Tag Archives: Music

Bridge Over Troubled Water: Yoko Takashima with Ruby Arnold

Still from Bridge Over Troubled Water, Yoko Takashima

Still from Bridge Over Troubled Water, Yoko Takashima

April 9 – May 30, 2015

Legacy Small Gallery

View the online catalogue:

Bridge Over Troubled Water – Catalogue

Bridge Over Troubled Water is an interactive video and sound installation created by Victoria artist Yoko Takashima, with technical assistance in collaboration recent UVic graduate, Ruby Arnold. Takashima filmed about 40 volunteers signing the Simon and Garfunkel classic Bridge Over Troubled Water. Her manipulation of these recordings allows for the faces and voices to blend and transform over time in such a way that no identical image or performance will ever be seen. Unexpected narratives and raw human connections are forged between performer and viewer in this constantly self-generating installation.

Bridge Over Troubled Water is the second installment of IN SESSION, a series of exhibitions featuring UVic sessional instructions in the Visual Arts Department.

Similar Exhibitions:

Explorations in Wood ’93

December 15, 1993 – January 30, 1994

Maltwood Art Museum and Gallery

Explorations in Wood ’93 is an open exhibition presented by the Vancouver Island Woodworkers Guild at the Maltwood Art Museum and Gallery. It features furniture, turnings, architectural fixtures, musical instruments and sculpture from artists throughout western Canada.

Similar Exhibitions:

For Frances and Murray: The Alaskan Art Collection

March 4 – March 27, 1988

Maltwood Art Museum and Gallery

Curated by Kathleen Niwa

Click to view to the online catalogue:

For Frances and Murray Catalogue

Murray and Frances Alaskan are both renowned in the Canadian music world; he, as a violinist in chamber and orchestral music, as well as a composer; she, as a soprano singer and voice instructor.

The Alaskans do not, however, belong solely to the world of Canadian music. They also belong to the world of Canadian art. During their hectic and successful careers as leading figures in Canada’s music world they also became passionately involved in collecting art. Whether attending a birthday party for A.J. Carson at the Arts and Letters Club, paddling Paraskeva Clark around their cottage on Canoe Lake in Algonquin Park, or discussing the latest David Milne works with Douglas Duncan, the Alaskans became vital and much loved members of Canada’s artistic community.

This exhibition is a celebration of their continuous involvement in Canada’s visual arts since the early ’30s. In a sense it is also a collection of memories, as Murray Adaskin speaks eloquently, humorously and passionately about their experience in Canada’s art world.

Adolphe Appia 1862 to 1928

June 19 – July 13, 1986

Maltwood Art Gallery

Adolphe Appia’s revolutionary conception of stage was demonstrated through photographs of opera performances, facsimiles of drawings for stage design, and informative text. Appia was a pioneer in stage design that studied music in Geneva, Paris, Leipzig and Dresden, and then apprenticed in theatre design in Dresden and Vienna.

Appia saw light as the element of foremost importance on a stage set. With his innovative approach, he rejected the traditional practice of using false backgrounds and purely decorative set components to establish ambiance. His designs were fluid and suggestive and left the stage open behind the actors. He designed sets for Italian, Swiss and German theatres, notably the Wagnerian productions at Beyreuth.

This exhibition was sponsored by Pro Helvetia, Zurich, Switzerland.

Songs of the Heart in the State of the Heart/Songs of the Moon and a Planet

May 7 – May 27, 1980

Maltwood Art Gallery

Two musical/image concepts involving the combination of musical selections and photographs. The exhibit was developed by George Clement and Don Lobb.

This show was completed over a four month period from October 1978 to February 1979, though the photographs span a period of eight years. The shots were taken in B.C., Yukon, California, and Europe, although the locations are completely irrelevant to the content of the performance. In fact, it is best not to think of a location, but to think of a feeling for each photograph.