Buggin’ Out
Two city galleries pleased to be infested with insects
Kristen Pauch-Nolin

Of the 1 million identified species of insects that inhabit the planet, only 10,000 live in Manitoba. However, with a climatic reality that provides a limited two- or three-month opportunity to engage in summer activities, Manitobans have become obsessed with entomology.

Given the intensity of this preoccupation and the end of bug season, the simultaneous presentation of two insect-themed art exhibitions seems oddly appropriate.

The first, Bugs, a tree-planting art show organized by local arts journalist Lorne Roberts, is currently on display at A Label for Artists gallery. The product of a national call for entries, the extensive multimedia show features the work of 19 international, established and emerging artists.

Exploring themes such as environmentalism and solitude, the show suggests a similarity between the almost spiritual experiences of planting trees and making art.

The exhibition’s strongest pieces are those that are painted, drawn and photographed. The work of photographer and University of California professor Doug Buis actively engages viewers, requiring them to wear special glasses in order to access the three-dimensional effects he has integrated into his colour triptych.

University of Manitoba painting chairperson Kevin Kelly presents a 15-foot-long canvas, Shanghai Lullaby, which is a painter’s interpretation of the exhibition’s theme. The painting, depicting an abstract, barren landscape, entrances viewers through its vibrant use of colour and bold use of form.

Unfortunately, the presence of such conceptually and technically strong work within an exhibition that also includes work by emerging artists creates problems. Arranged tightly on the walls, the combination of professionally executed and prepared pieces with less resolved works creates disunity. Assembled without the aid of a curator or jury, the resulting exhibition lacks an overall esthetic cohesion.

Despite the benefit of curatorial expertise, Bug City, currently on display at the Winnipeg Art Gallery, suffers from similar problems. The group show, which attempts to explain the increasingly important role insects play in contemporary art, loses force due to the sheer number of pieces, artists, genres and interpretations.

Individually, many of the works demonstrate the tremendous communicative and esthetic power of art. However, located within such a fragmented and wide-ranging exhibition they are easily missed. Notable pieces include Bonnie Marin’s series of mixed collage pieces and Mike and Stan Douglas’ large collage colour endura prints.

Remarkable kinetic work by artists such as Winnipeg’s Ken Gregory, video installation pieces by artists such as Ed Pien and Johannes Zits, and a performance video by Mark Thompson all contribute an exciting contemporary edge to the exhibition. However, located within the vast yet tightly packed space their invasive sound-and-light elements are distracting when viewing other pieces.

Although both Bugs and Bug City include numerous individual artists and pieces that are exciting and innovative, the consequence of each exhibition’s scope is presentation that is simply overwhelming. For viewers, the conceptual and esthetic accessibility issues created result in gallery experiences that are distracted.