Opening night to be confirmed!
Exhibition Dates: April 26-May 20th
In 1946, an international group led by the Canadian Armed Forces participated in Operation Muskox, a 3100 mile expedition beginning in Churchill, MB, and traversing a winter landscape to
Victoria Island, Nunavut, Normal Wells, NWT, and finishing in Edmonton, AB. The primary aim of the expedition was to determine the feasibility of a polar invasion into the Americas, while investigating how newly developed transport technologies and the human body responded to an Arctic winter. In 2009 and 2015, I participated in international scientific research expeditions in the Canadian Arctic. We sailed through nationally and internationally contested spaces, including the Northwest Passage and resource rich Arctic shelf waters, in order to produce a baseline set of observations in the Canadian Arctic in the face of a changing polar climate.
The works in Field Truth include small composite B&W digital collages (approx. 3” x 5“ prints on paper) comprised of imagery from the archives of Operation Muskox and my own expeditions.
In addition, large plotter prints (approx. 36”x50” on 20 lb bond paper) of representations of data collected during the expeditions will be presented. The work explores the histories of occupation and representation of the Canadian Arctic through artistic, scientific, and journalistic modes of observation and representation, and the roles that these play in the colonization and maintenance of sovereignty over remote regions of the country.
David Semeniuk’s artistic practice addresses how the histories of capital and the production of scientific knowledge have influenced the production of photographic objects, the construction of meaning in photographic images, and the exhibition of photographic works. He also explores
how art objects can be used to investigate spatial and temporal scales of environmental changes, how we experience these changes, and ways of representing them. His formal training
as an environmental scientist plays a central role in informing his artistic practice.
Semeniuk’s work blends photo-based practices, time-dependent gallery installations, and performative pieces. He has published and exhibited work in national and international forums,
including a book, “Every Liquor Store in Red Deer” (2014, Rock Bottom Press). He recently exhibited the iterative installation Mechanical Weathering II at Access Gallery (2015), and
Perimeter at The Gam Gallery (2013).
the fifty fifty arts collective is comprised of individuals living and working on unceded and occupied First Nations Territories, specifically the lands of the Songhees and Esquimalt Nations, as well as the W̱SÁNEĆ, Sc'ianew and T'Souke First Nations.
The programming space itself is situated on Songhees and Esquimalt Territory but engages with individuals and communities across Turtle Island.
As a collective we endeavor to deepen our own understandings of how we are implicated in the history and in the present ongoing project of settler colonialism. As members of the fifty fifty arts collective we continually responsibilize ourselves to the complex kind of space that is the fifty fifty which hosts and facilitates the dissemination of the ideas and work of others.
The entrance to the fifty fifty arts collective is wheelchair accessible, however the door is not automatic and we have no washrooms on site. A more comprehensive statement regarding our accessibility is in progress, specific questions or requests regarding accessibility can be sent to email@example.com