Sarah Pierce: No-Place, No-Time
Monday, March 11, 7-9pm
In advance of the School for the Contemporary Arts’ 3rd year BFA Project exhibition, No-Place, No-Time, SFU Galleries is pleased to co-present a lecture with Sarah Pierce, the 2019 Spring Audain Visual Artist-in-Residence and mentor for the exhibition.
During her time in Vancouver, Pierce will work closely with students on questions around the archive and its role as a generative source in contemporary art practice. Together with Pierce, the students will develop an exhibition that engages with ideas around the reanimation of documents, objects and events of the past. Pierce’s work Campus (2011) will be re-presented alongside a diverse range of student work that will include painting, sculpture, photography, drawing, textiles, and performance inspired by items chosen from the SFU Archives and SFU Library’s Special Collections.
No-Place, No-Time will be presented at the Audain Gallery from March 21–30 2019.
In this public lecture, Pierce will discuss how her practice engages with forms of gathering—both historical examples and those she initiates—which she summarizes with the term “the Metropolitan Complex.” The processes of research and presentation that Pierce undertakes demonstrate a broad understanding of cultural work and a continual renegotiation of the terms for making art, the potential for dissent and the possibilities for self-determination. Pierce works with installation, performance, archives, talks, and papers, often opening these up to the personal and the incidental in ways that challenge received histories and forms of making. Her sources include civil rights movements and student governments, art historical legacies, and the work of figures such as El Lissitzky, August Rodin and Eva Hesse, as well as theories of community and love founded in the work of Maurice Blanchot and Georges Bataille.
Sarah Pierce ‘s work has been included in exhibitions at the Centre of Contemporary Art, Derry (2018, 2017); Chapter 13, Glasgow (2018); Rua Red, Tallaght (2017); Hessel Museum, Bard College, Annandale-on-Hudson (2016, 2013, 2012); Van Abbemuseum, Eindhoven (2015); National Gallery of Ireland, Dublin (2015); and The Showroom, London (2012). In 2014 she staged a three-part solo exhibition at the Walter Philips Gallery in Banff, Mercer Union in Toronto, and SBC Gallery in Montreal. In 2005 Pierce represented Ireland in a group exhibition at the 51st Venice Biennale. She has also participated in Glasgow International (2018), Eva International (2016, 2012), Lyon Biennial (2011), International Sinop Biennial (2010), and the Moscow Biennial (2007). Publications on her work include No Title, co-edited with Sara Greavu, published by CCA Derry with essays by T.J. Clark, Karl Homqvist, Mason Leaver-Yap, and Claire Potter; and Sketches of Universal History Compiled from Several Authors, edited by Rike Frank, published by Book Works, London, with essays by Melissa Gronlund, Tom Holert, Barbara Clausen, Declan Long, and Padraíc E. Moore. Pierce regularly writes and has recently published a chapter in Of(f) Our Times: The Aftermath of the Ephemeral and other Curatorial Anachronics (upcoming in 2019). She lives and works in Dublin.
Sarah Pierce’s artist talk is presented in collaboration with SFU’s School for Contemporary Arts and the Audain Visual Artist in Residence program.
Image credit: Sarah Pierce, Campus (2011). Commissioned by Georgina Jackson for the Mattress Factory. The Pittsburgh Press, October 15, 1969. Courtesy Civil Rights Archive, University of Pittsburgh.