World Rehearsal Court

Catalogue of the exhibition Judy Radul: World Rehearsal Court, at the Morris and Helen Belkin Art Gallery, The University of British Columbia, Canada

Editor

1. Scott Watson

Design

1. The Future (link)

Writers

1. Costas Douzinas
2. Anselm Franke
3. Sharon Kahanoff
4. Judy Radul
5. Scott Watson

Photography

1. Howard Ursuliak
2. Judy Radul

Video Documentation and Editing

1. Nick Bradford-Ewart

Audio Recording and Editing

1. Riley Maruyama

Image Correction

1. Ryan Peter

Copy Editor

1. Jenna Newman
2. Jana Tyner

Morris and Helen Belkin Art Gallery

1. The University of British Columbia
2. 1825 Main Mall
3. Vancouver, British Columbia
4. Canada V6T 1Z2
5. www.belkin.ubc.ca

Gallery Staff

1. Michael Barrick
   Graphics and Media Technician
2. Krisztina Laszlo
   Archivist
3. Shelly Rosenblum
   Curator of Academic Programs
4. Naomi Sawada
   Public Programs and Publicity Coordinator
5. Owen Sopotiuk
   Collections Manager/Head Technician
6. David Steele
   Preparator
7. Teresa Sudeyko
   Registrar
8. Jana Tyner
   Assistant to the Director
9. Howard Ursuliak
   Gallery Assistant
10. Scott Watson
    Director/Curator
11. Annette Wooff
    Administrator

© Morris and Helen Belkin Art Gallery, The University of British Columbia, the artist, and the authors. Every effort has been made to contact and credit all copyright holders of the materials on this site. If you feel there has been an omission or error, please contact us at belkin.gallery@ubc.ca.

Acknowledgements

This online exhibition catalogue is made possible with the support of the British Columbia Arts Council and the Canada Council for the Arts.

The exhibition Judy Radul: World Rehearsal Court was presented at the Morris and Helen Belkin Art Gallery at The University of British Columbia from October 9 to December 6, 2009. The project was supported by the Social Sciences and Humanities Research Council Creation Grants in Fine Arts, The Canada Council for the Arts, the British Columbia Arts Council, the BAK basis voor actuele kunst, Utrecht, and the Western Front Media Arts Artist-in-Residence Program, Vancouver.

Judy Radul was born in Lillooet, British Columbia and lives and works in Vancouver. She received her MFA from Bard College, New York (2000). A consideration of forms and conditions of performance informs her practice which has recently focused primarily on video installation. In October 2009 Radul’s large-scale installation,World Rehearsal Court, involving live and prerecorded video, was presented as a solo exhibition at the Morris and Helen Belkin Art Gallery at The University of British Columbia. The exhibition later traveled to the Generali Foundation, Vienna, Austria, Media City Seoul, Korea and Henie-Onstad Kunstsenter, Oslo, Norway. Other recent solo exhibitions include Catriona Jeffries Gallery, Vancouver; Oboro Gallery, Montreal; Presentation House Gallery, North Vancouver; and The Power Plant Contemporary Art Gallery, Toronto. Radul's work And So Departed (Again) was part of the 2004 Videodreams: Between the Cinematic and the Theatrical at Kunsthaus Graz, Austria. Her major five-channel projection installation, Downes Point, was shown in the 2005 exhibition Intertidal: Vancouver Art and Artists at the Museum van Hedendaagse Kunst (MuHKA) in Antwerp, Belgium. In 2008 the Vancouver-based Kootenay School of Writing commissioned a new video work (Touch Theatre Flood Judgment) from Radul for their Positions Colloquium. In the 2009 exhibition All that is Solid Melts into Air curated by Dieter Roelstraete in Mechelen, Belgium, Radul’s 1999 work In Relation to Objects was shown. Judy Radul teaches at Simon Fraser University and is represented by Catriona Jeffries Gallery, Vancouver.

