Ken Lum: Signs of Life
Ken Lum Amir 2000 Courtesy Belinda Stronach
Meshing and moving between the roles of artist, teacher, critic and commentator, Ken Lum has had a career and a degree of influence like few others in the contemporary Canadian art world. This week, the Vancouver Art Gallery pays homage to his distinguished practice with Lum’s first large-scale solo survey. It includes more than 50 works spanning 30 years—from 1978’s Entertainment for Surrey, a performance where Lum stood at the side of a BC highway every morning for most of a week, eventually replacing himself with a cutout, to 2009’s 117 Dwight Eisenhower Blvd, where he reproduces strip-mall signage. As many are aware, the signage theme has recurred throughout Lum’s career, underlining his tendency to investigate the way the individual relates to society—or at least the way one facet or appearance of an individual may relate to its perception by society. But as familiar as some of these works are, their alternately humorous, caustic and poignant effects will no doubt be sharpened when viewed en masse. Adding to the appeal is the opportunity to see works which have never before been exhibited in North America, like Mirror Maze with 12 Signs of Depression, from Documenta in 2002, and House of Realization, a 2007 one-way mirror installation. The result—including the newer and also rarely seen Rorschach Shopkeeper Signs—is likely to be a show that offers much to reflect upon, both for an auteur and for his audiences. (750 Hornby St, Vancouver BC)
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Ken Lum We Are Sacred Blade 1990 Courtesy the artist |
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Ken Lum House of Realization 2007 Installation view Courtesy the artist |
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Ken Lum 117 Dwight Eisenhower Blvd 2009 Courtesy Lothar Albrecht Galerie Frankfurt |
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