New exhibition showcases the 5 Canadian artists vying for Sobey Artwork Prize

New exhibition showcases the 5 Canadian artists vying for Sobey Artwork Prize

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A bouncy-castle model of the Taj Mahal, a postcard to the King asking for the repatriation of a priceless diamond, a replication of an 18th-century Maroon camp and an set up symbolizing the loss of life of outdated institutional practices in Canadian artwork museums are among the many highlights of a strong new exhibition on the Nationwide Gallery of Canada.

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The exhibition showcases the work of the 5 rising Canadian artists who’re shortlisted for this yr’s Sobey Artwork Award, which is internationally acknowledged as one of many world’s most beneficiant privately funded prizes for modern visible artists. The jury selected one finalist for every of the 5 geographical areas in Canada.

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The $400,000 purse is split between the 25 nominated artists, with a grand prize of $100,000 for the winner, $25,000 for the shortlisted finalists, and $10,000 every for the long-listed artists. The winner might be revealed throughout a ceremony on the gallery on Nov. 16.

The exhibition is on view till March 12, 2023. Right here’s extra about every of the short-listed artists and their work:

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Azza El Siddique


A big-scale metal set up that seems to inhale and exhale water by way of a collection of clay jugs is an instance of the meditative work of Azza El Siddique, 38. Born in Khartoum, Sudan, raised in Vancouver and now primarily based in Toronto, El Siddique at all times wished to be an artist however took a very long time to get there, partly as a result of she by no means thought it was possible as an immigrant to pursue an inventive apply. “I feel the factor that’s actually thrilling for me is to have the illustration as a queer girl of color coming from a Muslim background, for youthful generations to have the ability to see they’ll exist in areas like this,” she says. “I hope they’ll pursue their goals loads prior to I ever did.”

The End of a World by Stanley Fevrier. Jean Levac/Postmedia
The Finish of a World by Stanley Fevrier. Jean Levac/Postmedia Picture by Jean Levac /Postmedia

Stanley Février

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A graveyard set up entitled The Finish of a World by Stanley Février represents the change that’s occurring within the artwork world because the institutional practices that favoured white males give approach to a brand new period of inclusiveness. For Fevrier, a 46-year-old Montrealer, the piece started in 2015 when he began questioning what affect the color of his pores and skin was having on his profession. He quickly discovered there was no knowledge on the numbers of racialized artists in gallery collections so he got down to do his personal evaluation to show the bias he suspected. “It’s time for change,” he says, noting that the Sobey shortlist has already made a distinction in how his work is regarded. “I make my works not for me, however for us. We’re all on this collectively.”

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Divya Mehra

Prairies & North

You possibly can’t miss the bouncy-castle rendition of the Taj Mahal created by Winnipeg’s Divya Mehra, 40, who says the thought for Afterlife of Colonialism got here to her when she began desirous about how symbols of the South Asian diaspora exist within the cultural creativeness of society. A smaller however equally potent instance of her work is a framed postcard to King Charles asking for the repatriation of the Koh-i-Noor Diamond to India. Earlier requests for the 105.6-carat diamond’s return have been rejected.

All That Glitters is Not Gold by Krystle Silverfox. Jean Levac/Postmedia
All That Glitters is Not Gold by Krystle Silverfox. Jean Levac/Postmedia Picture by Jean Levac /Postmedia

Krystle Silverfox

West Coast & Yukon

A bit of Hudson’s Bay blanket with a fringe that unravels into pennies is emblematic of Krystle Silverfox’s multi-layered works. Entitled All That Glitters is Not Gold …, it was impressed by the battle that exists between the mining firm that she says doesn’t seek the advice of together with her First Nations neighborhood however does share some income with the band, and the truth that a few of that cash advantages college students like her. “I actually like to consider my artwork as being about minimalism, supplies and politics,” says the 38-year-old artist. “I used to be pondering, ‘How can I make a bit that displays who I’m as an Indigenous girl that additionally subtly shames the mining firm?’”

Maroon camp by Tyshan Wright. Jean Levac/Postmedia
Maroon camp by Tyshan Wright. Jean Levac/Postmedia Picture by Jean Levac /Postmedia

Tyshan Wright


The work by Halifax-based artist Tyshan Wright, 42, developed from his analysis into the Maroons exiled from Jamaica and despatched to Nova Scotia by the British. It features a duplicate of a Maroon camp, full with the drums that have been banned upon their arrival. “The work is coming from centuries of battle,” Wright mentioned. “My ancestors have been denied these devices after they have been exiled. This was the instrument that saved the spirit of them alive so that is about utilizing these devices in a broader perspective to carry a collectiveness on the planet.”

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