WESTERN FRONT – The same condition repeated at every moment of the walk

Description:

The same condition repeated at every moment of the walk was an exhibition of new work by Norwegian-Sámi artist and architect Joar Nango that responded to Vancouver’s changing urban landscape. Framed by Sigbjørn Skåden’s poem “Notes from a Backwoods Saami Core” (2014), the exhibition included sculptural assemblages composed of photographic documents, wood sourced from Western Front's basement, and other materials acquired on the artist’s travels. Informed by Nango’s ongoing research into the creative DIY building techniques found in Sámi architecture, the works in the exhibition highlighted the role of local knowledge in creating livable communities, while championing Indigenous approaches to design, and alternative models for social space.

Presented with support from the Office of Contemporary Art Norway.

Curated by Caitlin Jones.

A white poster sign that reads - ‘The same condition repeated at every moment of the walk’ is attached to the white door propped open revealing the installation by Joar Nango. Inside we see a photograph of a car fragment displayed vertically on the floor and a sculptural element supported by a white wall.

An exhibition by Joar Nango displayed inside a gallery with white walls and wooden floors, features sculptural assemblages of photographic documents, projectors, wood and other materials associated with urban landscape.

A photograph of two green trash bins on a wooden porch displayed vertically on a bright wooden column. To the right side of the photograph, there is a picture of two metal sculptures in the shape of a pyramid connected by a string laying on a road. It is raised high above in a flag-like manner, casting shadow on the wall. On the floor there is a flat sculptural piece with a close shot of a door knob displayed on it.

An exhibition by Joar Nango displayed inside a dim lit gallery with black projector casting blue text in a spiral circle-like shape on the wall and a ceiling. The rest of the installation features sculptural assemblages of photographic objects, wood and other materials associated with urban landscape.

A photograph of an urban scene held vertically by wooden structure underneath, features a fragment of a dark blue car with white paper attached to its tire, standing on a road with a sewer lid beside it.

An assortment of vertical thin strips of wood lean against a white wall. A rectangle of felt-like material is folded precariously over the top of each of the strips. The dirty grey rectangles are augmented by a thin line of absorbed colour on one of each of their sides.

A close up of dirty grey rectangles made of a felt-like material. They are being held up against a white wall by pieces of thin wood that they fold over. The objects are lit with a soft spotlight that creates shadows on the layered objects as well as the wall behind them.

A photograph on a clear substrate depicts a door with an ornate handle across from a painted rust coloured beam. This sheet is sandwiched between two pieces of different wood cuts and held together by an old clamp. The artwork sits on the gallery’s wooden floor.

A thin line moves from the gallery’s floor to ceiling. It is composed of multiple different pieces of the same width wood, and is held together by small clamps. In the upper middle of the line, the clamps hold up a large photograph printed on clear material. This image displays two metal triangles linked by a chain.

A thick wooden beam sits vertically on the gallery's floor. C-clamps wrap from the front to the beam to its back, pinning a large photograph to its front face. This photograph, printed on clear substrate, displays two garbage bins on a wooden slat.

A soft light illuminates a printed photograph sculpture placed on the floor. Above this object is a projected spiral of blue text that starts with the words Note 19.

A photograph printed on clear material is held up by pieces of wood clamped together. The image shows two metal cans joined by a string and hung against a wooden backdrop.

A projected spiral glows against a darkened wall. It is composed of blue text that coils around itself and concludes when it reaches its center.

Related People

Caitlin Jones (Curator)

Captions:

Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.
Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.
Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.
Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.
Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.
Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.
Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.
Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.
Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.
Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.
Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.
Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.
Joar Nango: The same condition repeated at every moment of the walk, installation view, Nov 14 – Dec 20, 2014.

Western Front is a non-profit artist-run centre in Vancouver.

We acknowledge the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and səl̓ílwətaʔɬ (Tsleil-Waututh) Nations as traditional owners of the land upon which Western Front stands.