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IO-WAlEH1.LKJCHRONl(l£-Wedneulu)tM-gust 1.20“ ”a __ Abmâ€"â€"â€" at s w rt meow ll 1 C T e microscope an ~ - megap one K WArt Gallery curator has a breathtaking experte' nee during European tour BY BOBVRBANAC '. "f 3 ' | V'â€" “ w of ways we've been exposed to ‘ ChronicleSmjf i it a. l i technology that maybe other ' 1'- G ~ g N r I smaller cities haven't. t's not hard to have a few of " , H ,' - “Maybe that's why we’re a little I those breath taking moments - l... , 5 more confident about how we use when you travel across Italy. " L . -1n-"'1fi=: 7 technology. We can do this. there's » i btrt it wasn't the architecture that 1 y l Jf " 7 i ‘ no reason we can’t." t had the K-W Art Gallery’s curator . _. . m“â€" “ . , ,‘ '”M}mfi‘1 â€" m". 50 what is the role of the cura- . Crystal Mowry gazing on in won» ;, .- ‘ é't' - . . fit ‘fl . c A ~ ._ ' 4 ’ , g - tor in presenting those new ideas j (let: it was the art. ‘ ”a" "- . l- ' f / - , cg“ «ix. back to the community? Mowry Mowry. who has been the " ‘ f / g; N it" said her job is equal pans micro- i gallery's curator since 2009. was in ' , ' { ’ / ‘\ ? are scope and megaphone. ‘ Milan to arrange pickup for a cou- J / ' A’ - . , A.) F "We have this lens and we use it . pic of pieces that will be part of a _ i ' ‘ A2} to look at things closely, to scruti- show they're putting together this I Q i [j r ' ft“ tr ”71 . ' % §fi trim," she said. i fall called The Liming couldn't 1” »~A ‘ , 1 S “a v“ ‘ . a if. is; “But we also haveamegaphone i resist talking the short train ride to ‘ ‘ fir f. i ‘ if L ? rt . ‘ " it”; * g at}; turned the other way so whatever 1 Venice. The Ia Biennale diVenezia, .~â€".: (it < 2: 7; 5,5 _: .: ” i, l ‘ ’ W“.â€" . : ; we}. it is on the other side can speak ‘ the 54th annttal international art . i“ ' , _ 1; V, ‘. d i "‘ g. . 4 “T E a t t‘ ‘ “ “a i‘ w‘ gel-Lit back to us exhibition that is held every two ,- ”1 i, "l - ' r'" i ,‘ r“ f? 3, h 't l// I ,“-' y g; “1; “That's kind of how I see it years. featured sortie breathtaking . » . g, a ; ‘ ' g a”??? working, and it keeps goingas long contemporary art works and it h . ~> - . ' ,, < 7 f ‘ “ as you have the energy. the stami- would have been a shame to not 7, ‘ ' I .‘ . ‘. na to keep that up once you get see what the world has to offer in ' , i?” Z t 5, '. fatigued and tired by it you cease terms of the most cutting-edge "' ' / A . ~ ‘ - x F to see closely and cease to hear creations arid installations sâ€" » ' , . _ \ what things have to say to you." "It’s one of the largest arts “ - ' ’ ‘ \ Mowry said she’s particularly . events in the world. so it made / , ‘ ‘ '. a” ‘ excited about a couple of exhibits . sense to tag that quick trip on to - - a» L that will be part of this fall's The , the necessary trip to Milan." she , i ' , ' Limits show by Finnish anist lani L said. “How could you not â€" it you K-W Art Gallery curator Crystal Mowry brought back some insights into what's new in the world of contempo» Ruscica and Canadian artist David : already have to pay to 14“ “no“ rary art after a trip to italy in addition to some important pieces that will be on display during the fall show Spriggs which opens Sept. |5_ It's * the Atlantic you might as well called The Limits. WW'WID'NO’D timed to run along side (IAFKA. squeeze in as mttch as you cart " which is trying to create a lot of ‘ Mowry wasn't disappointed world around them and respondâ€" they think is wrong and what can Mowry also saw that the tech- the same feelings that she saw pre- slrt- doesn't get a chance to visit ing to it." said Mowry. "And we happen." . nology on display served the art sented in Venice. l itropt- often and rt was an eye have to look at artiststo do that. The works spoke to global cuIv instead of being the theme itself, A lot of Ruscica and Spriggs | opening exponent c “So while we have amazing ture and appealed to universal which is a nuanced perspective of works have left Mowry breathless l ‘ I got to see int rediblt' and things being produced locally yotr ideals like the one called Speech technology's place in all of our and transfixed. And she's hoping : ambitious protects in a short also want to see what is being Matters in the Danish pavilion in lives. she can share the sense of wonder : amount of time." said Mowry "lt done elsewhere, Venice alluded to the pulling back The role oftechnology especialâ€" with a local audience. l \\ as a bit overwhelnnng because “Venice was a great opportunity of the Wizards. curtain with Wik- ly resonates in a high-tech centre "I think we chase that." said i too see protect alter protect alter to get that concentrated exposure ileaks and the hottest outpouring like Kitchener and Waterloo. btit Mowry about those moments that ’ prop-ct, and for the most part they to what was happening around the of the yearning for self-determina- what it does in allowing for self» take your breath away in seeing are phenomenal " world," tion in the Arab uprisings. expression is more important than contemporary art. “We go looking Artists often refit-tr thr- lllllhl’t‘ .-\ number of enterging and "This idea that people can the technicalities behind it. for that and sometimes it can hape of the times. and Will] the world established artists had picked up come together to create change. “I didn't see as much work that pen in the most unlikely spaces. i turning ottt o! reti-ssron and still on that theme of people raising which isn't an unusual idea. just was really ambitious in terms of its “it‘s when you go to something ; dealing wrtlt ma|or wars Ill the their voices in unison and changâ€" seemed like good tinting foraproj~ technical needs.” said Mowry. “l and you just don't expect it to . Middle 1 its! there was a lot of tngtht'tr world becauseofit. ect like that.“ said Mowry. “The didn't feel like the technology used affect you in a certain way. and inspiration out then- Mowry was "As artists you're looking for past year has been phenomenal made it completely out of reach for that's what you hope to perpetuate I most Illlpl’t‘sst'tl that it was the your work to resonate." said for what it means to be a person aplacelikeKitchener-Waterloo. for your visitors ofthe gallery. How j optimism oi the Arab Spring that Mowry "And sometimes the best with a voice and access to the "We're in a good position will they navigate what this thing is s.|\\‘ people Ill lotmt-rly drt tatorial “at to resonate is to look lht‘ Internet because we had a chance to work in front ofthem? regimes like l gtpt use sot ral uorltl II] the eye and tell them “People feel empowered by with technology for quite some "I chasewonderonadaily basis media to reshape their realities what you think. having that resource available to time and with pioneers like and try to find ways to bring it to "Artists are always looking at lht' “What cart be changed. what do them." Christie (Digital) there are plenty other people.” a "t ‘ . ' . ‘ ‘,.. ”lam T 1 tr A; ,. , ' "» ‘ ‘f s. as 1 fig ‘ l ' fig“ ‘ ~ “a. ‘_r * i " ' “ ‘ v g Q y i A It . ‘ i“??- L A " an “5M . , . A . ' ,. ’ E' ‘ ' 1 74t...‘ % i j ‘ ‘ x... ' a“ “v ‘1' ’ fl ‘ ’ .., “weaves" %‘ . 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