Costas Douzinas is Professor of Law and Director of the Birkbeck Institute for the Humanities, University of London. Previously, he was Head of the Birkbeck School of Law (1996-2001) and Dean of the Faculty of Arts and Humanities (2002-2006); he founded the Birkbeck Institute for the Humanities in 2006. Douzinas is a founding member of the Critical Legal Conference, and managing editor of Law and Critique: The International Journal of Critical Legal Thought and the Birkbeck Law Press. Douzinas’ research focuses on political philosophy, jurisprudence human rights, aesthetics and critical theory. His writing has been translated into eight languages, and his many publications include: Adieu, Derrida (2007); Human Rights and Empire: The Political Philosophy of Cosmopolitanism (2007); and Critical Jurisprudence (with Adam Gearey) (2005). Educated in Athens (LLB), London (LLM, PhD) and Strasbourg (degree for Teachers of Human Rights), he has taught at the Universities of Middlesex, Lancaster, Prague, Athens, Griffith and Nanjing and is a visiting Professor at the University of Athens. Costas Douzinas lives and works in London.

Anselm Franke is a curator and writer based in Brussels and Berlin. He is the Artistic Director of Extra City Center for Contemporary Art in Antwerp, and was a co-curator of Manifesta 7 in Trentino-Alto Adige, Italy in 2008. From 2001 to 2006, Franke was curator of the KW Institute for Contemporary Art in Berlin, where his exhibitions included Territories: Islands, Camps and Other States of Utopia (2003); Image Archives (2001/2002); The Imaginary Number with Hila Peleg (2005); B-Zone: Becoming Europe and Beyond (2006); and the collaborative No Matter How Bright the Light, the Crossing Occurs At Night (2006). In the late 1990s, Franke worked as an assistant director and producer for theatre and film projects. Together with Hannah Hurtzig, he developed new formats of thematic installations and public congresses for the Hamburg Kammerspiele (Filiale für Erinnerung auf Zeit, 2001) and the Volksbühne in Berlin (International Mobile Academy, The Refugee: Services to Undesirables, 2002). Franke has edited and published various publications and is a contributor to magazines which include Metropolis M, Piktogram and Cabinet. Franke is a PhD candidate at the Centre for Research Architecture, Goldsmiths College, University of London.



Sharon Kahanoff is a Vancouver-based filmmaker, artist, writer and educator. She received her BA in Media Arts from Emily Carr Institute of Art and Design (2002) and her MFA from Simon Fraser University (2008). Her works have been exhibited in both cinemas and galleries locally and in the United States, and her writing has been published in exhibition catalogues, art magazines and other art publications.  She teaches at Simon Fraser University and Emily Carr University, sits on the board of Artspeak Gallery, and is a program advisory committee member at Cineworks Independent Filmmakers Society. Her research interests include the performance and theatricality of social relations in contemporary reenactment art and the philosophies and ethics of time expressed through the moving image. Her most recent film, Engaging the theatricality of social spaces, challenges the role of expectation in cinematic viewing experiences.

Scott Watson is Director/Curator of the Morris and Helen Belkin Art Gallery (1989- ) and Professor in the Department of Art History, Visual Art and Theory (2003- ) at The University of British Columbia. He is Director and Graduate Advisor for the Critical and Curatorial Studies program, which he helped initiate in 2002. Recent distinctions include invitation to the UBC Chancellor’s Circle (2005), the UBC Dorothy Sommerset Award for Performance Development in the Visual and Performing Arts (2005), the Alvin Balkind Award for Creative Curatorship in British Columbia Arts (2008) and the Hnatyshyn Foundation Award for Curatorial Excellence (2010). Watson’s research focus is contemporary art and issues, art theory and criticism, curatorial and exhibition studies. Watson has published extensively in the areas of contemporary Canadian and international art. His 1990 monograph on Jack Shadbolt earned the B.C. Book Prize in 1991. Recent writing includes “Race, wilderness, territory and the origins of the Modern Canadian landscape” and “Disfigured Nature” in Beyond Wilderness: The Group of Seven, Canadian Identity and Contemporary Art (2007); “Transmission difficulties: Vancouver painting in the 1960s” in Paint (2006); and “The Lost City: Vancouver Painting in the 1950s” in A Modern Life: Art and Design in British Columbia 1945-1960 (2004). Recent curated exhibitions include Mark Boulos (2010); Judy Radul: World Rehearsal Court (2009); Exponential Future (2008); Intertidal: Vancouver Art & Artists (2005/06) at the Museum van Hedendaagse Kunst (MuHKA) in Antwerp, Belgium; Rebecca Belmore: Fountain (2005) for the Venice Biennale Canadian Pavilion; and Thrown: Influences and Intentions of West Coast Ceramics (2004), from which emerged his current publication project on British Columbia’s studio pottery movement. He is presently researching Concrete Poetry for an upcoming publication and exhibition.