{"id":27144,"date":"2015-02-15T16:48:51","date_gmt":"2015-02-15T21:48:51","guid":{"rendered":"http:\/\/www.artoronto.ca\/?p=27144"},"modified":"2015-03-17T22:28:00","modified_gmt":"2015-03-18T02:28:00","slug":"douglas-coupland-anywhere-is-everywhere-is-anything-is-everything","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=27144","title":{"rendered":"Douglas Coupland is Everywhere"},"content":{"rendered":"

Douglas Coupland\u2019s retrospective Anywhere is Everywhere is Anything is Everything <\/em>presents an extensive collection of the artist\u2019s Pop-Art inflected artworks. Roughly produced within the passed-decade, the exhibition showcases Coupland\u2019s uncanny readymades, constructions, and mixed-media imagery that speak directly to contemporary audiences. Split between two locations in the downtown core, the MOCCA and the ROM, this engaging project will attract a vast majority of visitors from casual onlookers to more art-conscious viewers.<\/p>\n

\"\"<\/a>Douglas Coupland. Photo: Thomas Dozol<\/p>\n

Coupland is a celebrated Canadian artist and novelist, having singlehandedly coined the term Generation X in his novel of the same name. His interests have always centered on thematic preoccupations of pop culture, postmodernity and the human condition. His visual works reject any notion of traditional art-making practices, favouring the use of mass-produced media (Lego pieces, googley eyes, printmaking, etc.) in order to construct his peculiar brand of imagery. Coupland\u2019s practice borrows from previous art-historical figureheads, mainly Andy Warhol\u2019s idolization of mass culture, and updates it for a 21st century tech-savvy audience.<\/p>\n

\"\"<\/a>Douglas Coupland, “Towers”, 2014, Lego, 198.1 x 299.7 x 299.7 cm overall, 50 components. Courtesy of the Artist and Daniel Faria Gallery. Photo: Rachel Topham, Vancouver Art Gallery<\/p>\n

Themes run rampant throughout the exhibition\u2019s two locations, but are anchored by their distinct visual style and preoccupation with contemporary culture. The MoCCA primarily fixates its selection on his rethinking of the Canadian identity by subverting traditional Canadian iconography in an uncanny method. This is evident in his Styrofoam CN Tower replica that had been severed and placed on its side with the word \u201csorry\u201d written in gum on the support beneath. Coupland constructs cityscapes of the future through brightly coloured Lego pieces while also critiquing the homogeneity of the suburban Canadian landscape through a repetitive installation of carbon-copy Lego homes. Rows of inexpensive store bought goods line a wall like a grocery store shelf, supporting the notion of the multi-cultural Canadian identity as being evident through the omnipresence of imported commodities.<\/p>\n

\"\"<\/a>Douglas Coupland, “345 Modern House”, 2014, Lego, resin, 100components. Courtesy of the Artist and Daniel Faria Gallery. Photo: Rachel Topham, Vancouver Art Gallery<\/p>\n

\"\"<\/a>Douglas Coupland, “The National Pantry”, 2014 (detail, left), wood, shelves, readymade objects, various dimension, Courtesy of the Artist and Daniel Faria Gallerys; “The Brick Wall”, 2005\/2014 (exhibition copy, right), assemblage with pieces from the following toys and various untraceable construction sets. Photo: Rachel Topham, Vancouver Art Gallery<\/p>\n

\"\"<\/a>Douglas Coupland, “Canada Picture No. 9 (flour)”, 2001, ink jet print, 91.4 x 127 cm. Collection of J.B. Sugar (left); “Harris No. 11, Green Mountain”, 2011, acrylic on linen,104.2 x 121.8 cm. Collection of TD Bank Group.Photo: Trevor Mills, Vancouver Art Gallery (right)<\/p>\n

The ROM\u2019s selection of artworks focuses strictly on how the continuing advancements in technology have changed the way society perceives the world, and how individuals are identified by their ubiquitous online presence. It is encouraged that visitors use their camera on their mobile device in order to decode the somewhat cryptic imagery displayed within the exhibition. What are revealed are images of world-events that have had a hand in shaping society, including the disasters of 9\/11. A monumental wall of witty phrases and contemporary colloquialisms acts as the main attraction within the show, where a series of brightly coloured panels asks us to question our reliance on, and participation within social media.<\/p>\n

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Douglas Coupland, “Liquid Video Game Pop Head”, 2010, acrylic and epoxy on pigment print. Collection of Heather Reisman and Gerry Schwartz. Photo: Trevor Mills, Vancouver Art Gallery<\/p>\n

\"\"<\/a>Douglas Coupland, “Slogans for the 21st Century”, 2011\u20132014 (detail), 148 pigment prints on watercolour paper, laminated onto aluminum, 55.9 x 43.2 cm. Courtesy of the Artist and Daniel Faria Gallery<\/p>\n

Throughout the two unified exhibitions, Coupland\u2019s artworks critically analyze what it means to be human in a postmodern society, while also displaying a sense of wit and playfulness that is both engaging and memorable.<\/p>\n

David Saric<\/p>\n

*Exhibition information: MOCCA: January 31 \u2013 April 19, 2015, 952 Queen Street West, Toronto.\u00a0Gallery hours: Tue \u2013 Sun: 11 a.m. \u2013 6 p.m. ROM: January 31 \u2013 April 26, 2015, 100 Queen\u2019s Park, Toronto. Gallery hours: Mon – Thur & Sat – Sun: 10 a.m. – 5:30 p.m., Fri: 10 a.m – 8:30 p.m.<\/p>\n","protected":false},"excerpt":{"rendered":"

by David Saric<\/strong><\/p>\n

Throughout the two unified exhibitions, Coupland\u2019s artworks critically analyze what it means to be human in a postmodern society, while also displaying a sense of wit and playfulness that is both engaging and memorable.<\/p>\n

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