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Announcement
January 11, 2022

Spring 2022 exhibitions

Visual Arts Center at The University of Texas at Austin

Michael Queenland, Rudy’s Ramp of Remainders (detail), 2012. Mixed media, dimensions variable. Installation view, Santa Monica Museum of Art, 2012. Photo: Monica Orozco.

Bill Morrison, Dawson City: Frozen Time (still), 2016. 2K video, black and white, color, sound, 120 min. Courtesy of the artist. 

Corentin Canesson, Sleep Spaces (Gouesnou), 2021. Acrylic and inkjet on paper. 16 ½ x 11 ¾ in (42 x 29.7 cm). Courtesy of the artist and Galerie Sator, Paris.

The Visual Arts Center (VAC) at the University of Texas at Austin is pleased to announce its 2022 spring exhibition program. All exhibitions on view from January 28–March 12, 2022.

Michael Queenland: Rudy's Ramp of Remainders 2012/2022
Artist-in-Residence. Referring to the catastrophic global events that have transpired over the last several decades, Michael Queenland: Rudy’s Ramp of Remainders 2012/2022 revisits, reconfigures, and builds upon Queenland’s 2012 site-specific exhibition of the same name.

In this iteration, produced 10 years after the original installation at the Santa Monica Museum of Art, Queenland addresses the apprehension and isolation we are experiencing during the COVID-19 pandemic as well as the necessary process of rehabilitation and healing that has transpired during this global struggle. Combining new elements with those from the installation in 2012, Rudy’s focuses our attention on the trauma experienced by illness and death, by persistent inequity and inequality, of war and violence, of the constancy of uncertainty, as well as our desire to mend and heal in the wake of collective trauma.

Michael Queenland: Rudy’s Ramp of Remainders 2012/2022 is the first exhibition of Queenland’s work in Texas.

Bill Morrison: Cycles & Loops
Bill Morrison is one of the most accomplished filmmakers working today whose practice rescues lesser known and forgotten histories and considers the fragile existence of celluloid materials. His extensive filmography sources rare archival footage as well as 35mm nitrate film in various states of decomposition.

In Cycles & Loops—his first solo exhibition in Texas—Morrison deconstructs a selection of films from his oeuvre to create repetitive loops. Laying between the documentary nature of found footage and the chaotic intervention of nitrate film, Morrison’s films can be described as a profession of faith in the perseverance of that which seems most doomed to perish.

Public programming for Cycles & Loops includes screenings in conjunction with Austin Film Society’s Essential Cinema series and a performance at Texas Performing Arts of The Great Flood, a collaboration between Morrison and renowned guitarist and composer Bill Frisell that is inspired by the catastrophic flooding of the Mississippi Delta in 1927. 


Corentin Canesson: Sleep Spaces / Les espaces du sommeil
Corentin Canesson confronts the constructs and legacies of painting by reconsidering conventional modes of display, questioning the notion of singular authorship, and continually pressing upon the distinction between figuration and abstraction. Music is also central to his practice and present throughout his collective work.

Sleep Spaces / Les espaces du sommeil is named for a poem written between 1919 and 1929 by the influential French surrealist poet Robert Desnos. Sleep Spaces draws upon the surrealist strategy of combining disparate and seemingly incongruous references, objects, and symbols as a curatorial conceit to construct new associations, achieved by combining historical and contemporary works of art, including paintings by Canesson alongside those by an array of other contemporary and historical artists. Sleep Spaces also features an ambient soundtrack of B-sides by Canesson’s experimental band, TNHCH.

This exhibition is organized as part of the Frac Bretagne – Art Norac Award, a program created to promote the work of emerging artists from the Brittany region of France.

Connective Tissues: printed & published
Publications are important sites of discourse integral to the formation of artistic communities. Connective Tissues foregrounds this historically overlooked medium, presenting works by seven contemporary artists from various disciplines and backgrounds as well as a collection of twentieth-century magazines and artist books.

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