2022 Sees Agnes Caringly Carry Forward the Past While Simultaneously Speculating New Futures

Collection Count + Care reflects on our responsibility of homing collections as we pack ours and say goodbye to them temporarily; Fugitive Rituals seeks palliative care for systems no longer necessary; Fabrics of Representation textures complex processes of world-making through representation and Land Protectors honours Indigenous artists and activists on Turtle Island who steadfastly safeguard survivance toward non-representational ends. We must hold all these tensions seriously. We are a museum changing.

Exhibition Celebration and first day of An Institute for Curatorial Inquiry
15 August, 7–9 pm

COLLECTION COUNT + CARE
Presented by Johnson, Johnston and Macrae Investment Group, part of CIBC Private Wealth Wood Gundy
14 June–4 December 2022

With Count + Care, we lovingly turn our attention to the collection. Over 17,000 works of art and culture are housed at Agnes. And in June, we begin to pack that collection in preparation for the building of Agnes Reimagined, our new future-oriented facility. As we pack, we take stock, and consider what it means to care for and be accountable to a public collection. Curated works in twos and threes hold space, or “take the stage,” for biweekly intervals, as we say goodbye to them temporarily.

COLLECTION COUNT + CARE ACTIVITY BOOK
Pick up this all-ages activity book featuring mindfulness activities, colouring pages and information about the exhibition. Available at Agnes through summer and fall 2022.


FUGITIVE RITUALS
Nicolas Fleming, SF Ho, Cindy Mochizuki, Lisa Myers, Laura Pitkanen,
Camille Turner and Alize Zorlutuna
30 July–4 December 2022

Cultural spaces like galleries can facilitate civic conversations, amplify polyphonic perspectives and act as provocations to consider how we live together. The artists in Fugitive Rituals work with sound, ritual, various collections, and the gallery walls themselves to explore the possibilities of attaining sustenance and autonomous futures, while leaving colonial practices and frameworks behind. As we shift away from settler colonial practices of dispossession and institutional supremacy, this project asks: how do we bring compassion and care to the acts of looking inward and reflecting on our own participation? How do we refuse the settler colonial terms embedded in all the spaces we occupy and in the air we breathe?

Curated by Myung-Sun Kim

Supported by the Canada Council for the Arts; the Ontario Arts Council, an agency of the Government of Ontario; David Bain Memorial Fund, Robert Sutherland Visitorship and the Inclusive Community Fund, Queen’s University.


LAND PROTECTORS
2 July–4 December 2022

Mauna Kea. Standing Rock. Kanesatake. Wet’suwet’en. These are a few of the many places on Turtle Island (North America) that are respected, honoured and continue to be safeguarded by Land Protectors in the face of extreme opposition. This exhibition pays tribute to the Indigenous artists and peoples who, since time immemorial, have protected something most precious to us all—the land. Works by Carl Beam, Rebecca Belmore, Joseph T. David, Robert Houle, Roy Kakegamic, David Neel and Jane Ash Poitras, drawn from Agnes’s collection and from the Indigenous Art Collection, Crown-Indigenous Relations and Northern Affairs Canada, bring awareness to the consequences that arise if we over-exploit what Mother Earth provides.

Curated by Paige Van Tassel

This exhibition is supported by the City of Kingston Arts Fund, Kingston Arts Council and Celebrating Agnes Fund, Queen’s University.


THE FABRICS OF REPRESENTATION
16 July–4 December 2022

This exhibition draws from a variety of Agnes’s collections to highlight how European painting genres such as still life, portraiture and history painting employed elements of an increasingly global material culture to new representational ends. In addition to realistically rendering a large variety of surfaces and textures, painters were advised to combine their skills in observation with their imagination to invent deceptively lifelike compositions. Representation, in this sense, takes on a double meaning—of artistic likeness as well as a complex process of signification. Works on display include recently acquired seventeenth-century Dutch and Flemish paintings by Carstian Luyckx, Pieter Claesz, Constantijn Verhout and Jan van Noordt.

Curated by Suzanne van de Meerendonk

Generously supported by the Bader Legacy Fund.


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Agnes Etherington Art Centre
Situated on traditional Anishinaabe and Haudenosaunee Territory, Agnes is a curatorially-driven and research-intensive professional art centre that proudly serves a dual mandate as a leading, internationally recognized public art gallery and as an active pedagogical resource at Queen’s University. By commissioning, researching, collecting and preserving works of art and by exhibiting and interpreting visual culture through an intersectional lens, Agnes creates opportunities for participation and exchange across communities, cultures, histories and geographies.

Agnes is committed to anti-racism. We work to eradicate institutional biases and develop accountable programs that support and centre the artistic expression and lived experience of Black, Indigenous and People of Colour. Agnes promotes 2SLGBTQIAP+ positive spaces. Admission is free and everyone is welcome.

36 University Avenue
Kingston, ON K7L 3N6
agnes.queensu.ca
Facebook: @aeartcentre
Twitter: @aeartcentre
Instagram: @aeartcentre

Agnes is an accessible venue, details can be found here.

AGNES THANKS Queen’s University, the Canada Council for the Arts, the Ontario Arts Council, an agency of the Government of Ontario, the City of Kingston Arts Fund, Kingston Arts Council, and through generous contributions by foundations, corporate partners, donors and members.

Images:
1. Nobuo Kubota, Roctoc (from the Atonement series), 1986, photolithograph on paper, 23/30. Gift of Nobuo Kubota, 2006 / Ted Rettig, The kindness of others, version 2, 2004–2006, mixed media. Gift of Alice Wong-Rettig, 2006 / Isah Papialuk, Head (Hear No Evil), unknown date, stone. The John and Mary Robertson Collection of Inuit Art, 1990
2. Cindy Mochizuki, 8 anew/m#, 2022, water colour drawings and digital collage. Image courtesy of the artist
3. Rebecca Belmore, Quote, Misquote, Fact, 2003, graphite on cotton rag vellum. Gift of Rebecca Belmore, 2004

For further information, contact Kate Yüksel, Communications Coordinator at kate.yuksel@queensu.ca.