Friday, September 7 marked the closing reception for Tim Rechner and fellow Red Deer artist Craig Talbot's "Morning Light," which actually was the first time many would see the finished product of their collaboration together. As an ongoing art project/exhibition, Talbot and Rechner slowly filled the ProjEx room at Latitude 53 with their bits and pieces of drawings that at times resemble children scrawls, and at times were actually Talbot's childrens' scrawls.
Stepping inside the ProjEx room, visual focus couldn't be directed onto one particular thing. The works, both independently created but in collaboration with the space, carried a progression that was far too dense to absorb all at once--and on the night of its closing reception, there was simply too little time and too much distraction to take in something that was soon near its end.
Slightly poor in attendance where one observer noted it resembed "an underground party where no one went to," the experimental sounds by Chris Zaytsoff and ongoing video projections maintained an elusive happening atmosphere where nothing happend at all.
Works by Andrew French, Terry Fenton, Mitchel Smith, Hendrik Bres, and Peter Hide. Image credit: Ryan McCourt, 2007
A few blocks away, the Edmonton Contemporary Arts Society had their opening reception for their 15th annual show at the Peter Robertson Gallery. Jam packed with arts and arts professionals, with the live jazz band blearing, the room was so crowded that you couldn't even see the giant steel sculpture in the middle of the floor until you almost tripped over it. Similarily, most of the art on view was obstructed from view; but from what was seen squeezed inbetween bodies, nothing comes to mind as outstanding. With a mixture of large-scale colour abstractions to landscapes and even photography, a theme besides visual art from contemporary edmonton-affiliated artists may have helped root the show for viewers and to present any mandate that ECAS currently has.
Returning to Latitude 53, many of the same faces seen in both galleries continued to pass both doors either on their way or just coming from the other show. Gripes from both ends, that Robertson's was "too loud, too hot" and Latitude was "dead" leads to a couple of thoughts: that a) art functions have gained social ranking on a Friday evening? b) nobody seems to want to talk about the art.