An excerpt from an exhibition review published in C Magazine 129 (2016), which reflects upon the metaphorical play with the concept of archiving in Hank Bull: Connexion, Galerie de l’UQAM, Montreal, Oct. 23 — Dec. 5, 2015, curators: Joni Low and Pan Wendt.

Hank Bull: Connexion begins with a cactus. It is a smallscale,
brightly painted variety assembled from interlocking
MDF pieces. Behind the cactus, a landscape
unfurls in a palette of many hues with a gestural
brushstroke suggestive of the mind-altering experience
of desert light. A few feet away in the gallery, a
television monitor plays Duster (1991), a video work
that parasitically rearranges the narrative structure,
pictorial conventions and racial stereotypes of televised
Hollywood Westerns. This episode, collectively
authored and performed, features Warren Arcan,
Rebecca Belmore and other artists, like Hank Bull,
associated with the Vancouver artist-run centre the
Western Front.

The encounter with a cactus thriving in the subterranean
environment of Galerie de l’UQAM works
as a visual and spatial metaphor for the exhibition
as a whole. Viewers’ successive discovery of the social
context that produced the TV-studio species of
cactus and its artificial environment stands in for the
way that mediated images influence our unconscious
formation of identity and social groups…

…Ultimately, the exhibition shows that it is more
useful to think about archiving as a series of “events,”
as suspended moments; not simply an institutionally
imposed protocol, but a form of mediation that occurs
at many stages in the circulation of cultural objects.
In this sense, Hank Bull: Connexion is a self-archiving
project with a reflexive relationship to the
public gallery that hosts it, the discursive effects of
art history and curatorial practice.

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