Locations/National

Locations/National
Dates: 
Friday, September 23, 1983 (All day) to Saturday, October 8, 1983 (All day)

Locations/National

Artists: Diana Burgoyne, Nick Brdar, Kim Adams and Diana DePol

Curator: Barbara Fischer

Date: September 20 to October 8, 1983 

Digitial Body Performance: August 26

Locations/ National was a unique project both in scope and magnitude. From Halifax to Victoria, Canadians were able to encounter work by Canadians, on a local as well as national level.

In the spirit of the 1983 World Communications Year, Locations/ National attempted to established a model communications network for future cultural projects between Canadian cities. Rather than the traditional approach of concentrating culturally-relevant activities in major centres for the benefit of a few, the national link-up in Locations/National allowed for the crucial exchange of information on a national level. 

Locations/ National involved Mercer Union (Toronto), Eye Level (Halifax), Articule/ Optica (Montreal), Off Centre Centre (Calgary) and Open Space. Each centre sponsored the installation of artworks by local artists in a non-gallery context. Documentation of all the works (including maquettes, preliminary drawings, photographs and video) were displayed in all the galleries throughout the project.

Open Space sponsored projects by four Victoria artists: Diana Burgoyne, Diana DePol, Nick Brdar and Kim Adams. 

Diana Burgoyne performed Digital Body. Sound-producing synthesizer chips that were attached to her body and limbs were affected by body motion and temperature. Diana Burgoyne performed on August 26 between 11:00 am and 1:00 pm at various locations in downtown Victoria. A video tape of her performance was on view in the gallery for the duration of the exhibition. 

Kim Adams constructed a sculpture below the Victoria Heliport in Esquimalt. The work consisted of four elements which covered an area of approximately 40 sqare yards. A 100 foot long track crossed the grass and rock terrain, bracketed by two long totem-seats which could be climbed and used as viewing posts. A small vehicle made of two Mini car roofs formed a hollow, belly-shaped interior which could be entered. The vehicle was mounted on six wheels and could be moved back and forth on the track. 

Nick Brdar's Test Pattern was installed at Holland Point Park off Dallas Road and Menzies. It was a sculpture in the shape of an oversize human arm. Made of 1 1/2 '' steel pipe, the sculpture described the contours of an arm extending from the round of the shoulder to the elbow, to the wrist and finally to the hand. The arm indicated the gesture of reaching out to test for rain. The humor of the work was light: it bespoke the weather conditions of the west coast. But the work was also a symbol of the link or juncture between one's body, the sheltered inside space and the outdoor environment. 

The work became the focal point of most of the media coverage of the Locations project and a considerable amount of protest by Dallas Road residents who felt that the piece disrupted their view of the environment. "The protest culminated in an event that occurred overnight: someone unbolted the work from its cement foundation and pulled it down with a truck."[Fischer, Barbara "Victoria", Locations/ National, Victoria, B.C. (Box 7, File, 1982: PJ3)]

Diana DePol's work Once Is Not Enough was concerned with ecological issues such as waste-disposal and recycling. she utilized bales of compressed scrap-metal, paper and cloth as well as scrap-materials for an installation off Songhees Road in Esquimalt. The arrangement and composition of over 60 bales of metal referred to the site, particularly to the scrap-metal which already existed in the area. 

Diana DePol, Once Is Not Enough, Locations/ National, 1983

 

Tags: