IOTA: Gallery Pop Up (Deux) - Angela Glanzmann


IOTA: Gallery Pop Up (Deux) is a pop up gallery that featured twelve Nova Scotia and New Brunswick contemporary artists, and two Halifax commercial art galleries for an online sale and pop-up sale event. Artworks were available for pre-purchase from May 1st to June 17th, 2017. All artists were featured for an interview as part of the Six Questions series, released every few days starting the first week of May 2017, and leading up to the live pop up event: June 17th, 2017 at the Anna Leonowens Art Bar + Projects.

The below artworks are no longer available for purchase through IOTA.

Kittylovescapes Perpetual Calendar was first put together as a marriage made in collage between a 2015 Tom Tompson Landscapes calendar and a Kitty Love 2015 calendar. This cheeky work addresses the recognizability of the Group of Seven in popular Canadian culture and the limited cultural knowledge of other visual cultures in Canadian History. This work is reiterated as a perpetual calendar available for print via digital copy.

For Rest and Preparation is a text work screenprinted on pillows that asks users to consider what it could look like if our bodily autonomies were respected in terms of reproductive, environmental, racial justice and decolonization. It also provides a space to gather strength to carry out these visions through action. A portion of the proceeds from the purchase of this work will be donated to the Avalon Sexual Assault Centre.

Angela Glanzmann is an emerging artist and art worker situated in K'jipuktuk (Halifax, NS). Glanzmann works in fields of sculpture, video, installation and performance. Her work deals with themes of loss, mapping and feminist research. She has exhibited in galleries and Artist-Run Centres across Canada and beyond such as Hermes Gallery, the Art Gallery of Nova Scotia and the Lethbridge University Art Gallery. Her installations have been presented at Nocturne: Art at Night and the Halifax Stanfield International Airport. She has participated in the Ease Down the Road Residency at Faucet Media Arts Centre in Sackville, NB and in the Arteles Residency in Hämeenkyrö, Finland.


Six Questions Angela Glanzmann

IOTA: You work on some projects that are a bit quirkier than others like your Kittylovescapes Perpetual Calendar, where you’ve taken pictures of cats from one calendar and collaged them onto Tom Thomson’s paintings from another calendar. You like picking things and concepts apart and thinking things over a lot before making your artwork. Do you think there is a fear of departure involved in art making that can be productive?

Angela Glanzmann: I would really like to find a way that it can be productive! Thinking things over a lot is certainly a boon to my practice in some ways and an inhibitor in others. On one hand, really picking at concepts can be great to consider all aspects of something before you make it, but for me it can also mean that most of what I think of goes into the brain dumpster. Part of it is self-consciousness but I think the other part is that I really want to make something solid and well thought out!

IOTA:  In an interview you did for the 2016 Art Gallery of Nova Scotia’s exhibition Terroir, you describe your piece On the Matter, in which you’ve fingerprinted beer cans and bottles, a microscope and a glass vase, bringing to the surface how many humans make contact with individual objects. You wrote that you’re concerned with “how our bodies orient themselves through various spaces.” and were also thinking about credibility in the justice system. You think a lot about what our society would look like to have healthy and sacred women’s bodies – what does credibility have to do with bodies in space?”

AG: I think the word credibility is really interesting -- being trusted or believed. Trust and believability can be really intimate aspects of relationships, whether they are between people, objects or spaces. But there can also be massive abuses of power with credibility when it comes to positions of authority . I am really invested in researching what credibility can mean when directed inwards to oneself in spite of external patriarchal and colonial systems of knowledge and power. What could it look like if our personal histories, testaments and experiences are properly valued and how would it change outcomes for things like justice systems, educational systems and even health systems?

IOTA: You’ve participated in a few workshops and educational events such as the 8-week Black Lives Matter Reading group organized at the Khyber and led by Shaya Ishaq and Jade Byard Peek who presented a syllabus created by NYU professor Frank Leon Roberts to educate allies. You’ve also participated in the 2017 Gonzago institute, meant to be a supportive free school where the participants, who are from various artistic disciplines and backgrounds learn from each other. How does research, free and self-directed education take up space in your practice, and do you approach it from an activist perspective in support of free education?

AG: I am a constant learner and I feel like I am a sponge that is always trying to soak up more information. My past educational experiences have been extremely formal, institutionalized and accessible because of my privileges . While a lot of my former education has been extremely useful, it didn’t serve me well in many ways. In fact, many educational systems have purposefully excluded specific communities and continue to set them up for failure. I am trying to find ways to decolonize my learning processes and learn from more activist and non institutionalized settings. As a white-passing settler, it is also important for me to learn from others to understand perspectives and experiences that are not my own, so I can be a good support! Shaya and Jade are going to be leading a summer session of their Black Lives Matter Halifax Group at the North End Library. I highly recommend signing up or donating to their campaign!

IOTA: You work with topics ranging from intersectionality (For Rest and Preparation), to incarceration (On the Matter), to consciousness (Ease On Down the Road) to endurance (Arteles Residency). It seems you are concerned primarily with a state of the body that is either imposed onto us by society, or by ourselves. Can you give us a sense of your research arc, and tell us what is on your reading list at the moment?

AG: I would say that my On the Matter work doesn’t specifically reference incarceration, but the ways in which the Justice System scrutinizes personal testament and fails vulnerable communities. I have a massive stack of books beside my bed that I seriously need to take care of! I have been recently horrified/fascinated by stories of people who go missing outdoors and picked up a book by a search and rescue expert titled Missing Person Behaviour: Where to Look on Land, Water and Air. It’s a guide that delves into the psychology of a missing person and how they behave depending on the landscape that they are lost in. The book compiles data from thousands of international cases of missing people and posits that you can statistically predict where a person could be based off of specific criterias. It’s mostly graphs but I’m pretty into this idea of that humans react pretty similarly in times of disorientation. After that book, I picked up this other book titled The Body Keeps the Score: Brain, Mind and Body in the Healing of Trauma by Bessel Van Der Kolk. It’s a neuroscience book that delves into how trauma physically affects the brain and body and highlights some really interesting studies of how the brain and body can rebuild and heal from past damage. I’m hoping to find a way to combine these two not so dissimilar themes into a body of work in the future! Sort of as a way of seeing how physical disorientation in a space is very similar to living with trauma.

IOTA: You’ve participated in the community through acts of volunteerism but it has remained a fairly solitary experience for you in the past. You mentioned to me that you want to take your work in a more collaborative direction. How so?

AG: I feel that if I am going to be making a commitment to being in solidarity with others, I need to take my artwork to that level too. I know that I am a very shy and solitary person when it comes to my art-making but I think stepping out of my comfort zone and investing creatively either with another person or a collective could be extremely rewarding. It’s been interesting to hear about collectives and collaborations that have spanned decades and to see how those practices have evolved over time (my personal heroines Shauna Dempsey and Lori Millan for instance) and watch how trust and vulnerability are such crucial components to collaboration. Any takers? I’m good at baking treats!

IOTA: What’s next?

AG: In a few months’ time, I will be packing my Halifax life up and transporting it across the country to Vancouver! I have been accepted into UBC’s Masters of Fine Arts program for September. The program will be two years long and I will be focusing on Settler’s roles in decolonizing artistic practices, precarious art labour’s effects on Art Workers and anxiety and grief surrounding climate change.