set on Tsuut’ina Nation land erected for the 2008 Canadian WWI film Passchendaele. Informed by histories of war and colonialism from Yoon’s Korean ancestry, of particular importance to this project is the Passchendaele film site, that was leased by the Canadian Armed Forces between 1910-1998 for manoeuvre trainings that utilized land and air launched rockets, grenades, and other munitions—many of which were left unexploded. Ten years after the site was returned to Tsuut’ina, ordnances were cleared, a movie set was built, and trenches were dug for Passchendaele. Now prairie grasses thrive in its village square, collapsed church, and neglected trenches.
Not far from the film set is a construction site, land obtained by the City of Calgary from Tsuut’ina Nation to complete the South West Ring Road - 31 km of six and eight-lane divided highways, 14 interchanges, 49 bridges, and 1 tunnel built to join the Ring Road to the Nation. The tunnel as exemplary of a system that privileges a direct thoroughfare, often hidden and underground, appears throughout the exhibition in many guises. In an effort to make resonant and generative connections as an open response to the many sedimented narratives of these lands, these charged and varied sites play a central role in Untunnelling Vision.
During production of Untunnelling Vision in August 2019, participants in a workshop led by Jin-Sun Yoon and Jin-me Yoon explored respective ancestral histories alongside the complexities of the land's many histories, mixing improvised gestures with orchestrated ones in an attempt to transform the fixed meanings of externally imposed identities and realities. Of particular note are improvised acoustic experiments by seth cardinal dodginghorse and Hanum Yoon-Henderson that provided the raw source material for the sonic elements for the main video work. Through multifaceted experiments that involved the coming together in difference of the workshop participants, the uncanny figuration of Rubble the clown, and the manifold sites, a colloquy grounded in listening, reciprocity, and relation-making with place and others emerges. In the installation, these emergences take form gathered into poetic interconnection through multiple videos, photographs, photo-sculptural elements, and objects.
This exhibition was co-produced by M:ST Performative Art and TRUCK Contemporary Art. We would like to acknowledge contributions from the Cardinal-Dodginghorse family and our project funders Canada Council for the Arts, BC Arts Council, and the Alberta Culture Anti-Racism Grant.
Jin-me Yoon is a Korean-born, Vancouver-based artist. Since the early 1990s, her lens-based practice has critically examined the construction of self and other in relation to her own direct and inherited history, as well as within broader geopolitical contexts. Unpacking stereotypical assumptions and dominant discourses, Yoon’s work has examined gender and sexuality, culture and ethnicity, citizenship and nationhood. Adopting a wider and wider lens over time, her practice has become a deep investigation into entangled local and global histories existing at specific sites within the context of transnationalism.
Presented in over 200 solo and group exhibitions, Yoon has shown her work across North America, Asia, and Australia, and in select institutions worldwide. She has delivered 80 guest lectures throughout Canada and the United States, and in Korea, Mexico, Ireland, Japan, Spain, and India. Her work is held in 17 Canadian and International public collections, including the National Gallery of Canada, Royal Ontario Museum, Vancouver Art Gallery and Seoul Museum of Art. This year, Yoon was a finalist for the prestigious Scotiabank Photography Award.
2018 RESEARCH RESIDENCY
—Crew: Sharon Kahanoff, Noel Begin, seth cardinal dodginghorse, Jordan Schinkel, Desiree Nault
—Knowledge Keepers: seth cardinal dodginghorse, Ethel Jacobs, Emil Starlight, Skylar Starlight, Glenna Cardinal, Cory Cardinal, Cateri Cardinal Dodginghorse, Katherine Ylitalo, Hollis Crowchild, Earl Jacobs
—Float Participants: Ashley Bedet, seth cardinal dodginghorse, Natasha Chaykowski, Merray Gerges, Alexandria Inkster, Tomas Jonsson, Desiree Nault, Pan Preibe, Jordan Schinkel, Jessie Short, Sachin Sudra
—Generously supported by: Alberta Lottery Fund, Alberta Foundation for the Arts, Calgary Arts Development, Rozsa Foundation, Canada Council for the Arts
—Thank You: Tsuut'ina Nation, The Military Museums, Tsuut'ina Cultural Museum
—With assistance from: CJSW 90.9, Calgary Society of Independent Filmmakers
2019 PRODUCTION RESIDENCY
—Actors: seth cardinal dodginghorse, Hanum Yoon-Henderson
—Elders: Ethel Jacobs, Marie Dodginghorse, Glenna Cardinal, Jin-Sun Yoon
—Performers: Brandon Anderson, Kirsten Cardinal, Richelle Bear Hat, Cateri Cardinal Dodginghorse, Areum Kim, Gwenessa Lam, Ann Le, Nikki Martens, David Videla, Palmer Olson, Latifa Pelletier-Ahmed, Nathan Pohan, Pan Priebe, Alberta Rose W., Uii Savage, Ursula Sokol, Sachin Sudra, Mike Tan, Marshall Two Guns, Ana Villanueva
—Line Producer/Production Manager: Sharon Kahanoff
—Cinematographer/Editor: Ian Barbour
—Photography Camera Operator/2nd Video Camera Operator: Noel Bégin
—Camera Assistant: Jordan Schinkel
—Location Scout: seth cardinal dodginghorse
—Props Maker: Anna Semenoff
—Unit Manager: Desiree Nault
—Production Assistants: Ginger Carlson, Glenna Cardinal, Gwenessa Lam, Palmer Olson
—Cast Production Assistant: Richelle Bear Hat
—Indigenous Consultant: seth cardinal dodginghorse
—Ring Road Liaison: Ian McColl from KGL Construction
—Catering: Al Kahanoff
—Music/Sonic generators: Hanum Yoon-Henderson, seth cardinal dodginghorse
—Thank You: Tsuut'ina Nation, Ethel Jacobs, Marie Dodginghorse, Glenna Cardinal, Katherine Ylitalo, Al Kahanoff, Tiaré Jung
—Acknowledgements: KGL Construction, Alberta Transportation, Jacobs Construction, Randy Niessen and Tomas Jonsson from Calgary Public Art, Heritage Park, Calgary Economic Development and The City of Calgary, The Military Museums
—Generously supported by: TRUCK Contemporary Art, Canada Council for the Arts, BC Arts Council, Alberta Culture's Anti-Racism Community Grant
—With assistance from: CJSW 90.9, Calgary Society of Independent Filmmakers, EMMEDIA Gallery & Production Society, Long & McQuade, CommunityWise Resource Centre, Sam Bradd and Drawing Change
—Preparator: Anna Semenoff, Alberta Rose W.
—Post-Production Stills Editor: Rachel Topham
—Post-Production Printing: August Art Reproduction
—Image Mounting: Resolve Photo
—Framing: Jarvis Hall Gallery + Fine Frames
—Stretcher Construction: Upper Canada Stretchers
—Asphalt: Fish Creek Excavating
—Thank you: Kihan Yoon-Henderson, The New Gallery, Oil City Press Ltd.
—Media Partners: Rungh Cultural Society, CMagazine
—Photo Documentation: Brittany Nickerson
—3D Documentation: Calgary Photos